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I wouldn't disagree that Godzilla KOTM is a good score since it works very well for the movie and by itself. I'm just saying that Junkie XL can bring something new and interesting to the franchise which hasn't been done before.Before someone jump, i will said in this kind of movies, change a composer is very common, don't say i don't want McCreary will be back, only i prefer other people try other things.<br><br>Like i said, i listen very OFTEN the three scores in this movies, and i love each style (as for the movies... well, prefer G14 and KSI over KOTM)@Moggyman<br><br>If you think that all McCreary did was modernize the Godzilla theme, you clearly haven't listend to the score.<br>He indeed used and modernized the themes for Godzilla & Mothra.<br>Besides that he wrote new themes for Rodan, Ghidorah, Monarch, The Russel Family and a theme he called the Ancient theme.<br><br>Besides this, he used the orchestra, choir, soloist and specialty instruments in the best way they can be used.<br><br>His score was one of the best blockbuster and orchestral scores of the last couple of years, in my opinion.<br><br>Until I hear Holkenborg's score I can't really comment on if it will be good. But at the moment I am sad McCreary isn't coming back. But I am very curious what Holkenborg will doI disagree, the McCreary's score in that movie is really, really good... but I put this, as myself i listen very often the other two: G14 and Skull Island, also really, really good, can't put a score over another because one composer uses a theme (a very mytical one, if you are a movie monster fan), specially in that franchise.<br><br>Yes, Ifukube create a wonderful theme (and the original movie have a really tough score to listen isolated of the movie), but other composer make a wonderful themes (and polaraising), like Otani (which his score for GMK is FULL electronic, but really good) or Oshima (great theme, maybe the inspiration for Desplat's theme), even the most forgotten Reijiro Koroku create a terrific theme for the character in 1984Bear McCreary is a good composer but all he did for Godzilla KOTM was modernize the original Godzilla theme, which isnt super creative. Junkie, on the other hand, may give us a really creative score based on his eagerness to do the project.
Yeah besides the massive disappointment that is the movie Godzilla: King of the Monsters, the even bigger disappointment is that Bear McCreary won't be back for more.you fool.... its impossible ! everybody knows that there is only one batman theme.... (joke)In a recent interview, Junkie mentioned that he's bringing back themes for Superman and Wonder Woman, while everything else is new. I wonder if he's gonna make a new Batman theme.It's true, there is completely different team from composer to director in crossover :)But the film was particularly bad...<br><br>So I rather have a whole other team do something ELSE lol...
Yeah... McCreary's score is one of the best from last year so I'd rather have him again.I open to ANY composer in this movies.<br><br>To answer the question, YES, i'm ready<br><br>Specially to a guy, who loves G14, KSi and KOTMNo way. After what Bear McCreary did on King of the Monsters last year I definitely want him back.Atli still has his studio at Remote but mostly works from home in Iceland.<br><br>Guillaume game back to settle to Remote a couple of years ago (before he was splitting time between RCP & France).<br><br>Heitor still is at RCP as far as I know, haven't heard anything in a while.<br><br>Nathan Stornetta left Remote in 2015 (against Hans' will !! :)) cause he didn't fancy much that whole Hollywood business. He is home in Switzerland doing his own projects, but also touring with Hans...Atli Örvarsson, Heitor Pereira, Guillaume Roussel and Nathan Stornetta ?
Marc left RCP in like... 2003 ? lol<br><br><br>And yes he is, check his page, he just doesn't have much going on anyway.But Marc is no longer with RCP I am assuming. His scores are not advertised here.If the Snyder Cut comes out, who's ready to hear Junkie XL score Godzilla vs. Kong?https://www.forbes.com/sites/simonthompson/2020/09/16/music- business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/https://www.forbes.com/sites/simonthompson/2020/09/16/music- business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/
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Steve JablonskyJeff BiggersLori Castro
ComposerMusic Scoring MixerScore Recordist
Spenser Confidential
Label: BMG Rights Management
Length: 54'09
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (821 votes)
  1. The Trial (2:27)
  2. Squeeb (1:45)
  3. Driscoll (1:43)
  4. Pearl (1:06)
  5. Boylan Murdered (3:46)
  6. Terrence Graham (1:34)
  7. Is This Revenge? (3:21)
  8. WTF Is A Cloud (1:35)
  9. Spencer Investigates (4:21)
  10. Yellow Corvette (2:01)
  11. Tracksuit Charlie (5:07)
  12. One World Only (4:04)
  13. In Deep (1:56)
  14. The Pony Express (1:25)
  15. Whole Lotta Drugs (2:15)
  16. They Got Henry (1:48)
  17. Wonderland (1:48)
  18. Hawk Has A Plan (3:49)
  19. Let's Go (3:19)
  20. Spencer's Theme (4:59)
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superultramegaa reply Replies: 13 || 2020-03-05 18:05:36
I think Steve's creative fire is gone. Every new release by him just has this air of "this is for a paycheck and nothing else." I know as composers they are work for hire, but usually there's an element of tangible care put into music.

Sure he'll say in interviews why he thought a movie he worked on gave him a great pallet to work with, but just listening to his modern work, it seems like he's been drained of any passion.

Maybe TF5 broke the camel's back, because of the way the score was butchered along w/ the film in editing. I do remember him being frustrated in interviews over how much of a mess the score's production was.

I don't blame him. If someone took melodies I composed & put my heart and soul into, and barely used/chopped them in the film or covered them up with the sound effects, I might just settle for sound design scores from then on too. That way you don't have as much attachment if the score is butchered.


MrZimmerFan2020-03-05 18:56:14
TF5 is not Spenser Confidential, is not the same thing.

If Peter Berg asked for something like sound design (the score is pretty disappointing, yes), that deliver that for the director, not because is frustated for other movie.

Not every composer have 5 masterpieces or good scores in one year. ;)


dingelding2020-03-05 18:59:19
In my eyes, you're all doing him wrong. Jablonsky never changed his style. But you are so boring and always want to have a Transformers-like score. Before Transformers, he used to make music with synthesizers and I think he can do it. He reinvents himself and doesn't always use the same samplers. Occurs but not as extreme as some others. Clearly it was a disappointment with the Transformers 5 that not all of its music was in the film and was changed. But nothing new! It has appeared in so many films! Even with the previous films in the Transformers series. Some pieces were not used completely or only appeared in the following film. Deepwater Horizon has a great score that just sounds a bit neutral and takes up the happenings atmospherically. Which fits very well! Likewise with Skyscraper these horny deep string sounds. Bloodshot never looked like a kindergarten Marvel movie or a DC movie to me. If Vin Diesel participates, it is known that he is invincible. Come on Bad Ass music. I've been a big fan of Jablonsky since his first Texas Chainsaw Massacre score. I couldn't say that he has let up. I don't always need music with a 100 man orchestra. Although I think that he relies on everything at Bloodshot. I like the guitars as much as the synthesizers. If the name Hans Zimmer were there some would say "What a masterpiece!" Like the poor Dunkirk Score or the not outstanding Inception Score. Likewise your super exaggerated hyped Lorne Balfe which I would rather hit one on the mouth. Because it is light years away from memorable music! BUT that was already the case when he composed the additional music. If I consider what Jablonsky, Harry Gregson-Williams, Geoff Zanelli etc. did as additional composers. Then there is a mess that Balfe has always been involved in the music of Michael Bay films. I'm getting sick! Steve Jablonsky has worked on Michael Bay films since 1998. Since 2003 he has been composing scores for the horror remakes. Since 2005 he has been the main composer of Michael Bay films. The fact that not every Jablonsky score is a hit is clear, but not very bad either. Like now Friday the 13th, I didn't have to have a score from. I also think it's good that Steve Jablonsky isn't just attached to Michael Bay. But also works with new directors. very good cooperation with Peter Berg. What about his score for Teenage Mutant Ninja Turtles - Out of the Shadows ?! Great work! Great theme for the Turtles! I liked it more than Brian Tyler's work on part one. Although I'm also a big Brian Tyler fan. I'm looking forward to the Spenser Confidential and Red Notice scores, and many more. But to assume that he would have lost his inspiration is already awesome. Just because he took a little time out for his children.


MrZimmerFan2020-03-05 19:09:57
@dingelding:

Actually, i never minded his work with sound design (The Island or Battleship, altough, never top his work in the Transformers series or Your Highness, only Age of Extinction was dissapointing), but Spenser wasn't good, specially with you compared with Skyscraper (is a much better score, altough is pretty ok to me) and Bloodshot (is a much better score than Spenser, and far more Jablonsky-esque)

Shit, even i think Gangster Squad and Pain & Gain are much better than Spenser


superultramegaa2020-03-06 00:53:44
@dingelding

First of all, I don't want nothing but Transformers. I would've preferred if Jablonsky stuck closer musically to things like Steamboy, Your Highness, or D-War. Second, I'm ok with synthesizers. Halo 3 ODST, Halo Reach, or the Batman Arkham series use them in very creative & organic ways.

However after listening to Spenser, it sounds like nothing but generic-o's, non-descript, studio/trailer/commercial music. Not only that, but the synths are mostly ugly/distracting and take away from the score, the horns (and the entire orchestra) are garbled because of how heavy the electric instruments are emphasized in the mix, and the guitars are performing simplistic & uninteresting patterns.

Plus any themes that might be in here, or so minimalist it doesn't matter. Bloodshot at least had tangible melody. However, I agree w/ @MrZimmerFan that the overall sound falls on Peter Berg's hands and not Steve Jablonsky, but it's annoying that we haven't had a standout score from the guy since 2017 at best.

P.S. @ dingelding
For the love of god space out your thoughts into paragraphs. Your comment is awful to read.


Brent2020-03-06 10:54:43
I am perhaps one of the biggest Jablonsky fans there is, but I do have to agree. This score is bland and is simply uninspired. However, I think it has more or less to do with the types of films he’s choosing to do more so than any draining of creativity. These last batch of films (Spenser, Bloodshot, Skyscraper, Game Over) have all been generic action thrillers with little to no substance. It’s an almost “been there, done that” approach. So, creatively, what is there ultimately to draw from?

I kind of liken this to the Gregson-Williams thriller scores verses everything else he’s done. His thrillers are {mostly} bland, uninspiring works that leave little to be desired, but most everything else he’s done is superb. I think this just shows that Steve needs a good push in a different direction. I mean, can we hand this guy another animated film already?!?!

I hope to God Red Notice gives Steve a little more to chew on (being so high profile and Netflix’s most expensive investment so far).

I also want to acknowledge the fact that Michael Bay is probably the culprit of Steve’s descent into playing it safe more than anybody. Like other people have mentioned, I can’t begin to seem to understand how he felt after something he worked so hard on (and the “grand finale” of a major series nonetheless) got oh so butchered. I mean, look at Balfe’s latest example. There was so much blatant temp tracking and straight up copy/paste jobs in 6 Underground, it was almost completely devoid of anything resembling creativity (and this is coming from a guy who seriously loves 13 Hours).

All this to say, I will continue to be a strong supporter of Jablonsky and am looking forward to what’s next. :)


Bayhem2020-03-06 11:58:25
I can’t begin to seem to understand how he felt after something he worked so hard on (and the “grand finale” of a major series nonetheless) got oh so butchered.
================


Wait, wait, wait...

I keep hearing from the same few folks here how "bad" Steve felt after TF5. Where exactly did you get this info? I follow Steve everywhere on social media, I've seen all of the interviews he's done and he never complained or acted weirdly about it.

Yes, he did talk about TF5 and some editing decisions but it was all in good spirits and certainly not something we haven't seen before. Keep in mind: he did FOUR TF movies before TF5. The TF2 schedule/editing process was a nightmare and Steve never complained.


==============
I also want to acknowledge the fact that Michael Bay is probably the culprit of Steve’s descent into playing it safe more than anybody.
==============

That is not a serious statement, my friend.

It is quite ironic actually, considering the fact that the most beloved and popular Steve scores are his scores for the Bay movies. Hell, even the "butchered" TF5 score is incredibly popular and there are several awesome tracks.

So let's not blame filmmakers who have nothing to do with Steve's recent work. You want to blame someone in this case? Blame Peter Berg.

He's the one who FOR YEARS have been pushing Steve to do "sound design" scores. Exactly the types of scores people complain about here...


Hybrid Soldier2020-03-06 12:48:22
Game Over, Man!, Keanu & TMNT 2 are absolute fun scores (TMNT 2 is probably one of my very favorites of Steve). Don't judge him only by what gets a soundtrack release.


TF5 was not a "nightmare", it's just that at the very end it got super frustrating that they had to reedit the movie so much and it was very complicated for him to meet the deadline so he called LB for help. But that was the same in TF3. Difficulties on Bay projects is simply a tradition. TF2 was complicated, but by then he was still at RCP so when you have a problem just knock the next door and Hans is around. TF1 was probably the most complicated of all but for very different reasons that had nothing to do with the film production itself or Michael Bay.


Knight2020-03-06 13:18:27
Can't exactly judge him by scores no one's able to listen to outside of the film either :p


Bayhem2020-03-06 14:40:34
TF5 was not a "nightmare", it's just that at the very end it got super frustrating that they had to reedit the movie so much and it was very complicated for him to meet the deadline so he called LB for help. But that was the same in TF3.
===============


Exactly!


MrZimmerFan2020-03-06 17:04:24
Saw the movie, and give to credit to Steve (and Berg), the score works well in the movie, yeah, lot of synthetizers and guitars (and disorted sound design for a much darker sequences), but accomplish the tone and Walhberg's character (plus, you get in the album the theme for him).

But still, i prefer Bloodshot over this.

PS: TMNT 2 is a blast


rockhound2020-03-07 22:58:23
I also have to say, that the music works in the movie good and is a nice combination with the songs. But nothing in this music says....this is Spenser Confidential. It has no own identity. Same goes with the last 3 Peter Berg movies. I guess Steve writes these scores for Peter Berg, because he just likes to work with him. The movie was also good. A nice little crime movie with a sloid story, down to earth action and good characters. But i hope Steve finds a movie soon again, where he will be asked to get more creative again.


Everan2020-09-01 20:36:52
Steve just released his website, he has some unreleased tracks from Keanu and so on. I'm currently listening to Origin Story tracks and they are gorgeous, way different to what he does with Berg and sound design-ish scores. Steve still has it.


superultramegaa2020-09-01 23:33:05
Yeah, some of his unreleased stuff he put on there is interesting. A lot of the Game Over, Man! tracks are pretty fun ("Ear Sandwich" in particular), and Origin Story is a nice throwback to his Desperate Housewives style, but there's not a lot of great melody in there.

Game Over, Man! at least has an ok hero theme/anthem, but not much else worth noting, and Origin Stories' melodies feel pretty basic and more like arpeggios disguised as melody. Better music overall on those 2 small albums, but still a little bare feeling.

MrZimmerFan reply Replies: 0 || 2020-03-05 14:08:30
Up in Itunes NZ

https://music.apple.com/nz/album/spenser-confidential-music- from-the-netflix-original-film/1500496292

superultramegaa reply Replies: 2 || 2020-03-03 00:42:47
Don't have much expectations for this one after Bloodshot, but I'm rooting for Jablonsky as always.


MrZimmerFan2020-03-04 17:55:03
Maybe i gave him more credit than that score deserves, but i have more enjoy with that, than with Skyscraper.


dingelding2020-03-05 03:13:47
YEAH GREAT JABLONSKY LOVE BLOODSHOT AND SKYSCRAPER!!!!!

Jack Afrogarrix reply Replies: 0 || 2020-03-02 22:46:37
Wow, I Can't wait to hear the score and see the film in netflix this friday.

Jack Afrogarrix reply Replies: 0 || 2020-03-02 22:46:29
Wow, I Can't wait to hear the score and see the film in netflix this friday.

MrZimmerFan reply Replies: 0 || 2020-03-02 20:31:47
I can't wait

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Spenser Confidential soundtrack - Steve Jablonsky 2020