Music Composed by Klaus "Bowsprit" Badelt Score Overproduced by Hans "Long John" Zimmer Executive in Charge of Music for the Buena Vista Motion Pictures Group: Mitchell "Swabbly" Leib Music Creative/Marketing for the Buena Vista Motion Pictures Group: Glen Lajeski Executive in Charge of Music Production for the Buena Vista Motion Pictures Group: Monica "Blackheart" Zierhut Executive Soundtrack Producers: Jerry Bruckheimer & Bob Badami
Music Supervisors: Bob "Cut 'Em Up" Badami Additional Music by Ramin "Salty Dog" Djawadi, James "Boot Tuck" Dooley, Nick "The Admiral" Glennie-Smith, Steve "Bad Boy" Jablonsky, Blake "Blackstone" Neely, James "Marooned" McKee Smith & Geoff "Broadside" Zanelli Ambient Music Design: Mel "Black Spot" Wesson Synth Programming: Hans "Long John" Zimmer, Bart "The Original Black Bart" Hendrickson & Rob "Crows Nest" Williams Supervising Orchestrator: Bruce "Crossbones" Fowler Orchestrations by Robert "The Dauntless" Elhai, Elizabeth "Darling Poppet" Finch, Walt "Argh" Fowler, Bill "Hempen Halter" Liston, Ladd "Hoist 'Em High" McIntosh, Suzette "AYE!" Moriarty, Conrad "Peg Leg" Pope & Brad "Chain Shot" Warnaar Orchestra Conducted by Blake "Blackstone" Neely
Supervising Music Editor: Christopher "Keel Haul" Brooks Music Editors: Ken Karmen & Jeanette "Wo-Man O' War" Surga Assistant Music Editors: Dan "Freebooter" Pinder &é Melissa "Tortuga Wench" Muik Score Recorded by Alan "Mizzenmast" Meyerson & Malcolm "Cat o' Nine Tails" Luker Additional Recording: Slamm "Scallywag" Andrews, Tom "Blow the Man Down" Vedvik & Mark "Walk The Plank" Wherry Assistant Engineers: Gregg "Cannonball" Silk & Jeff "Bucko" Biggers Score Mixed by Alan "Mizzenmast" Meyerson & Slamm "Scallywag" Andrews Orchestra: The Hollywood Studio Symphony Orchestra Recorded at 20th Century Fox Newman Scoring Stage, Los Angeles, CA & Todd Scoring Stage, Studio City, CA
Orchestra Recorded by Alan "Mizzenmast" Meyerson & Malcolm "Cat o' Nine Tails" Luker The 20th Century Fox Newman Scoring Stage Crw: John Rodd, Tim Lauber, Bill Talbott, Tom Steel, Damon Tedesco & Stacey Robinson The Todd Scoring Stage Crew: David Marquette, Marc Gebauer, Jay Selvester, Seth Dockstader & Kirsten Smith Score Mixed at Media Ventures, Santa Monica, CA
Choir Recorded at Air Lyndhurst Studios, London
Choir Recorded by Geoff "No Prey, No Pay" Foster & Nick "Gibbet Cage" Wollage Assistant Engineers, London: Jake "Landlubber" Jackson & Chris "The Cutlass" Barrett Choir Conducted by Nick "Shot Across the Bow" Ingman & Rick "Careen" Wentworth Choir Contractor: Isobel "Jolly Roger" Griffiths Metro Voices Choirmaster: Jenny "Ahoy, Matey!" O'Grady Score Reader Assistant: Alastair "All Hands on Deck" King Choir Librarian: Vic "Run A Rig" Fraser
Music Preparation by Booker "Fire Ship" White, Walt Disney Music Library
Technical Score Supervisor: Trevor "Scurvy Dog" Morris Technical Score Assistant: Ian "Sea Legs" Honeyman
Featured Musicians: Cello : Martin "Scourge of the Seven Seas" Tillman Flute: Fred Selden Guitar: Heitor "Pieces of Eight" Pereira Woodwinds: Danny Kuramoto Percussion: Emil Richards
Music Production Services: Media Ventures, Santa Monica, CA - Captain Jay "Lead Foot" Rifkin, Mark "Buccaneer" Berger & Tom "Six Pounders" Broderick Production Coordinator for Klaus "Bowsprit" Badelt: Allison "The Interceptor" Wright Clark Assistants to Hans "Long John" Zimmer: Mo "Ho Ho and a Bottle of Rum" Nakamoto & Bettina "Jolly Boat" Lynch Album Compiled by Big Al "Rum Ole Boy" Clay Soundtrack Mastered by "Barnacle" Bruce Maddocks, Cups'n' Strings Hans "Long John" Zimmer uses Cubase by Steinberg Klaus "Bowsprit" Badelt uses Aardvark, Emagic, Fujitsu, InFocus & M-Audio equimpent
Klaus "Bowsprit Badelt & Hans "Long John" Zimmer would like to give special thanks to: Gore "Cap'n" Verbinski, Jerry "The Hook" Bruckheimer, Lesley Allery, Bärbel Badelt, David Baerwald, Christopher Boyes, Connie Boylan, Andrew "Shiver Me Timbers" Burnett, Emma Burnham, Alison Burton, Dave Campbell, Ronni Chasen, Wolfram "The Anchor" de Marco, Paul Fiore, Vicky Gabor, Gelfand-Rennert-Feldman, Tami Goldman, Michael Gorfaine, Robert Green, Gavin Greenaway, Lindsay "Poopdeck" Greitzer, Stephanie Harris, April Henry, Vicky Hiatt, Scott Holtzmann, Ryan hopman, Nina Jacobson, Robyn Klein, Sylvia Krask, James Levine, Henning Lohner, Michael "Party Hardhard" Lozano, Murphy Lynch, Brian Martin, Carolyn Norman, Dave Parker, Chris Phife, Che Pope, Chris "P.O.T." Potter, Pat Sandston, Sam Schwartz, Steve Scramuzzo, Michael Tronick, Monique Ward, Matthias Weber, Don Welty, Rupert Gregson-Williams, Harry Gregson-Williams, Keith Wilson, Reggie Wilson, Craig Wood, Sridhar "Gunwalls" Yalamanchili, Ralf Zang, Suzanne Zimmer & the Mini Z's, Zoe Zimmer & the Media Ventures Team
Special Thanks to Euphonics for installing the new console in a day
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Well listening to that, one thought comes in my mind: Zimmer's rescue mission failed, because thats sucks...
Listening to what, exactly?
So basically this score is Zimmer with arrangements by Badelt
Basically, yeah. In order of importance, it seems to be:
--Hans Zimmer (who wrote most of the music properly speaking, even though others were responsible for most of its arrangements within the film) --Klaus Badelt (who arranged the music Hans wrote and was credited as the composer due to Hans' promise to do The Last Samurai. --Geoff Zanelli (who did a considerable number of arrangements, including the well known "He's a Pirate", based off Hans' demo theme) --Ramin Djawadi (who also did a considerable amount of arrangements) --All the other guys, like Nick Glennie-Smith and James Dooley, who had a few cues
Although I'm sure that Hybrid, knower of all things Pirates, can amend my list if necessary.
I Just Know that Zimmer Wrote He's A Pirate and Swords Crossed. maybe some on track 1 but not any of the other ones.
He might not have actively been involved with each track, but almost the entire Curse of the Black Pearl score is based off his themes he wrote (such as the "Day One, 4:56 AM" demo and his Jack Sparrow theme). Hence, his name is attached to everything, because every track here has Zimmer's music in some way. :)
No, HZ worked on many cues...
It's not exactly a "classic HZ process" here, like every of his "rescue missions"... (and by rescue I don't mean replacing Silvestri, I mean rescueing Klaus........)
For instance the famous Moonlight Serenade scene (the big Black Hawk Down rip :D) is directly a HZ cue with arrangements by Geoff.
Did Hans come up with the "Jack Sparrow" theme from this score?
Yep, and he doesn't even consider it a "theme", more like a "riff".
He wrote a proper theme for POTC 2... :)
I always found it interesting that Klaus Badelt got 'top credits' for this score, and NOT Hans. Do you know why?
2 reasons :
- He was on The Last Samurai, so not supposed to do anything else.
- When he saves the ass of an RCP colleague, he doesn't get credit (The Rock being an exception).
I wonder if a special edition of the film will be released one day, a special edition in which Hans gets composer credit.
No way... :P
But actually who cares what's written on a cover or an End Credits ?
As long as you know the truth... ;)
Indeed. I've always credited Curse of the Black Pearl to "Hans Zimmer and Klaus Badelt" on iTunes anyway. I also credited Inception and Sherlock Holmes to "Hans Zimmer and Lorne Balfe"... :P
Virtually everyone knows this score is really Zimmer material, despite the official crediting otherwise. :P
Agreed mike Zimmer did write all of the themes Badelt put them together
I just re-watch this movie and i thought: what if the studio hadn't rejected Alan Silvestri's score?? We were really lucky on this :p
lol, Good point. Did Alan Silvestri actually write any music or was he chosen then left/was fired before doing anything?
Apparently Silvestri recorded a cue for the Moonlight Serenade sequence. Rest was all mock-ups and anyway, whatever he did write, good or bad, there was no doubt Bruckheimer would find any lousy excuse just to get Hans on board.
If The Mummy Returns and Van Helsing from around the same time are anything to go by, Silvestri's score would have been fantastic! Very different, of course, but probably really entertaining.
Trent Easton Navarro
As enjoyable as Badelt?Zimmer's score is, I think Silvestri would have written a great score for this one. Like Edmund said, The Mummy Returns and Van Helsing were pretty awesome, as were his previous scores for Verbinski.
Of course Silvestri's not a bad composer, but i'm pretty sure he would never have reached the level of epicness of the 2d and 3rd movies scores!
Not that this is related to Silvestri, but Dead Man's Chest didn't really feel "epic" to me. There were new themes for Davy Jones and the Kraken, and some new motifs for Jack Sparrow, but overall the score felt like a continuation of the score for the first movie.
But yeah...At World's End was really epic. :P
Of course, you're entitled to your opinion. You didn't ask what mine was, I just gave it. Sorry about that.
Is the trailer music composed by HZ or Alan Silvestri? According to the trailer credits: "Music by Alan Silvestri", but the theme in the end is used by HZ for his Pirate's scores.
The trailer music is a Drop Zone cue by HZ. And Silvestri's credited cause the trailer is from before he was fired !
Am I the only one that finds it ironic the trailer cue is by zimmer and before silvestri got fired? :P
Maybe after the trailer they realized that Zimmer's music is more suitable for the Pirates' universe. Better late than never!:-)
Ignoring the question of whether there SHOULD be a Pirates 5, does anyone think there will be one? If so, is it likely that Hans will score it?
I think it's almost certain that Hans will score fifth Pirates. And no, there should not be any more Pirates ;)
There's definitely gonna be another one, although there really shouldn't. And honestly, I don't even want Hans to do another one. I think he said everything he wanted to say with the trilogy, especially in At World's End, which was a great confluence of all the themes ideas from all the movies. The fourth movie was redundant in every possible way and so was the score.
I don't think there should be a Pirates 5, either, and that is partially because I doubt Hans would want to do it. I know Hybrid said all the temp music in On Stranger Tides was the director's fault, and I'm sure that's true, but it's a safe bet, I think, that Hans is ready to be done with these movies. In fact, he even said in an interview for POTC4 how you can only do so much with a given set of themes, and that he thought they were done after the third movie, and that he didn't even think there would be a second and third film--as in, he never really planned on doing any sequels.
However, that's not to say that I'd mind a score to Pirates 5 if Hans is able to come up with a good amount of new material, rather than being forced to temp the majority of the thing.
I don`t think so.
Racket, which part were you replying to, the question of whether there will be another movie, or the question of whether Hans will compose it?
There will be a new one, Disney announced it 2 weeks ago. It's planned for 2015 if i'm right. I want Geoff Zanelli or Lorne Balfe to score it, not Zimmer anymore. I like him a lot but we need some fresh air and a composer who really WANTS to do that!
Trent Easton Navarro
"I want Geoff Zanelli or Lorne Balfe to score it, not Zimmer anymore. I like him a lot but we need some fresh air and a composer who really WANTS to do that!"
As if Zimmer really would write all of the score himself :P He'll probably get the main credit, but his minions will do all the work ;)
I want Zimmer to score it if he makes new stuff. If not Zimmer, I think Geoff Zanelli, Lorne Balfe, and whoever else has worked on these movies should collaborate using Hans' themes.
This is the most random of questions, but is the "Black Pearl" theme (Swords Crossed, To The Pirates' Cave, ect) by HZ or Klaus Badelt?
I'm not sure anyone knows that--but I could be wrong. This whole score sounds uniformly the same (redundancy, anyone?). I mean, yeah, I can recognize the different themes, but I couldn't say which themes according to their styles were written by which composers.
I do know that Geoff Zanelli likes to write tribal-type music like all the cannibal stuff for Dead Man's Chest, or the Morlock Attack from Klaus Badelt's "The Time Machine". Knowing this, I suppose I could pick out the pieces written by him for this score--now that I see what they are...alas, this is no help to you, cheesy.
Questions for me, Pirates specialist summoned !
You must know that most of the POTC themes come from... other films !
Anyway, HZ wrote most of the themes (all the Jack Sparrow themes, the main theme etc...)
I know for sure that Klaus wrote the "Underwater March" theme (which is basically from The Road To El Dorado) and the "dark" theme of the film (heard in Fog Bound, with the pan flute "tut, tut, tiiii tut" (lol).
Blake Neely wrote the theme in the "Liz on the Pearl / Parlay" sequence. It's not on OST but was on POTC 2's (and 3's) OST.
Jim Dooley wrote (with no credit... don't ask lol) the "Tortuga" theme which came back regularly in POTC 2 (he actually ripped it from a short film he had scored a couple of years earlier, Embryo).
About the Parlay track, where did you get the name for it? (Elizabeth was never referred to as Liz in the movie.) On most if not all of the bootleg scores, it is named "Parlay" and I'm fairly certain that it originated from one of the DVD menus.
For the longest time, I thought it was a theme written for Tia Dalma, as that is the track it appears in on the PotC2 OST. But then I started looking at the first one's score, and found that theme there as well.
I'm pretty sure it is not on PotC3's OST. If anywhere, it would be in "Davy Jones, the Man" found on the 2CD bootleg that recently surfaced. Perhaps, you could tell me where I might have overlooked it--or if I am even discussing the same thing you are, Hybrid.
Listen closely people...
The very beginning (kinda military drum) of Medallion Calls is from Black Hawk Down.
The "Bill Turner" theme (sort of), in the same track, when Sparrow is watching the hanged skeletons, is a segment from Pearl Harbor's Air Battle.
The film's main theme (He's A Pirates) shares many notes with The Rock's main theme.
The "Underwater March" theme is from Road To El Dorado.
The segment at 0:37 of "The Black Pearl" is basically an arrangement of the guitar section in "The Battle" from Gladiator, and the rest of the cue have strong similarities with The Battle as well.
HZ's dark theme starting Swords Crossed is from Crimson Tide (Mutiny, the very slow background theme). And in the same track, the Moonlight Serenade section with Liz "touring" on the skeleton Pearl is just from Black Hawk Down (Tribal War).
The theme in Skulls & Crossbones is from Drop Zone (Too Many Notes...), and the basic rythm starting "To The Pirates' Cave" is from Drop Zone as well (listen the beginning of Miami Jump).
The segment starting at 1:08 of Bootstrap's Boostraps is from Broken Arrow, reprised in El Dorado (the Pirates one is really identical to the El Dorado variation).
And about unreleased parts, the short "Tortuga" segment by Dooley is as I said from a 2001 short film he scored, Embryo (check samples on Jim's website).
The beginning of the Pirates Attack at the end of the film, kinda suspence sequence, is just identical to a Peacemaker cue (Nuclear Foult...).
And I'm probably missing some...
Savvy ? :P
Hybrid, thanks for all the informative information!!!
Suddenly my appreciation of this score is somewhat diminished!
Don't get me wrong, POTC is one of my favorite score of all time, I know almost every bit by heart. ;)
But this score was such a mess, done in 3 weeks (from the very first second of score to final mixing). No real options left... The result is surprisingly great ! xD
who are you, that you know so many things about Hans Zimmer and all the composers? that's amazing!! :)
Actually, the LEGO Pirates game has credits for several of the Curse of the Black Pearl tracks in the credits, and Zimmer worked on all but tracks 1, 3, 8, 9, and 10 according to it. :)
Here it is! Disc 1 01. Fog Bound 02. Jack Sparrow 03. The Medallion Calls 04. Sparrow Escapes 05. Donkey 06. Swords Crossed 07. Nice Juicy Bone 08. The Pearl Arrives 09. The Gold Calls Us 10. No Luck At All 11. Skulls 12. Parlay 13. Jack's Plan 14. Commandeering The Ship 15. Tortuga 16. The Dark Ship 17. Barbossa Is Hungry 18. Moonlight Serenade 19. Ghost Stories 20. To The Pirates' Cave 21. Sea Turtles 22. Blood Ritual 23. Will & Elizabeth 24. Broadside 25. She Goes Free
Disc 2 01. Walk The Plank 02. Jack & Elizabeth 03. Bootstrap's Bootstraps 04. Jack's Proposition 05. Underwater March 06. Something Incredibly Stupid 07. Epic Battle (Part 1) 08. Epic Battle (Part 2) 09. One Last Shot 10. Ambush At The Gallows 11. He's A Pirate 12. Drink Up Me Hearties 13. Credits Suite 14. Pirates, Day One, 4:56AM (Demo) Hans Zimmer 15. Donkey (Alternate) 16. He's A Pirate (Alternate) 17. Pirates, Day One, 4:56AM (Album Version) Hans Zimmer
There is an expanded version out, seems legit, no SFX or dialog and good sound quality.
Is there a tracklist you can provide?
No track list necessary. All you have to do is search "Curse of the Black Pearl Expanded Score" and you'll get literally like ten different variations of the score which all have been expanded by adding in music that plays on the DVD menus...Granted, you'll have to search around if you want them all, but they all contain more or less the same amount of music.
There is now a Lego game out for the Pirates Movies. The previous star wars lego games had some unreleased score tracks from the movies...so there can be hope that it is the same for lego pirates. Someone with a console should check that out :)
this is similar to The Rock, which in my understand is Nick glennie smiths score, with help from zimmer and harry, but poor nick didnt get the recognition he deserves.
While we are at this topic, could you please tell us what happened that led to the kicking out of badelt from rcp, there are allot of speculations, has it something to do with that badelt didnt credit other composers such as zimmer and others for their involvement in the pirates score. Please i have been wondering about that for ages. please an answer would be great,
Well The Rock is complicated in its own way as almost all the themes Nick had originally written got rejected and replaced by HZ's ! And then it was a mess with the help of many guys on the score (HGW, Don Harper, Steven Stern, Russ Landau...) !
As for the end of KB at (ex) MV... There's not much I know... It didn't end very well between KB and some of the other MV members... Let's say it was good for everybody that he left... Especially for KB, who ended up doing very well these days... ;)
Yeah, I'm not saying KB didn't anything in there, and as I said, it clearly has a lot of him... But he acted more like a supervising composer with HZ...
He went from studio to studio to explain what was needed to Ramin Djawadi, Geoff Zanelli etc... Helped them choosing a direction, correcting what was wrong... And of course, he did several cues on his own, like the Fog Bound opening... Zimmer helped in the same way, for instance he reworked himself Jim Dooley's Commandeering The Interceptor (second part of OST's Blood Ritual).
But there was such a short amount of time, only 2 weeks to write, that it was nearly impossible for the guys in charge (meaning HZ & KB) to do a lot themselves and make sure everybody was doing good... A bit more than 100 min to write is a lot... And I'm not talking about the last minutes reworks, with stuff edited, overdub production and all... Such a mess !!!
So, to be fair, the cover would have needed Music by Hans Zimmer & Klaus Badelt... ;)
I'm really wondering if Badelt was so "off" with this project. I think POTC is definitely a teamwork project. This is why it sometimes sounds as if each cue was from a different guy. Zimmer had an involvement in the early stages of the writing process (themes and some arrangements), and you have Badelt trying to make nearly 2 hours of music sound as a whole, running from studio to studio, arranging some bits by himself.
Of course it sounds "zimmerish" because it's MV / RCP style of samples and arrangements, but it also has some typical "Badelt" manierisms. Honestly, the real credits in the cover should be : Main themes : Hans Zimmer Score supervisor : Klaus Badelt Arrangements : The MV/RCP team
Alright, I'm not one for stirring up controversy, but I just thought I'd ask while I was thinking about it. This is a question for you Hybrid: How much of this score is Hans Zimmer? And why is Hans Zimmer listed as the official "composer" above and Klaus Badelt as "additional music" when Badelt gets the official title in the film and on the soundtrack? Is this score really Zimmer's or did Klaus Badelt have more influence on the other two films than is listed? Thanks so much for the help and I look forward to hearing what you have to say.
Brad, Hans wrote almost all the main themes... He's A Pirate, Medallion Calls, The Black Pearl, One Last Shot...
I can only think of the dark theme for the Black Pearl being Klaus...
HZ did all the tunes there, chose what should be used as samples an general orchestrations... So it's basically his score...
All the additional music guys helped a lot arranging it, and let's KB was more in charge than them... His influence remains important in this score... But ironically, scores he didn't get a lot of credit for, like Mission Impossible 2 or Gladiator, were actually more his than POTC... :P
HZ didn't get credit for legal reason (The Last Samurai) so didn't put his name on it, but it's his score anyway...
And for the sequels, KB just didn't work on them at all, but got some official credits on several stuff reused from the first film...
Well it's just he had a contract to score The Last Samurai, and promised Ed Zwick & Tom Cruise he would completely focuse on their score, not moonlighting on another score... So he did Pirates "secretly"...
Of course, the joke didn't last long, and when POTC came out, Cruise came to HZ to say "Good work on POTC ;)" ! Busted !!! :)
Hybrid, thanks for the information. But if you don't mind my asking, what were the legal reasons for keeping Zimmer's name off the score? I always was wondering about these soundtracks. So basically all of the Pirates scores are Zimmer's? I would be interested to know what kind of influence Badelt really had on the Gladiator score. Maybe you could put that in your next post in that epic Tracklist thread in the forums, Hybrid. Well, nonetheless, thanks for the info and I'll be interested to hear your further responses. Thanks.