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I confirm I'm back from it, there's quite a bit of unreleased score.Well, now we have somebody who's seen it (and yes, it's out in some countries today), we know for certain.<br><br>I wouldn't expect anything official any time soon unless Zimmer wants to release a second CD.I absolutely love Kai’s theme in this score, there are so many cool variations that weren’t on the initial album. Hans and Co. really stepped up their game here. I don’t feel the temp as heavily here as KFP2 (which is still an amazing sequel score).Saw the film today, there is a LOT of music missing.As stupid as this film is, you can tell Tom probably had fun working on it. The music is so over the top, it just goes nuts all the way through.
This is one of those scores that I have really warmed up to since it’s release. The emotional stuff for Alita works really well in context and her “Hero Theme” gets some great development (the way it culminates in “Epilogue” is incredible). Also really love the “Motorball” stuff. <br><br>After seeing the film I think the only substantial music not on the album is “Motorball Plan” and “Alita’s Revenge Pt. 1”. The end credits piece I’m guessing is edited from the Full Motorball Suite.Hybrid, did Lorne actually do a lot of writing on this one or is he just being credited for the theme?We've had this argument before, almost any score can fit in a film. But what separates the mediocre composers from the best is the ability to make great music that works on its own, outside of the film. <br><br>Hans has had a lot of work lately that hasn't been doing that, and it's the reason people want him to work with orchestra again and produce is 2000s, late 90s type of style. Because those scores, for whatever problems they had, they felt distinct, memorable (for the most part), and easily could have been enjoyed away from the film.<br><br>Good scores have themes and ideas that both enhance the film, and enhance the listener's experience. Music like Dunkirk, Inferno, or Widows just feel like shallow and empty committee scores that the studio/directors didn't want too much thought put into. "Ah just write one main theme, and fill in the rest with electronics, Hans, it'll be fine!"Hahahahaha well I’m glad he got the credit then :DI absolutely disagree with you saying Widows is a terrible score. It may not be great on album, but the music fits very well with the film.
Actually, I think he only gets credits cause he is the guy... whistling ! :PElectric violinJust out of curiosity... what instrument is playing when Liv and Ben are running towards each other at the end? (Long Distance Goodbye/Landing? I love that instrument!And I’m guessing Neill Blomkamp contributed somehow to the “We Own This Sky” theme that pops up throughout...NM
Jeff & Alex & Evan Goldman are regular Jackman team now. Alex scored a bunch of projects, hence his absence here.<br><br>Then you have Halli, Anthony Willis or Mounsey doing all sorts of things when available.Request the king of pride rock with circle of lifeAmon wrote some music before Hans took over (he has cues on his soundcloud I think), but I think he got credited (and just like 1 or 2% of the cues) more for specific sounds than music writing.Widows is terrible score, Inferno was ok, far from things like Da Vinci Code or Angels & Demons.<br><br>But yes, listen this one, is gratifying see Zimmer can make things with orchestra like early 2000s. And this comes from a guy who loves Inception, Interstellar or ChappieThe fact that his name is in brackets makes me think he didn't work directly on the score but rather is credited because something of his was used. Maybe it was some of his production music rather than Elysium specifically.
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Helden - Radio One Saturday Live
Label: Bootleg Release
Length: 63'35
HZimmer.com rating:        3/5
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 (3119 votes)
Warren interview :
Radio One, Saturday Live, features the tracks Movies For Eva and Moonlight In Vermont, from the Helden (Warren and Hans Zimmer) album Spies (never released)

Warren at the Astoria, London guesting live ot rhythm guitar with Paper Toys : Love In Me

Radio One Saturday Live : Interview with Warren and Hans
2529 (Spies track) live

Warren demos :
Images Of Heaven and One Night, played at the Ultravox 10th Birthday Party

Radio One Saturday Live - Helden : Saturday Live
(actually a Spies track, entitled On The Borderline, which has been rearranged)

Bonus tracks :
Helden : Stranded, Holding On, Once Upon A Time
Paper Toys : When There's Two Of You, Love In Me
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Tortsi reply Replies: 0 || 2009-05-03 00:00:00
This booteg is not made of the only three copies. I have the first copy of the original, and autographed by Warren Cann. One copy of Nightwish's Tuomas Holopainen (without interviews) and last one of hans-zimmer.com-team. Reproduction is prohibited.

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Sloogs reply Replies: 0 || 2009-04-20 00:00:00
Why not make a small group of people very happy!! What is all the fuzz about keeping this album unreleased!! Releasing it is not gonna change the world!!! For f*ck sake release it!!!

BoysKeepSwingin reply Replies: 0 || 2007-07-22 00:00:00
I am really interested in this recording! ######
Is there a chance that Hans Zimmer and Warren Cann will release SPIES from the Helden project on CD - after all these years? I think there are still a lot of people interested in it.
Maybe it could well be a release combined with these live-recordings and pictures from that time! Maybe a good one for Hans' 25 years anniversary of making soundtracks for movies. although there it was not meant for a movie it sounds ike a movie soundtrack - so in fact it was Hans' first one!!! BITTE HANS!!!

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Helden - Radio One Saturday Live soundtrack - Hans Zimmer - Hans Zimmer 1983