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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit. <br> <br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie. <br> <br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery. <br> <br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today. He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Additional Music
Hans ZimmerGeoff ZanelliTrevor MorrisLorne Balfe
ComposerAdditional MusicAdditional MusicAdditional Music
Pirates Of The Caribbean - Dead Man's Chest
Label: Walt Disney Records
Length: 58'32 (Score: 51'30)
HZimmer.com rating:        5/5
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   3/5 (28888 votes)
  1. Jack Sparrow (6:06)
    Hans Zimmer
  2. The Kraken (6:55)
    Hans Zimmer
  3. Davy Jones (3:15)
    Hans Zimmer
  4. I've Got My Eye On You (2:25) *
    Hans Zimmer, Trevor Morris
  5. Dinner Is Served (1:30)
    Hans Zimmer, Geoff Zanelli, Mel Wesson, Nick Glennie-Smith, Bruce Fowler
  6. Tia Dalma (3:57) * +
    Hans Zimmer, Geoff Zanelli, Lorne Balfe
  7. Two Hornpipes (Tortuga) (1:14)
    Skip Henderson, Tom Gire, John Sponsler
  8. A Family Affair (3:34) *
    Hans Zimmer, Nick Glennie-Smith
  9. Wheel Of Fortune (6:45) *
    Hans Zimmer, Tom Gire, John Sponsler
  10. You Look Good Jack (5:34) +
    Hans Zimmer
  11. Hello Beastie (10:15) +
    Hans Zimmer, Lorne Balfe, Tom Gire, John Sponsler
  12. He's A Pirate - Tiësto Remix (7:02)
* Contains themes from POTC 1 written by Klaus Badelt

+ Contains themes from POTC 1 written by Blake Neely
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Hungarian Man reply Replies: 0 || 2006-07-27 00:00:00
This is a King Music!!!!! Very, very, very Good!!! Congratulation Hans Zimmer!!!!!!!!!!!!!!!!

Tim Martin reply Replies: 0 || 2006-07-25 00:00:00
Does anyone else think that this score sounds uncannily like that of gladiator? Particularly in the later action scenes, I swear he's used exactly the same rhythms, and just changed a few of the notes. A lack of a main theme also makes this score a bit boring.

ipek yaman reply Replies: 0 || 2006-07-25 00:00:00
ich möchte pirate of the caribbean no:12===he's a pirate 's in film version music hören bitte ich wohne in türkei...

Jared H reply Replies: 0 || 2006-07-24 00:00:00
a little disappointed by this score...especially the "bonus track"...=[...horrible...

MR ZIMMER...I HOPE YOUR NEXT SCORE IS BETTER...

I enjoy your music but it was a bit hard on some tracks of this score

14 yr., N. Virginia, US of A

dth reply Replies: 0 || 2006-07-22 00:00:00
Well, I must say this is one of Zimmers best scores, but the remix is crap. But the rest of the score is great, but where is The East-Indian Tradecompanys theme? It's really good, but not on the CD. But anyway a better soundtrack is hard to find.

Niv reply Replies: 0 || 2006-07-21 00:00:00
I dont know what the most of you are talking about. this score is great. sure its not like the first sountrack but hans has fit himself to the situations in the movie and he did a great job on this score. listen to it a few times and you will understand how great this score is. it have action, comedy style music, and a great ending music in hello beastie. what more do you need in a score? why to complaine when hans knows what hes doing and hes doing a great job =] 14 from israel great fan of you hans keep it that way!

Majo reply Replies: 0 || 2006-07-20 00:00:00
This...

Soundtrack...

Is...

CRAP!

What in the world? If you haven't bought this yet, save some money. Buy The Black Pearl score again. Trust me. What a wretchedly disappointing venture this has been. Zimmer's music is genreally good, and I might have liked this album had I not had POTC 1 to compare it to. Unfortunately, I didn't because I did. Should have stayed with Bidelt. In usual Zimmer style, he plays with the amazing themes that addicted me to the first score, but never really unleashes them in their full glory.

Then there's the remix.

I kid you not, I cried. It was that much of a disappointment. I sat through the whole darn cd thinking, "Surely the next track will be better.", and the familiar title of "He's a Pirate" almost gave me hope, in spite of the word remix on the end. Then I heard it.

Disgusting.

Luuk - holland reply Replies: 0 || 2006-07-19 00:00:00
i'm a 14 year old boy and I love music form Hans Zimmer. Al my friends loves hip-hop and stuff but I don't!! i'm will buy this fantastic CD..
Thanks for making it!!

henry reply Replies: 0 || 2006-07-19 00:00:00
good musical score!!!!

ASUKA SAKURAI from Japan reply Replies: 0 || 2006-07-19 00:00:00
Today, Japanese Limited Edition was released by avex.
This edition is perfect !
It contains DVD interviewed with Hans Zimmer and eight kinds of remix "He's A Pirate".
I think if you are a Zimmer fan you must buy this edition.
In DVD, you can watch interview and recording session (0:07).

Anonymous reply Replies: 0 || 2006-07-18 00:00:00
I like the way the track plays on the three base instincts: Fear, love and sadness. The Davy Jones theme in particular, depicts a man (?) torn apart by a failed relationship, and can really invoke sympathy and fear. The track "Tia Dalma" shows that the film is primarily a fantasy, incorportating many supernatural effects.

Soop reply Replies: 0 || 2006-07-12 00:00:00
After just seeing the film i see what your music adds to movies and the cinema which is absolutely amazing!!! It creates an epic, funny, scary,and swashbuckling feel which coinsides with the movie well, (as all soundtracks should.) Good Job Mr.Zimmer!

micole alexander reply Replies: 0 || 2006-07-11 00:00:00
I am currently a senior in highschool. I going to college for film composing and I just love listen to your music. But I want to know how exactly how does Hans come up with the words that the choir sings in some of his scores. For example the da vinci code what are they singing in Kyrie of madenglene( not sure hoow to spell sorry) or in the other songs that choir is used.

trish reply Replies: 0 || 2006-07-11 00:00:00
hans zimmer is the best composer in the world i have never bought a composed cd until i saw Pirates of the caribbean Curse of the black pearl and i had to have it and i will be buying the next cd as well!

Anonymous reply Replies: 0 || 2006-07-11 00:00:00
I won't complain about that score not sounding "piratey" or "swashbuckling", I think I'm open-minded and I don't care listening to electric guitar and techno bass samples in this score.
But there are several other problems :
- The score is boring. The first one was repetitive, this one has nothing really attractive that makes you want to listen to it again. Even if The Kraken is fun, it's always the same motifs, no construction, just big action filler... It reminds me things like Con Air from Rabin & Mancina : very basic and without much musical knowledge and experience. Even if Con Air had much more exciting moments. I'm still surprised Zimmer composed such a basic (in musical terms) score.
- No construction. For exemple, "Jack Sparrow" uses the same harmonics from beginning to end, and let you think you are listening the same track twice.
- Where is the main theme ? I didn't wanted to listen to the main theme over and over again like what happened in the first score. But hey, this is still a main theme and the small and weak variations on it are not enough to justify it as a main theme...
- The Batman Begins effect. I mean, so many tracks are dark and moody, while there are so many interesting cues from the movie not included on CD. Batman Begins CD had the same problem, it was too much about atmosphere setting. When you set an atmosphere, this is a way to make your explosive moments more effective. The explosive moments here are weak or too short (I don't refer to The Kraken here, which is the only effective action cue from the score).
- The temp tracks. Oh my god, the first score was so much about copying-pasting other Zimmer scores, why the second score had to sound the same way ? "The Kraken" uses motifs from Batman Begins and Black Hawn Down without shame. Davy Jones' theme is reminiscent of the General Mandible theme from Antz...

I must admit this score CD is probably the worst CD from Zimmer : at the beginning the score is weak and the track selection was baddly done, using mostly uninteresting music. I think it has the problem of many zimmer CDs : using only Zimmer's music. Sometimes, additionnal composers do great jobs, and should have their work included on the regular CDs (this is what was done on the first pirates CD).

Have a nice day folks !
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Kurt reply Replies: 0 || 2006-07-09 00:00:00
The Soundtrack was great, however there was alot of music in the movie that I wished was in the soundtrack. :( Hopefully they will release a complete recording of Pirates II.

J.D. reply Replies: 0 || 2006-07-08 00:00:00
I just saw the second movie, which was pretty good. My only problem with it was the boring music on the cd(the dj tiesto song sucked). Hans I still think the first cd was the better out of the two. Also, in the third movie johnny depps dad will be keith richards, crazy!

Wilder reply Replies: 0 || 2006-07-08 00:00:00
Amazing score, but WHERE THE HELL IS THE MUSIC FROM THE MOVIE???


This movie had so much music that was not on the score... that is just not fair.


I listened intently, and the actual main theme is not in the soundtrack fully

ONE

SINGLE

TIME.


That is just not fair.

Thijs reply Replies: 0 || 2006-07-08 00:00:00
I have to wait till 13 july because then the movie is released here. But, it seems not everyone likes the soundtrack? Well, it is beautifull. But..? What do you meen with; this movie had so much music that was not on the score? How was that music?

Cali reply Replies: 0 || 2006-07-07 00:00:00
There have been talks about Zimmer for years now, that he shows lack of creativity if it comes to scores like Madagascar, Batman Begins just to name a few.

Now mr. Zimmer is coming up with a rather unexpected score (since the famous main theme(s) are not easily found on this one) and a lot of people start compaining about his creativity?

Come on guys, he does his best and I'm sure I'm not the only one around here that can enjoy the simple cues from this score.

Just close your eyes, stop worrying and enjoy the music!

Aslan reply Replies: 0 || 2006-07-07 00:00:00
oh my god what the hell is that ? the score is so uninspirated an boring! Hans my boy you saw better times than that one

30/100

Rigo reply Replies: 0 || 2006-07-07 00:00:00
worst zimmer score ever!!!!

Sylvos reply Replies: 0 || 2006-07-07 00:00:00
Whoa!!! Awesome job RV!

Edals reply Replies: 0 || 2006-07-07 00:00:00
This is a OST, and as such it should compliment the movie. Without seeing the film and critiquing the music is in my opinion just wrong. I have seen the film, and the music fits quite well with it. Klaus Badelt's take was amazing in the original POTC, but seems to me as if HZ took over and added a bit more mature sound to it.

Just my take. Opinions are only of value to them who hold them.

Alex, Czech reply Replies: 0 || 2006-07-06 00:00:00
Unfortunately, i have to say that i am disappointed about this score .. :( i have heard inexpressive score with some adaptet themes from first pirates (badelt) and no
new ones.. after scores like king arthur, batman begins and da vinci code are pirates 2 almost loser.. more attention next time HZ!! .... rating: 65/100

Sylvos reply Replies: 0 || 2006-07-06 00:00:00
Just to have a complete credits, I thought HZ.com guys may like to add that though 'Two Hornpipes' was used in the movie, it is an unoriginal song composed by Skip Henderson.

Jimmy Chartrand reply Replies: 0 || 2006-07-06 00:00:00
from the start to the end, this soundtrack is Awesome and maybe better than the first. A great pleasure to listen again and again with Incredible themes. Can,t wait to hear this soundtrack with the movie !

Favorite for the moment :

Jack Sparrow (How can we found a better tracks that opened a cd liek that)
The Kraken (Great action, organ and all)
Dinner is Served ( WOW, just AMAZING)
Tia Dalma (the beginning is awesome)
Wheel of Fortune (WOW, all the best theme in the same tracks)
Hello Beasties (Great ending)

RV reply Replies: 0 || 2006-07-06 00:00:00
The score credits from the movie:

Supervising Music Editor . . . . . . . . .MELISSA MUIK
Music Editor . . . . . . . . . . . . . . . . . . . .JULIE PEARCE
Assistant Music Editor . . . . . .KATIE GREATHOUSE
Additional Music by
LORNE BALFE TOM GIRE
NICK GLENNIE-SMITH HENRY JACKMAN
TREVOR MORRIS JOHN SPONSLER
GEOFF ZANELLI
Featured Musician . . . . . . . . . . . .MARTIN TILLMAN
Supervising Orchestrator . . . . . . . . .BRUCE FOWLER
Orchestrations by
WALT FOWLER RICK GIOVINAZZO
KEN KUGLER SUZETTE MORIARTY
Music Preparation . . . . . . . . . . . . . .BOOKER WHITE
Score Recorded & Mixed by . . . .ALAN MEYERSON
Additional Recording by . . . . . . .SLAMM ANDREWS
JEFF BIGGERS
AL CLAY
On-Camera/Pre-Record
Musicians . . . . . . . . . . . . . . . . . . . .CRAIG EASTMAN
JAMES S. LEVINE
MICHAEL LEVINE
FRANK MAROCCO
Orchestra Conducted by . . . . . . . . . .PETE ANTHONY
Orchestra Contractors . . . . . . . . . . . . . .SANDY DE CRESCENT
PETER ROTTER
Ambient Music Design . . . . . . . . . . . . .MEL WESSON
Technical Music Assistants . .THOMAS BRODERICK
LARRY MAH
PETER OSO SNELL
GREG VINES
MATT WARD
Score Recorded at . . . . . . . . .SONY SCORING STAGE, Los Angeles, CA
Scoring Stage Crew . . . . . . . . . . .ADAM MICHALAK
GREG LOSKORN
MARK ESHELMAN
BRYAN CLEMENTS
Music Production Services . . . . . . .STEVEN KOFSKY
Music Mixed
at . . . . . . . . . .REMOTE CONTROL PRODUCTIONS
Studio Coordinator . . . . . . . . . . .CZARINA RUSSELL
Featured Vocalist . . . . . . . . . . . . . . . .DELORES CLAY
Choir Master . . . . . . . . . . . . . . . . . .JENNY O’GRADY
Choirs . . . . . . . . . . . . . . . . . . . . . . . . .METRO VOICES
THE CHOIR OF THE KING’S CONSORT
Choir Conducted by . . . . . . . . . . . . . .ALISTER KING
Choir Contractor . . . . . . . . . . . . .ISOBEL GRIFFITHS
Choir Recorded by . . . . . . . . . . . . . . .GEOFF FOSTER
Choir Recorded at . . . . .AIR LYNDHURST STUDIOS
ABBEY ROAD STUDIOS
Production Coordinator for Mr. Zimmer . . . . . . . . . . . . . . . . .ANDREW ZACK
“Two Hornpipes” Written by Skip Henderson

Nicolas, Webmaster reply Replies: 0 || 2006-07-06 00:00:00
Little problem with the updates ; i will update as soon as antas will find where's the problem ;-)

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Pirates Of The Caribbean - Dead Man's Chest soundtrack - Hans Zimmer 2006