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So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, itís basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poeís theme from Force Awakens.Letís just say ďReminiscience TherapyĒ.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that Iím guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally Iíve never been in love with Inception. I admire it on a technical level, but outside of ďTimeĒ I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br> -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesnít really sound like a typical Star Wars movie. Still fans of Powell will love this new score.

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Steve JablonskyLorne BalfeClay DuncanTJ Lindgren
ComposerAdditional MusicAdditional MusicAdditional Music
Transformers (Complete Score)
Label: Unofficial Release
Length: 157'50 rating:        4/5
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  1. Autobots (2:35)
  2. Soldiers Arrive (0:31)
  3. Bogey Approach (1:23)
  4. Family (0:34)
  5. Soccent Attack (2:10)
  6. Arctic 1897 (0:17)
  7. Angry Camaro (1:07)
  8. Keller's Briefing (2:02)
  9. Lost In The Desert (0:44)
  10. Sam At The Lake (2:00)
  11. Belly Shot (0:15)
  12. Signal Analysis (0:48)
  13. Air Force One (2:28)
  14. Main Frame Tampering (1:57)
  15. Camaro On The Run (2:51)
  16. Scorponok (5:33)
  17. Data Copy (0:36)
  18. Deciphering The Signal (1:13)
  19. Pink Bike Ride (Part 1) (0:31)
  20. Pink Bike Ride (Part 2) (0:53)
  21. Are You LadiesMan217? (1:26)
  22. Bumblebee VS Barricade (2:07)
  23. Arrival To Earth (5:28)
  24. Cybertron (2:47)
  25. Witwicky (Part 1) (1:58)
  26. Witwicky (Part 2) (0:30)
  27. Witwicky (Part 3) (2:07)
  28. Take Em & Bake Em (Part 1) (0:36)
  29. Take Em & Bake Em (Part 2) (1:04)
  30. Take Em & Bake Em (Part 3) (0:45)
  31. Autobots To The Rescue (1:22)
  32. Not To Hear That (0:30)
  33. Simmons Takes It Off (0:53)
  34. Sector 7 Chase (Part 1) (0:49)
  35. Sector 7 Chase (Part 2) (2:15)
  36. Bumblebee Captured (2:21)
  37. Hoover Dam (1:13)
  38. Optimus (3:17)
  39. Frenzy Falls (0:28)
  40. Where Is My Car? (0:34)
  41. The All Spark (3:35)
  42. Decepticons Mobilize (Part 1) (2:29)
  43. Decepticons Mobilize (Part 2) (0:23)
  44. To Mission City (0:34)
  45. Freeway Fight (0:43)
  46. Downtown Battle (1:35)
  47. Stumble Bumble (Part 1) (1:12)
  48. Stumble Bumble (Part 2) (0:56)
  49. You're A Soldier Now (Part 1) (2:43)
  50. You're A Soldier Now (Part 2) (0:54)
  51. You're A Soldier Now (Part 3) (1:00)
  52. You're A Soldier Now (Part 4) (0:27)
  1. Transforming (0:45)
  2. Sam In The Building (0:44)
  3. Surreal Mikaela (0:38)
  4. Tow Truck Charge (1:14)
  5. Sam On The Roof (Part 1) (1:01)
  6. Sam On The Roof (Part 2) (1:15)
  7. Optimus VS Megatron (4:04)
  8. No Sacrifice, No Victory (2:30)
  9. The Cube Suite (3:52)
  10. Brooding Suite (4:34)
  11. Attack Suite (5:10)
  12. Cybertron Suite (2:46)
  13. Optimus Prime Suite (3:15)
  14. Heroix Suite (2:36)
  15. The All Spark Suite (6:04)
  16. Journey Suite (3:57)
  17. Sam's Theme Suite (1:59)
  18. Decepticons 6 Suite (3:39)
  19. Creeper Suite (2:26)
  20. Tensaction Suite (2:52)
  21. Stonker Suite (3:51)
  22. Decepticons Cello Suite (4:43)
  23. Decepticons 5 Suite (3:10)
  24. Decepticons 2 Suite (1:57)
  25. Invasion Suite (1:31)
  26. Stumble Bumble (Part 2) (Alternate) (0:47)
  27. No Sacrifice, No Victory (Alternate) (2:58)
  28. Trailer Music (1:19)
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Iamtommie reply Replies: 16 || 2018-05-09 20:35:23
Dario Marianelli is scoring Bumblebee.
Not really what to think about that.

Bibi2018-05-09 20:40:32
This is... unexpected :/

superultramegaa2018-05-09 21:05:48
I believe he scored Kubo and the 2 Strings, the director's first film. Makes sense, but sadly he's probably not going to stick to Jablonsky's thematic material.

mpolonest123 2018-05-09 22:32:30
The only music by Marianelli Iím really familiar with is V For Vendetta, which is an amazing score. Hopefully he does keep Steveís themes...

Mephariel2018-05-09 22:44:39
Marianelli is a very interesting choice. At his peak (V for Vendetta, Pride and Prejudice, Eat, Pray, Love) he is a very good composer. But Marianelli tends to be a bit restrained in his methods, which may or may not serve this film.

Hybrid Soldier2018-05-09 23:02:52
If he doesn't "serve" this film, he will have the same fate as on Pan...

Ds2018-05-09 23:22:36
Indeed. I guess Lorneís phone will ring very soon. :-p

Bayhem2018-05-10 14:14:36
Interesting choice indeed.....

By the way, I'm willing to bet that he WILL include bits and pieces from Steve's music from the original TF movie. I'm sure that there will be an emotional moment with Bumblebee and they will include some Jablonsky cues. Maybe slightly rearanged and short, but still........

I mean, Mike Bay IS the main producer and he would want for this movie to have a strong connection to the first TF. And not just plot-wise....

Anonymous2018-05-10 14:40:10
did u just use the term ďplot-wiseĒ in reference to Bay? LMAO

and besides, even tf4 and tf5 hardly had the original themes. tf4 has the slightest use of primeís theme once while tf5 also used primeís theme once and the autobot theme once. Not a strong connection if u ask me.

Bayhem2018-05-10 23:26:03
did u just use the term ďplot-wiseĒ in reference to Bay? LMAO

Hey, look guys! Someone who still thinks he's on the IMDb message boards. Hahaha. Anyway.......What the hell do you think you know about Bay, random guy? Do you even know who Bay is? Do you even know the movies he had directed, outside of Transformers? Judging by that stupid, trollishly snarky comment of yours, no, clearly you don't. Let me explain some things to you, random no-name-guy: EVERY single feature film has a plot. Just because YOU have a problem with the way Bay tells film stories doesn't mean all people agree with your utterly subjective opinion. And no, I don't give a rat's ass about film critics and film bloggers. No sane person cares about them. So spare me the moronic Rotten Tomatoes ratings and reviews by 20 year old comicbook fanboys-turned film bloggers who hate everything.

Besides, look where you are: this is a Zimmer-related site. And Zimmer, just like Bay, is an artist who regularly gets trashed on the internet, by some critics and especially militant film geeks. Hell, there are haters who come and trash even here on the fan site. So yes, calm down with the snarky comments, my man. You're not achieving anything with negativity.

even tf4 and tf5 hardly had the original themes. tf4 has the slightest use of primeís theme once while tf5 also used primeís theme once and the autobot theme once

Well, well, well.....for someone who takes shots at Bay you seem to be very familiar with his movies and the sound of his movies. Hilarious! By the way, no one talks about TF4 or TF5. I clearly mentioned the first live-action TF movie from 2007. And there WILL be a connection to the first one. And my guess is that there will be a "musical connection" as well. Because the Bumblebee movie is a prequel.

superultramegaa2018-05-11 00:17:47
I don't entirely agree with Bayhem, as I am not a fan of Bay's movies (to be honest if he just toned down the humor I'd probably like them a lot more), but this guy appears to just be a random troll. Hell, he even hides behind Anonymous which typically doesn't bode well for thoughtful opinions.

"even tf4 and tf5 hardly had the original themes."

TF4 maybe, but half of the TF5 score is about rebuilding the Autobot theme! If half of the critics of the score actually analyzed the them, there'd be a lot less complaints about Steve Jablonsky. (Granted they don't review the complete scores so that's also part of the problem). He didn't even get the number of uses right! In TF5, Optimus appears 4 times (twice in the finale), and Autobots appears around 7-9 times including both the complete score and the 34 track album. Granted Steve complained that the editors used almost no temp tracks from the old films so the constant use of the old themes might have been a sort of "fuck you" to them.

I still believe that no one's going to push Dario to use the old themes, that's up to him. Steve is the one responsible for TF5's score, not Bay. So I agree with the troll to the extent of "the director doesn't care about musical story-telling," but I don't think that's exclusive to Bay. Yes I know Bay has helped Jablonsky arrange cues from time to time but most of the time it sounded more like it was for action purposes not continuity/story ones.

"And no, I don't give a rat's ass about film critics and film bloggers. No sane person cares about them. So spare me the moronic Rotten Tomatoes ratings and reviews by 20 year old comicbook fanboys-turned film bloggers who hate everything."

Bayhem... you seem like a fine dude, but I think that's very close-minded. Some critics just seem to hate everything, or love everything with no real backing, sure. But you get film critics like RedLetterMedia who yes, are extremely critical, but they carefully explain why they do or don't like something. They talk about script-writing, camera use, direction, etc. Yes they make fun of people like Bay, but that doesn't mean they hate everything. They recently talked about their love for Infinity War, and are usually fairly positive about Marvel, Indie films, and more obscure movies in general. Just because it's something you don't care about as much doesn't mean they hate everything.

I've also seen some film music websites that hate the first 3 TF scores but I read them anyway to see why they didn't like it, and I learn more about film and film music techniques. Hell, even some of them like Movie Music UK end up pulling back later and saying things like "...and the first Transformers score has held up fairly well over time..." There was also one review for Transformers 5 that gave it a 3.2 out of 5 because he was impressed by the new emotional themes and references to the other films, but didn't appreciate the action, and I respect their opinion and fully understand it.

You can't be so defensive about criticism of something you liked. It's not the end of the world, people have different opinions. You might agree/disagree with something someone says but don't get defensive about it. People who hate film critics for criticizing things they like (*cough* Star Wars fandom! *cough*) honestly remind me of the Tumblr people who think everything is sexist towards women, black people, transgender people, and oh shit I'm starting to offend more and more people, time to go!

Apologies for the long ass rant but I hope I got my point across.

superultramegaa2018-05-11 00:50:59
Offensive, not sexist. Wrong word.

mpolonest123 2018-05-11 01:02:07
Iíve noticed youíve taken to defending Michael Bay on here in the past, which I can understand when people arenít constructive in their criticism of a subject. Personally I tend to just ignore it, everyone has different opinions and on the internet there definitely is no shortage of people who immaturely express them.

Out of general curiosity though, are there any of Bayís films which you do not like at all? Not criticizing you at all, I love hearing others opinions and perspectives.

For me personally, Bay is a director who falls on either side of the coin. At his best, he genuinely is one of the best action directors working today.
Films like The Rock/Bad Boys//Pain and Gain are amazing examples of what you can do with editing and pyrotechnics. Even the ďdumbĒ ones like Armageddon are crafted much better than the average action film.

On the other side of the coin though, he has made a number of films I outright despise. I do agree with most people that the TF films are fairly formulaic, and do suffer from the humor that extends from the human characters. Likewise, Pearl Harbor is a movie that did not need a badly written love story (the action scenes are brilliant, everything else not so much.) I think one of the biggest weaknesses of Bay tend to be some of the scripts he works with.

mpolonest123 2018-05-11 01:08:44
And since we are on the topic of action directors, what the hell happened with Mimi Leder? Just rewatched The Peacemaker today and have to say that it might be the most underrated action film of the 90ís. Great acting and a genuinely sympathetic villain...

Bayhem2018-05-11 09:35:05
to be honest if he just toned down the humor I'd probably like them a lot more

When people complain about the humor in his movies, they mean Transformers. They seem to think that he only directs Transformers movies. SMH. People don't like to actually do a research........Let's look at his other popular movies. There's basically no humor in 13 Hours, and I've never heard complaints about the humor in The Rock, Armageddon, The Island, Pearl Harbor. There is nothing offensive or "wrong" with the humor in those movies.

As for Transformers and the humor there, ask yourself the question: why - if the humor is so "bad" and "too much" - why Bay sticks to it and why no one from the studio tries to stop that "bad" humor? It's simple: because those who complain about the humor are a minority. As Bay said on the TF2 commentary, ordinary people all over the globe laugh their asses off during the comedy bits in the TF movies. And as someone who has seen the TF movies in different countries around the world, I can confirm what Bay said. For the ordinary audience, for the teen audience (which is the target audience anyway) the humor works. People laugh every time. Those who complain - not all, but most - are not surprisingly those who hate those movies in general and just look for any reasons to dismiss them. If you look at the article history of a film journalist/blogger who complains about the humor in the TF movies, you will see that the same person absolutely hates those movies. "Good" humor or "bad" humor, it doesn't matter. They simply don't like the films.

Trust me, my friend. I know what I'm talking about. I worked with those people. I wrote for a film site for 5 years and turned down the opportunity to be a critic. That's because I know very well how film bloggers and some film critics REALLY behave. I know how hypocritical, how snarky, how agenda-driven and how flat-out hateful they can be.

Simply because they don't like a freakin' movie. Or an actor. Or a director. I didn't want to transform (no pun intented) and be one those people. I love cinema. I don't hate it. Yes, there ARE intelligent and NORMAL film critics, but they are absolutely and totally overshadowed by those who rely on hate, snark and insults.

That is a well-known fact. There are countless articles on the serious decline of film criticism.

the director doesn't care about musical story-telling

No offence, but that is a very naive statement. Every filmmaker who takes his/her craft seriously cares about the "flow" of the music and its relation to the story. As Bay himself says constantly: "Film is 50% sound and music and sound can make or break a movie". I always remind people that the reason all those great TF themes exist in the first place is because of Bay. It's HIS type of film music. No one takes away anything from Steve. But Bay pushed for that music. He wanted *exactly* that music. He approved every single cue. He guides the composer constantly. And not just for the action bits. Zimmer himself said that Bay is a director who very much cares about the music and how it accompanies the screen story. On the Pearl Harbor DVD commentary Zimmer explains in detail how Bay works with music and story. And clearly he knows what he's doing. All of Bay's movies contain amazing scores and Zimmer received a Golden Globe nomination for Pearl Harbor.

You think that's a coincidence? One filmmaker and so many great, popular scores? It's more than just Bay picking a good composer. If the director doesn't care about the music as a whole, how it affects everything on the screen, and he's not out there for the composer......then even the greatest composer in the world can fail miserably.

Some critics just seem to hate everything, or love everything with no real backing,

Not "some". MOST critics nowadays hate everyone and everything. They're not even critics. Because of social media and militant fanboy film sites like Collider, Slash Film and Screen Rant, every hateful film geek with an agenda can become a "critic". He/she writes his crap and then spreads it through social media. Negativity and hatefulness always bring more clicks to these sites. Which is one more reason as to why these "critics" are so hateful and disrespectful. Hell, I don't even have to tell you this. You know it very well. There are multiple articles from respected people and respected outlets who explain in great detail how modern film criticism is not criticism anymore. It's hate/snark/insult machine. As Bill Maher said last week: "Movie reviews are not reviews anymore. They're just: "How come you made the movie you made, and not the one I would've made?"

Boom! There you go. There's really nothing else to be said here. It's all pretty obvious.

You can't be so defensive about criticism of something you liked. It's not the end of the world, people have different opinions.

Who's to blame in these types of situations? People like you and I, who never attack without being provoked, who actually think objectively and most of the time support their statements with cold, hard facts, OR the people who post short, trollish comments with the intention to stir shit up?

I have no problem whatsoever with people who have different opinions. BUT, there is a right way to express an opinion, and a wrong way to express an opinion. People like you and I, we know how to respectfully express our opinions. And we have normal, civilized discussions here. But unfortunately a lot of people on the web thrive on provoking, abusing and angering others. And that's something I will never accept. And I will never treat those people with respect. They don't respect me, and I'm supposed to respect them?? No, never gonna happen.

I'm not a kid anymore. I ALWAYS welcome the opportunity to have an intelligent, normal discussion with people I disagree with. I'm ALL for that. I love it. But I would never be "nice" to trolls and people who just want to make you mad. Not just about movies. I'm talking politics and everything in life. You can't reason with those people. I've been on the IMDb message baords and I know very well how they act. They take pleasure of creating chaos and making people angry.

Should we just sit back and let them do that? And let them get even more hateful? Yes, let's tell that to the parents of all those kids who took their own lives exactly because of out-of-control online trolls. Because it all starts with "innocent" trolling about movies and music and then they quickly transition to trolling and bullying vulnerable kids online.

If you think about it, online trolling is a pretty serious problem. It's not just "silly" stuff about different opinions on movies. It starts that way, and by doing nothing we basically say to these people "Yeah, go ahead and do whatever you want. Troll and abuse whoever you want. No one will stop you."

Bayhem2018-05-11 10:28:32

Personally I tend to just ignore it, everyone has different opinions and on the internet there definitely is no shortage of people who immaturely express them.

I actually admire you for that. Personally, I find it very difficult to let immature, abusive people get away with it. If we don't eventually confront them, then things will get even worse online. I mean, look at the situation now. There are many organizations and people who actively fight against online trolling and bullying, but even with those people fighting for decency, trolls continue to abuse and spread negativity. Imagine how internet would be if NO ONE goes against these trolls. If we all just ignore them.....

It would be a Hell Hole.

Out of general curiosity though, are there any of Bayís films which you do not like at all? Not criticizing you at all, I love hearing others opinions and perspectives.

Not like at all...? Truth be told, I always manage to find bits and pieces I like, even in movies that I generally don't enjoy. Like Rollerball: I don't like the movie, but the cinematography is pretty damn good. Some very cool shots in that movie.

Overall, I'm really trying not to flat-out hate on movies. Because I know how incredibly hard it is to make even a small TV movie.

As for Bay movies, I'm not the biggest fan of The Last Knight, Bad Boys 2 and Pain and Gain. It's not that I "hate" those movies, it's just I don't have the urge to watch them again. I don't even own The Last Knight. On the other hand, I can watch Armageddon, TF1, The Island and Pearl Harbor over and over and over again.

Pearl Harbor is a movie that did not need a badly written love story

I felt the same when I first saw the movie. But then I did my research and more importantly, I listened to the truly great DVD commentary by Bay and film historian Jeanine Basinger. Turns out the movie really is a love letter to the romantic war movies of the 40s and 50s.

I saw a couple of them afterwards and let me tell you - they are EXACTLY like Pearl Harbor. There is always a sappy love story and the silly "Gosh. Golly!" lines of dialogue are present all over the place.

The entire point with Pearl Harbor - from the get-go - was to create an old-fashioned romantic war drama. Not Balck Hawk Down. Bay said that the "sappy dialogue", the way the characters talked......he was told by the actual survivors that this is *exactly* how they talked back then. Things were really different.

So it makes sense for the modern (more cynical) audience to feel that the dialogue sounds corny and sappy.

what the hell happened with Mimi Leder? Just rewatched The Peacemaker today and have to say that it might be the most underrated action film of the 90ís

Ah, you mentioned one of my favorite filmmakers and one of the best action films, in my opinion (The Peacemaker). I've always been a huge fan of Leder. Ever since ER. As to what happened to her.......The truth, according to Leder herself, is that she was placed in "Director's Jail" after the bad box office performance of Pay it Forward. Basically, the phone stopped ringing with offers. Now, if she was a male filmmaker, then one flop (after two box office wins) wouldn't be a career killer. But apparently it's different when you are a woman....

Before Pay it Forward she did two successful movies with big stars - The Peacemaker and Deep Impact. Speaking of The Peacemaker, for me, the last 20 minute chase sequence in New York City is easily one of the greatest action sequences in film history. I've watched and analyzed that sequence multiple times. It's breathtaking, amazingly well-crafted with stunning cinematography and editing, and a perfect score by Zimmer. Seriously, watch that sequence again and you'll see what I mean. It's perfection!

superultramegaa2018-05-11 17:42:30
I agree with a lot of your examples on bad critics and fanboys, but I think you might be over-analyzing a few of my points. When I said the director doesn't care about musical storytelling, I didn't mean all of them. I meant generally. I remember Gore Verbinski's involvement in POTC 3, Peter Jackson's involvement with Howard Shore for LOTR, and Nolan's involvement in Interstellar and TDKR, but most of them just want what sounds nice. Not developing themes/motifs.

Take 2001, where the score was rejected for nice sounding classical music. The same was going to happen for Star Wars, until someone recommended John Williams to Lucas. Even then, Lucas tempted in Obi-Wan's theme for Binary Sunset. Luckily Williams was smart enough to retcon it as The Force theme instead. A lot of directors won't interfere with the score, sure, but 9 times out of 10 they just want something aesthetically pleasing. Not rich with themes and motifs. At least, it's not their main concern.

And my comnent on the humor was more about tone. Take TF3. You just had a scene where Sam has to spy on his Autobot friends, and you take all of that drama away for goofy slapstick?? Granted it at least gets back to the drama afterwords, but the effect is definitely dilluted after the slapstick scene, particularly the threat of the watch. I'm not saying no comic relief is allowed, but when creating tension, don't cut it off halfway for a guy diving across tables and messing with people's hair. It's why LOTR has so little humor by Return of the King.

Bayhem reply Replies: 3 || 2018-05-08 21:32:58
So according to our "favorite" guy over at Filmtracks, the "Rampage" score by Andrew Lockington "borrows" A LOT from Transformers and MV/RC as a whole.

I wasn't interested in that score, but now I might check it out...

Edmund Meinerts2018-05-09 00:16:33
I ordinarily like Lockington a lot but found the Rampage score to be very bland and forgettable. It doesn't sound that much like Transformers IMO, there are hardly any themes (certainly no memorable ones) and the action is a lot grungier and rather unpleasant. The electronics are way too loud and don't mesh well with the orchestra.

San Andreas would be a better Lockington score to check out that has a bit of an RC edge, and Journey 2 is even better if you like a more throwback 90s-style David Arnold/JNH-esque adventure score that still has some modern touches.

Ds2018-05-09 11:12:36
I both agree and disagree with Edmund. It's true that the themes and action music emulate the modern RC approach, and it's true that they are clearly not as distinctive as Jablonsky's work for Transformers. But even if it's a bit blander, I always enjoy hearing this kind of sound in a score (in the same way fans of John Williams-like scores tend to enjoy more orchestral scores no matter how forgettable they are).

But what I really, really liked in Rampage are the softer parts. There are some African-sounding vocals which reminded me a lot of HZ, and the synth soundscape is really nice. To get an idea I would recommend you to check out the following tracks: Gorillas, Paavo, Cornfield, Requiem and Saved. Those are the highlights for me.

Edmund Meinerts2018-05-09 16:11:51
True, the softer portions of Rampage are nice. I really love the choir in the first half of "Gorillas", wish there was more of that kind of music in the score.

superultramegaa reply Replies: 13 || 2018-05-07 03:54:17
Why are the credits for these scores so random with how they're distributed?

TF1 we have no info on besides Balfe did a lot and Trevor Morris co-wrote Skorpinok. We can't get more information on it because everyone tries to avoid the subject..? Why??

TF2 there's a good amount of information on there besides what Hans' contributions are. Which is even weirder because Hybrid talks to Hans so you'd think there'd be more credits for him.

TF3 we know very little for some reason.

TF4 we know everything even though that score was apparently a rushed mess, so that doesn't make sense either.

TF5 we know literally nothing. What??? It's such a weird and frustrating experience with these credits! Why is it so complicated to get the additional writer information for these scores? It seems like Hans, Powell, Harry Gregson, Zanelli and Rupert Gregson's scores get full credits a lot of the time, why are Jablonsky's credits so stingy?

Hybrid Soldier2018-05-07 05:54:02
Because Michael Bay works in mysterious ways !

Anonymous2018-05-07 15:38:36
did Lorne Balfe work on #5 at all?

superultramegaa2018-05-07 20:06:06
So the director holds the rights to additional composer credits? That doesn't seem right...

Bayhem2018-05-07 22:32:50
I don't think people try to avoid the subject. It's not like Steve is a fraud who can't compose to save his life and depends entirely on ghostwriters. Sometimes the truth is right in front of our eyes - maybe it's not "stingy", maybe Steve really did a lot of the work himself and his name will be all over the credits. With a little help from Lorne, Clay and Trevor. I mean, look at The Island credits here. It's a gigantic movie with a gigantic score and according to the credits Steve worked on every single track. Which is amazing. Yes, it's MV/RC and there are always ghostwriters, but - call me naive - I tend to believe that the main composers still do most of the work.

On the other hand though, Bay's big movies are really not like the rest, when it comes to crafting the scores. I've been a Bay fan for 20 years now, and I know his work process. Like all big-time, A-list filmmakers he's very, very demanding and the MV/RC guys go the extra mile for him. Look at The Rock, Armageddon and Pearl Harbor.........if you dig deep you will probably discover that pretty much every MV/RC composer in existence was involved in the making of these scores, one way or another. While his "smaller" movies like 13 Hours and Pain and Gain are pretty straightforward in terms of the scores. 13 Hours is Lorne mainly by himself and Pain and Gain is Steve. So I guess we just have to accept that Bay's bigger movies are more complicated with their scores. Thus, the credits are more complicated as well.

Bayhem2018-05-07 22:41:04
did Lorne Balfe work on #5 at all?

No. He didn't work on it. You don't even need credits for proof. He was the main composer of like 5 different projects at the time. Even if Steve wanted him, he wouldn't have been available.

superultramegaa2018-05-07 23:51:41
I'm not saying Steve is stingy. I'm asking why are the credits for the Transformers films so minimal when a lot of his own work, even, has full credits?

We also know that Lorne Balfe did a lot of the work for the first film, and Hybrid has hinted in the past that for the first 2 films, you can tell over half the work is not from Steve. I'm not saying the credits will be Pirates of the Caribbean levels of co-writing, but I agree that a lot of the work is not Steve's. (Listen to Autobots to the Rescue again as an example, that's clearly Lorne's Batman Begins style).

And my "everyone tries to avoid the subject" line I got from Hybrid when asked about the credits for the first movie:

"Not much known about TF... It's kind of a subject everyone tries to avoid. And the cue sheet won't help since it's 100% Jablonsky there..."

Do I think this makes Jablonsky a hack? Of course not. He composed D-War, IDEA, Your Highness, and Steamboy almost entirely by himself! However, I think since this was Steve's big breakout score, the additional writers probably didn't feel comfortable about sharing their compositions and taking any credit away from Steve. That's probably the reason they don't share what they worked on here. But from the sounds of it we may never know how much work was Steve's and how much wasn't.

Bayhem2018-05-08 13:39:46
We also know that Lorne Balfe did a lot of the work for the first film, and Hybrid has hinted in the past that for the first 2 films, you can tell over half the work is not from Steve.

No offence, but without actual credits to support this statement, I'm not gonna blindly believe it. It's not the first time I've seen on here people giving Balfe wayyyy too much credit. He worked on the movie, that is a fact. But saying that Steve did not do even half of the score and that Balfe did "a lot of the work"....which dangerously leans to "Balfe composed the Transformers score!"................I'm sorry, that is a huge insult to Steve. And very, very disrespectful.

If we go down that road then I can also start believing the rumors that Steve and Klaus did most of the Pearl Harbor score, not Hans. Thus, they were robbed from a Golden Globe nomination. Not to mention Balfe and his recent ocean of new scores. I can start claiming that he did a minimal job on them and there were multiple additional composers who are actually the ones who did most of the work. See what I mean?

It's not just Steve. We can cast a doubt on every MV/RC composer.

However, I think since this was Steve's big breakout score, the additional writers probably didn't feel comfortable about sharing their compositions and taking any credit away from Steve.

Actually The Island was his breakout score. The movie itself was not a huge box office hit, but the score was/is pretty damn popular. And The Island is all the proof you need. Look at the credits there. Steve was involved in the creation of pretty much every single track. And that's actually very rare when a young MV/RC composer gets to score a huge movie like The Island. So why should we doubt Steve's work on Transformers? He already proved with The Island that he can do the job. And if you listen to The Island and then the first Transformers you will discover a lot of similarities. Jablonsky similarities. His style is pretty well established.

So I don't think this is a case of other composers not wanting to reveal their involvement with TF1 because they don't want to overshadow Steve. For one, Steve is the person who created the major themes in the movie. Hell, he talks about it every single time when asked about the movie. How he created the Autobot/Decepticon themes and how Bay and Speilberg approved the tracks. Again, I don't deny the fact that he got help from Balfe and Duncan. But I will never accept the statement that "half the work is not from Steve". If that's the case then Zimmer himself can be accused of taking solo credit on scores where most of the work was done by other composers.

Also, we all know the "Jablonsky sound/style" at this point. So if you revist the TF1 score you will see that his style is present all over the place.

Mike (OTM)2018-05-08 17:36:28
@superultramegaa, I get your point, broadly, but keep something in mind.... Just like with Zimmer's scores, the presence of another composer on a cue does not mean that the main composer didn't write the cue, too. A lot, if not most, of the "additional composer" cues are co-written, with the main composer starting and the other guy(s) finishing, or with them going back and forth. So Steve was almost certainly involved in writing more than half of the first Transformers score.

And while it is likely that Lorne wrote "Autobots to the Rescue," it's hard to say for sure. It could have just been temped with Batman Begins. But anybody could have delivered the end result.

superultramegaa2018-05-08 18:57:51
Bayhem, I'm not mindlessly believing people. Hybrid is usually the one with the most info on additional writing credits. So I'll take his word for it. I'm not discrediting Steve either! I know he probably co-composed the cues, but a lot of it is very obviously not really his style, but an overall MV/RCP vibe. There's a huge difference in the TF1 action tracks, and the style Steve had in D-War, and TF5, his mostly solo work.

His action is closer to Howard Shore's LOTR stuff for me. Pounding percussion, rather than mostly drums, and switching between high and fast strings and slower, blasting brass. Sure there's tracks like the 2 Optimus and Megatron fights that reflect that, but a lot of it doesn't feel like that style to me.

A lot of the action tracks feel like Pirates of the Caribbean arrangements. Yes Steve did a lot of the work, I have no doubt, but I'm merely saying it would be nice to have credits to know exactly what he did, that's all!

I'm not saying the additional writers were screwed over, I'm just asking why there's been so little information on these scores compared to others. Also no, The Island wasn't Jablonsky's breakout score. Maybe it got mainstream audiences' attention, but I think the only track anyone really loved was My Name Is Lincoln. Transformers was a big franchise, also had Bay's name attached to it like The Island, had simple and extremely memorable music, and Arrival to Earth is at 20 million views on YouTube now. And the rest are between 500,000 and 6 million. Even My Name Is Lincoln didn't have 20 million views. Yes I know it was played at the Olympics but I'm talking about mainstream audience recognition.

superultramegaa2018-05-08 19:00:10
Correction, Arrival to Earth is at 53 million now.

Bayhem2018-05-08 20:23:22
a lot of it is very obviously not really his style, but an overall MV/RCP vibe

I get what you're saying but still, that doesn't mean he's not the one who composed or co-composed these tracks. Between Steve and Lorne, it's Steve who's most likely the composer who would create those classic MV/RC cues. Even before TF1 Steve was an MV/RC veteran. His style is the one that usually pays an homage to the "Golden Years" of MV/RC. Which is why after TF1 a lot of people said that Steve is "the new Hans Zimmer". Lorne is different. Unless the director wants it, he almost never "goes back" to that classic sound.

But, for the sake of this discussion, let's assume that it was indeed Lorne and maybe some other ghostwriters who did most of the work on TF1. My question in this case would be: then why Bay stuck with Steve and not with Lorne? I mean, if Lorne proved to be the "secret hero" here, why not giving the keys to the franchise to him? Why Steve for TF2? After all, Bay knows who did what and he's the boss. And he's certainly not afraid to speak his mind.

I think at the end of the day what Mike (OTM) said is the truth. I think Steve was very much involved when Lorne and Duncan did their thing and it was a collaboration. Not separate composers working independently and then it was all stiched together. I think, kinda like Hans, Steve was overseeing the whole process. Or he started a cue and Lorne finished it. And vice versa.

superultramegaa2018-05-08 21:30:30
Believe me, I am not saying Lorne is the real hero of the Transformers scores. His later work proved that he really doesn't stick to that style at all. I'm not saying anyone but Steve is. I just really want to know what the additional composers' contributions are, and I agree with you and Mike (OTM) about the process about it. It'd just be nice to have a full cuesheet with artist the exact credits like on the Shrek films, Pirates of the Caribbean, Armageddon, The Island, etc.

However, Hybrid has said multiple times that like Batman Begins, we're just never going to know who did what exactly, because the people who hold that info don't seem like they're going to leak it.

mpolonest123 2018-05-09 00:44:35
While I personally donít know how involved the co-composers were on the first TF score, I think itís safe to assume that the thematic base of the score was most likely Steve alone. From interviews with him as well as most of the sessions out there, itís obvious he takes the Zimmer approach of writing up to an hour of suites with all of the thematic material and any additional stuff which may be used in some form. Not just Transformers of course, but plenty of his other scores follow this approach.

Thatís not to say that Lorne (or whoever else) didnít play a big part in writing certain cues, but I feel like most of what is represented is Steveís own themes/ideas. And itís certainly not uncommon for certain composers to not always give 100% accurate credits, Iím sure in messy situations itís hard enough to always know who did what. Just look at Batman Begins...

Mike (OTM) reply Replies: 0 || 2018-04-19 17:05:00
It's sort of been implied here before that Lorne Balfe worked on the "Bumblebee" suite... Is that correct (as far as anybody knows, at least)?

superultramegaa reply Replies: 1 || 2018-03-25 22:21:26
Guess we're not allowed to share links to YouTube videos anymore. Those posts mysteriously disappeared...

Bayhem2018-03-25 23:14:00
Yeah, it happened to me as well a while back. They don't allow links to music, unless it's from an official YT channel.

Bayhem reply Replies: 0 || 2018-03-25 14:20:01
Ok, am I going crazy or the beautiful music that plays during the "Optimus speech/Arrival at the Hoover Dam" scene is nowhere to be found? I'm talking about the film version of the track. I've heard the "Optimus" track, but it's not the film version. For one, the film version contains that majestic choir work that really elevates the entire piece.

So, is it just me or it's really nowhere to be found...?

mpolonest123 reply Replies: 0 || 2015-03-23 22:58:58
You know, I still wonder why there were so many suites written for this score. Some amazing material in here but there are a lot of ideas thrown at the wall that didn't fully end up in the film.

And also what a "Stonker" is...

Felix reply Replies: 0 || 2014-11-25 23:56:15
Hey Hybrid, do you know anything, that Steve compose the music for Michaels new movie Project Almanac?

thejok3rrules reply Replies: 2 || 2014-05-04 21:09:21
Do you happen to have more credits for the Transformers series, Hybrid?

Edmund Meinerts2014-05-04 21:20:45
There's a handful of credits in the comments sections for both the TF2 and TF3 complete scores. As for the first one (which is what I'd be more interested in), pretty much the only thing that's known is that Trevor Morris co-wrote Scorponok, and that Lorne Balfe did "a lot" (although what, exactly, I've never heard). Hm...

Hybrid Soldier2014-05-04 23:13:14
Not much known about TF... It's kind of a subject everyone tries to avoid. And the cue sheet won't help since it's 100% Jablonsky there...

Mike reply Replies: 2 || 2013-02-05 01:48:57
Question: I found a really awesome track one time called A Call to Arms. It sounded like a mixture of Autobots and Soldiers Arrive. But I don't see it on this cue list. Is it even an official piece? Was it maybe a suite composed early on or something?

Mike2013-02-05 01:55:31
Actually, now that I think about it, there were several cool tracks:

A Call to Arms
Megatron Awakens
Attack (Demo)
Brooding (Demo)
Devastator (Alt.)

They all sounded real enough.

RealFfingMusic2014-03-06 12:18:33
They are the unofficial "expanded score".
So, no citations.

But they come in FLAC, so they sound pretty cool.

norman reply Replies: 5 || 2014-01-24 15:36:24

Mike2014-01-24 16:15:05
Thank you ;)

MacArthur2014-01-24 17:30:14
Your Welcome!

smith2014-01-24 21:18:30
my pleasure.

Areozz2014-01-25 04:00:41
No problem!

RealFfingMusic2014-03-06 12:08:53

Jimmer reply Replies: 1 || 2012-12-31 22:11:56
@Hybrid: Do you have a composer list for this score? I'd absolutely love to know who composed what here.

Hybrid Soldier2012-12-31 22:16:14
Unfortunately, me too... :/

For POTC 3 check the comments section.

Michael reply Replies: 5 || 2012-10-03 05:16:17
Am I allowed to use the picture here as my iTunes album picture? I just like it more than the original art.

Agent Smith2012-10-03 07:42:28
lol, who cares? ^^

Michael2012-10-03 09:33:41
Simply don't feel like taking something that belongs to someone else is all.

Mr. Fate2012-10-03 14:00:43
Welcome to the Internet--where nothing is original and everything is stolen. We hope you enjoy your stay and please watch your step at all times.

Evenstar2012-10-03 19:43:08
lol how cute :D

Mr. Charles2012-10-04 06:50:50
Lol this is cute!

Bootleg Score reply Replies: 1 || 2012-05-17 15:31:37
New Bootleg version No Sfx

01. Autobots
02 . Qatar (Full Version)
03. Soldiers Arrive
04. Bogey Approach
05. My Ladies
06. Soccent Attack
07. Sam's Theme
08. Arctic 1897
09. Angry Camaro
10. Keller's Briefing
11. Sam At The Lake
12. Staring At Mikaela
13. Pentagon To Air Force One
14. Main Frame Tampering
15. Camaro On The Run
16. Pentagon Meeting
17. Scorponok
18. Data Copy
19. Deciphering The Signal
20. Satan's Camaro
21. Sam's Pink Bike Pursuit
22. Are You Ladies Man 217
23. Bumblebee vs. Barricade
24. Arrival To Earth
25. Cybertron
26. Witwicky (Part 1)
27. Witwicky (Part 2)
28. Witwicky (Part 3)
29. Take Em and Bake Em (Part 1)
30. Take Em and Bake Em (Part 2)
31. Take Em and Bake Em (Part 3)
32. Autobots To The Rescue
33. Not To Hear That
34. Simmons Takes It Off
35 . Sector 7 Chase (Part 1)
36. Sector 7 Chase (Part 2)
37. Bumblebee Captured
38. Hoover Dam
39. Optimus
40. Frenzy Falls
41. People Can Die Here
42. Megatron Revealed
43. The All Spark
44. Nokia Bot
45. Decepticons Mobilize (Part 1)
46. Decepticons Mobilize (Part 2)
47. Bumblebee
48. Optimus Sword
49. F-22S To The City
50. Stumble Bumble (Part 1)
51. Stumble Bumble (Part 2)
52. Soldiers Retreat-Take The Cube
53. Sam Takes Off
54. Optimus vs. Megatron (Part 1)
55. Optimus vs. Megatron (Part 2)
56. Mountain Dew
57. Sam In The Building
58. Surreal Mikaela
59. Sam Flares It On The Roof
60. Sam And Statues
61. No Sacrifice, No Victory
62. Sam Our Hero

Mr. Fate2012-05-17 15:44:16

prime2009 reply Replies: 12 || 2009-12-14 00:00:00
real expanded:

01. Autobots (2:33)
02. Soldiers Arrive (0:31)
03. Bogey Approach (1:23)
04. My Ladies (0:34)
05. Soccent Attack (2:07)
06. Sam's Theme (2:00)
07. Crazy Grandfather (0:16)
08. Angry Camaro (1:12)
09. Deciphering the Signal (3:09)
10. Sam at the Lake (2:00)
11. Belly Shot (0:15)
12. Pentagon to Air Force One (0:49)
13. Main Frame Tampering (2:30)
14. Cargo Shootout (1:58)
15. Camaro On the Run (2:51)
16. Skorpinok (5:30)
17. Sim in the Compact (0:35)
18. Embaded Message (1:11)
19. Satan's Camaro (0:30)
20. Sam's Pink Bike Pursuit (0:52)
21. Are You Ladies Man 217 (1:25)
22. We're Locked in (2:09)
23. Arrival to Earth (5:27)
24. Cybertron (2:46)
25. Whitwicky (FULL) (4:27)
26. Sector 7 (0:33)
27. Take Em and Bake Em (1:01)
28. Criminals Are Hot (0:42)
29. Autobots to the Rescue (1:20)
30. Not to Hear That (0:26)
31. Simmons Takes It Off (0:50)
32. Speaker Phone (0:50)
33. When Feds Attack (2:05)
34. Bumblebee Captured (2:17)
35. Hoover Dam (1:09)
36. Optimus (3:16)
37. Frenzy Falls (0:25)
38. People Are Going to Die Here (0:30)
39. The All Spark (3:35)
40. Decepticons (3:52)
41. Nokia Bot (0:20)
42. Speeding Autos (0:32)
43. Bumblebee (3:58)
44. Frenzy (1:57)

01. Megatron Awakens (Unused) (3:41)
02. Optimus Sword (0:41)
03. F-22's to the City (1:33)
04. Stumble Bumble (1:11)
05. Devastator (0:52)
06. You're a Soldier Now (3:27)
07. Downtown Battle (1:19)
08. Mountain Dew (0:43)
09. Sam in the Building (0:42)
10. Surreal Mikaela (0:36)
11. Sam on the Roof (2:01)
12. Optimus vs Megatron (4:00)
13. No Sacrifice, No Victory (2:58)
14. A Call to Arms (Unused) (2:26)
15. Attack (Demo) (5:11)
16. Battle (Unused) (3:51)
17. Brooding (Demo) (4:34)
18. Tense Action (Demo) (2:53)
19. Autobots (Less Chorus) (2:38)
20. Deciphering the Signal (Alt) (2:00)
21. Main Frame Tampering (Alt.) (3:45)
22. Skorpinok (Album Version) (4:57)
23. Arrival to Earth (Original Version) (8:17)
24. Cybertron (No Cello) (2:45)
25. Decepticons (Alt.) (4:43)
26. The All Spark (Alt.) (3:55)
27. Devastator (Alt.) (0:44)
28. No Sacrifice, No Victory (No Choir) (2:29)

i also have the tracks qutar (alt) very nice track
and also have road reunion excellent peice also

i must say i am very lucky to own this its awesome steve jablonsky and his crew did an awesome job hope ROTF gets the same treat ment

john2011-07-01 13:19:10
I would like to ask: Is there any legal way to get song A Call to Arms? Where may i buy it?

Dakota2011-07-01 20:57:32
This version is still out there, many people have it. Myself included. It is pretty awesome. But there are still a few cues missing off of it. Maybe someday we will get the legit real thing. Like the film version of Optimus. That's the most beautiful piece.

Anonymous2011-07-02 03:08:49
Qatar is a fake track from other RCP scores. Totally different music from totally different movies. So not a real expanded.

john2011-07-08 10:53:33
maybe my question was wrong, i know it is possible to download this song from the internet, but i wanted to know, if it is possible to buy it as a part of some score, because i can`t find any such score on amazon etc.

Dom2011-07-08 17:19:29
@ john and you never will... the only way to get this version is to find it on an un-offical site, it can't be bought on amazon or itunes

john2011-07-08 17:47:17
now i got it :-), thanks...
but shame on them for that :-)

Anonymous2012-03-10 20:33:38
i have too. the qatar (alternate) track is not fake. it's a different version from the movie. Just listen.

Mr. Fate2012-03-10 21:01:16
No, you're wrong. Anonymous' statement is 100% correct:

"Qatar is a fake track from other RCP scores. Totally different music from totally different movies. So not a real expanded."

If it's different from what you hear in the movie, then how do you know it's even from the movie? It would be like me taking a track from Gladiator and calling it an different version of something from Pirates of the Caribbean.

Anonymous2012-03-10 21:11:16
Mr. Fate i have a track called Qatar which sounds in the beginning, like the movie but in the end of this track is just the music sound like an expansion, and in the film version sounds like drums. That's waht i hear with this track.

Mr. Charles2012-03-11 08:55:24
Mr. Fate is correct. Qatar is a fake track. I have it from.several sources it's not legit. It's from another RCP score that Jablonsky composed, titled Live from Baghdad.

*** EDITED ***

Hector2012-03-12 10:37:14
I think "Qatar" is a mix of 2 cues from Black Hawk Down : "Vale of Plenty" and "Ashes to Ashes".
But I heard Live from Baghdad sounds a lot like Black Hawk Down... Anyway, it's not "real" cue from TF, just a lazy attempt at making the bootleg a bit longer.

Mr. Fate2012-03-12 17:27:40
I think it's simpler than that, Hector. It may just be a part of "Ashes to Ashes" all by itself. And thank you also for pointing out those tracks. I think I'm gonna have to go download Black Hawk Down now!

Karla reply Replies: 0 || 2012-03-10 08:37:22
Yeah. Basically you want to get rid of any processing that you don't need to otlstancny be tweaking. So if you're using a guitar amp plugin, once you get it how you want it, go ahead and record it to a separate track. Then you can EQ and compress at will. To keep things organized, you can use to keep things organized.

Mario SoundtracK reply Replies: 0 || 2012-01-15 12:31:35
Someone knows who helped to Steve to compose every song? For example, I know that Trevor Morris helped to Jablosnky with "Skorponok". And the others? :D

Dakota reply Replies: 0 || 2011-03-10 00:00:00
Hah! We all wish there was an expanded/complete for Revenge of the Fallen. Hopefully one day it will happen

Rodimus Prime reply Replies: 0 || 2011-03-09 00:00:00
is there something like this for the score of the 2nd movie

Dakota reply Replies: 0 || 2011-02-02 00:00:00
I meant that's the only piece of music I DON'T have from the film, sorry. The user 'SCore' mentioned it as well over on the official release. It's just an alt. version of 'Optimus'

Dakota reply Replies: 0 || 2011-02-02 00:00:00

No idea how to upload a scene from a movie on youtube, sorry. It's when Sam and Mikeala 'meet' Bumblebee for the first time in robot form after his fight with Barricade. When Mikeala asks him "what is it?" ans Sam replies "it's a robot". That track playing is 'Optimus' with the flutes removed. I think they're flutes. I'd kill to get it. That's about the only missing piece of music I have from the film. If you know how to get it, I could not thank you enough.

_A.T.Omix_ reply Replies: 0 || 2011-02-02 00:00:00
Care to upload the scene on youtube so I can what you're talking about ?

Dakota reply Replies: 0 || 2011-01-18 00:00:00
I'm guessing since I was the last person to post in July, that no one has found the version of "Optimus" used in the film with the flutes removed? I'm dying for that one......

Dakota reply Replies: 0 || 2010-07-23 00:00:00
@ Westfall

I just realized that that one's not on there either. I love that piece. It is "Optimus" but exactly like you said, the flute or whatever it is is removed. On the back of the official score that got a limited CD release which I have, it has an asterisk next to it meaning "different version in film". I freaking LOVE the film version, it's beautiful. I really really wish they woulda released that one. With all of the unreleased demos and alternate cues on the complete 72-track score, one would think that it's on there. Oh well =(

westfall reply Replies: 0 || 2010-07-23 00:00:00
@ Dakota

I'm with you. If they wanted to make a different version for the album release they could at least keep the movie version too. But i'm happy i got what i got. If we were so lucky with RoTF...

Dakota reply Replies: 0 || 2010-07-23 00:00:00
@ Westfall

Omg I know. ROTF is simply amazing, don't even get me started. If they were to put it up for sale, it would sell like hot cakes. They could make a ton of money. But, ohh well. If I know it will come, I can only wait and wait and wait. I pray that its going to come one day, and one day soon.

westfall reply Replies: 0 || 2010-07-16 00:00:00
It's the same as with the cues discussed earlier, they simply cut and removed a few layers from "Optimus" for that scene. Actually i find the version used in the film, both on that scene and during Optimus' speech about destroying the cube, much better. I do like "Optimus" as it is in the CD but without the flute-thing playing it sounds... better. And i believe that if you modify a track like they did with these, it becomes something else intirely and should be featured as such.

SCore reply Replies: 0 || 2010-07-15 00:00:00
I know wich one u mean gaBBo but on that expanded score
the track where sam talks to bumblebee the first time (kind of an adapted version of ''Optimus'') is stil missing . or did i overlooked something?

gaBBo reply Replies: 0 || 2010-07-14 00:00:00
The cue where the soldiers are reported missing is featured on another expanded version of the score (I mean without sfx), along with a few other missing cues.
This one was quiet tricky to find !

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Transformers (Complete Score) soundtrack - Steve Jablonsky 2007