Jump to content

Hans Zimmer's The Lone Ranger (Disney/Intrada CD)


Jay

Recommended Posts

then there's a really slow track after that, and it's over.

Yes that is the end credits music I was talking about. I'm sure it has an actual name as it's heard during the film as well, and I'd really like to know because I have no clue why this music is in this movie. It sounds like the obligatory romance theme, but for who?? There's not really a romance in this movie, at least not one that is developed. Is it Tonto's theme? I sure hope not. Or is it just a general ode to the native Americans and the oppression they faced?? Whatever this music is, it sucks miserably. I swear it sounds like it was thrown together in 5 minutes. There is NEVER reason to compose music this slow and hollow for a film like this, especially the end credits of the Lone Freaking Ranger.

Link to comment
Share on other sites

I can't tell if I like or hate the sad violin version of William Tell in "Never Take Off the Mask." I'm guessing it becomes something much more joyous and exciting later on in the track though.

Link to comment
Share on other sites

Speaking of The Lone Ranger, I'd say it's high time for a release of John Barry's score to the previous movie version of the masked man.

Unless there are a ton of legal issues holding it up or lost material.

Link to comment
Share on other sites

Listening to track 10 now, and it is a very fun piece (as well as being impossible not to air conduct). Some nice interludes between the William Tell renditions and it has enough variations to keep fresh. First Zimmer action cue in years I can say I really like!

The whole thing is vastly more listenable than MoS, if not always riveting.

Edit - heard the whole thing now. I enjoyed that waayyy more than JNH's latest. That's unheard of.

Link to comment
Share on other sites

Doug from Intrada has spoken about it:

7/2/13
In anticipation of seeing Disney's epic The Lone Ranger over the 4th of July holiday period, I simply could not resist telling people that our album (coming out on the 23rd) is fabulous. Biased, yes. But it is Hans Zimmer in his most kinetic, melodic, exciting mode! And that is something worth talking about. There are shades of the "spaghetti western" melded into Zimmer-style action that certainly does excite. And a nearly ten-minute long cue, launching with the familiar William Tell strains and morphing into Zimmer's thematic material is a genuine highlight. In the other direction, some tender and moving violin solos keep everything rooted in darker, more serious melody. I sure hope you Zimmer fans enjoy this one!

http://www.intrada.net/phpBB2/viewtopic.php?f=2&t=5656

It's almost like he doesn't know the digital version is already out

Link to comment
Share on other sites

Don't call digital releases "iTunes releases" - it isn't available only on iTunes, it's available on any digital retailer such as iTunes, Amazon MP3, Google Play, Spotify, Pandora, rdio....

Link to comment
Share on other sites

So, Zimmer had no problem using a 184 year old theme for this modern Lone Ranger movie but a 35 year old Superman theme was to dated for MoS.

I'm not the biggest Zimmer fan but Lone Ranger is the type of ZImmer score I don't mind. There's a little heart in this score, to bad ZImmer couldn't find a little heart for MoS (or a theme). I'm not saying Lone Ranger is a great score but, it is better then most of Zimmer's recent work IMO.

Link to comment
Share on other sites

I listened to it again today. It' not really a bad score, really, and at 49 minutes it doesn't overstay it's welcome. I just don't get how nothing really comes out and grabs you strongly besides that Finale track, and why the final track on the CD after the Finale track is so boring.

I'm still curious to see if the Intrada CD will be the same presentation or a longer / different one - I don't really get why they haven't commented on it yet.

Link to comment
Share on other sites

I listened at work - I found it a really nice 45 mins (once you remove that silly source track). I found plenty of highlights, and while the last track is a little slow and 'basic', I don't find it boring.

Definitely plan to buy it (from Intrada) and that doesn't happen often for a Zimmer score!

Link to comment
Share on other sites

Oh yea, I forgot about that source cue - it's weird, I don't like it. I'm sure it's perfect for whatever scene it goes with in the film, and for about 15 seconds is nice enough, for 3 minutes of it is too, too much.

Link to comment
Share on other sites

Full track: Finale

http://www.youtube.com/watch?v=3LiaXIAwemk

Gotta admit, this is pretty generic.

Is that a .... TRUMPET??? And WOODWINDS?

And Man Of Steel doesn't have that, why exactly?

It's not generic, it's terribly overbearing. Amazing how he manages to turn a classic piece into something that gets on your nerves after 3 minutes. It's the He's A Pirate treatment. Repeated at nauseam.

Link to comment
Share on other sites

I like the score in general, besides the source cue track which is annoying and repetitive after about 30 seconds. Arturo Sandoval's trumpet playing is great as always. It would be nice if the Intrada release had some additional stuff but it will probably be the same as this.

Link to comment
Share on other sites

Full track: Finale

http://www.youtube.com/watch?v=3LiaXIAwemk

Gotta admit, this is pretty generic.

Actually, if he got rid of that generic RCP sound, the track would be pretty good. While it's nothing spectacular, I kinda like the way he plays with the Williams Tell Overture in the cue.

Link to comment
Share on other sites

Williams Tell?

What are you trying to TELL me?

I find this piece shows again that Zimmer lacks the ability to make a lengthy piece of music interesting and engaging.

Link to comment
Share on other sites

What?

Goldsmith used another composer 3 times. For First Contact and Air Force One because of extremely tight scheduling, and Looney Tunes because he was dying.

Star Trek TMP.....

Courage and Ian Fraser (David Newman too I think?)

Link to comment
Share on other sites

I'm beginning to think Hans Zimmer is an actual group and the guy we see is actually the frontrunner and founder of the band.

His name is Helmut Schmidt.

;)

Link to comment
Share on other sites

Danny Elfman has had additional composers lots of times and people don't complain as much.

I don't mind Hansy working in groups, I've gotten used to it as it's his thing. What does bother me is when people think a certain cue is by him when it was totally done by someone else, and these people don't do the proper research for the proper credits... Of course, it's his name that's featured on the cover -although we know that he does that because the producers make him do it.

Also, something I don't get is how can a composer be stuck for decades getting an "additonal music" credit and others get a co-composer credit in just a couple of months. Makes me think if there's some kind of favoritism going around inside Remote Control. Or maybe you have to be really agressive if you wanna step up in the inside chain of the company.

Probably just overthinking this.

Link to comment
Share on other sites

What?

Goldsmith used another composer 3 times. For First Contact and Air Force One because of extremely tight scheduling, and Looney Tunes because he was dying.

Star Trek TMP.....

Courage and Ian Fraser (David Newman too I think?)

Ah yes. 4 scores out of sooooo many.

Link to comment
Share on other sites

I'm beginning to think Hans Zimmer is an actual group and the guy we see is actually the frontrunner and founder of the band.

His name is Helmut Schmidt.

;)

2115449095-helmut-schmidt-6JmSlnGw09.jpg

"D Moll ist einfach nur geil ..."

Link to comment
Share on other sites

When has Elfman used other composers?

T.J. Lindgren wrote additional music for Epic, Frankenweenie, Real Steel and Wolfman. Don Harper and Kenneth Burgomaster composed some additional music for Ang Lee's Hulk.

Shirley Walker also wrote a few cues for Nightbreed, if I remember well.

Danny always credited everyone, btw.

Link to comment
Share on other sites

I don't see what's inherently wrong with collaboration in music (as long as you give credit, which I'm told Zimmer always does).

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.