Composed by Hans Zimmer Conducted by Shirley Walker Additional Music by Fiachra Trench & Shirley Walker Recorded at Air-Edel Studios, London, England
Recording Engineer: Paul Hulme Recorded on January 3 & 4, 1991
CD Produced by Douglass Fake CD Executive Producer: Roger Feigelson CD Edited & Mastered by Douglass Fake at Intrada, Oakland, California
DDP Mastering by Joe Tarantino, Joe Tarantino Mastering, Berkeley, California
Production Assistant: Regina Fake
Special Thanks to: Mary Ann Fake, Randy Thornton, Desiree Craig, Michael Buckoff, George Champagne, Frank K. DeWald, Jeff Johnson, Wendy Kupsaw, Mark Hammon, Steve Mori & Veronika Schroers
Release date : 03/19/2012 White Fang - Cue Assembly
01 - Opening Credits/Main Title - 1M1 Opening Credits/Main Title
02 - The Golden Staircase - 1M2 Golden Staircase
03 - The Trek Continues (Fiachra Trench) - 2M6 The Treck Continues
04 - Black Wolf - 2M2 Jack Sees Wolves ; 2M3 Black Wolf ; 2M5 Fang Fed ; 2M1 The Place ; 3M1 Thin Ice ; 3M2 Skunker's Death
05 - Full Moon Wolf Attack (Fiachra Trench) - 3M3 Full Moon Wolf Attack ; 3M3A Morning Wolf Attack
06 - Kiche's Demise - 3M4 Kiche's Demise ; 4M1 Wolf Dance ; 8M3 Pit Fight
07 - Seasons Pass - 5M1 Training White Fang ; 5M5 Seasons Pass ; 5M6 The River ; 6M1 Jack Re-Meets Fang ; 6M3 The Wild ; 6M4 The Bear (Fiachra Trench)
08 - The Bear Attack (Shirley Walker/Hans Zimmer) - 6M4A The Bear Attack
09 - The Mine - 6M5 Jack Thanks Fang ; 7M1 The Mine ; 8M4 Caring For Fang ; 6M6 Safe Refuge ; 7M5 White Fang Fights Satan (Fiachra Trench) ; 7M3 In The Stable ; 8M1 Fight (Fiachra Trench)
10 - Fang White Jack - 9M1 Jack Bit ; 9M2 Fang White Jack
11 - Vengeance Fulfilled - 10M3 Testing The Gold ; 10M2 No Shelter ; 10M1 Through The Window ; 10M6 Vengeance Fulfilled
12 - Home Again - 11M2 Two Companions ; 10M4 We're Rich ; 9M3 Just Friends ; 11M4 Home Again
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I'm listening to that score for the first time, have to say I'm impressed. I didn't realize how quick Zimmer established himself in Hollywood (although I was just born, maybe it explains why).
Barely 3 years after "Rain Man" he was already doing big movie scores like this one or Backdraft the same year. As well as two scores for Ridley Scott, and one for his brother Tony. I can't think of a single composer who managed to climb at the top so quickly.
Wow first time ? :)
There's some POTC 3 & Spirit lost in this !
I can: Junkie XL. Make of that what you will... :|
This is an okay score but I don't find it to be as engaging or catchy or involving as other Zimmer scores from around the same period, like Days of Thunder or K2 (let alone Backdraft or the awesome A League of Their Own).
HGW climbed quite fast too ! ;)
Oh btw speaking of K2, I want to set something straight. HZ's score for that one was done in 1992. The film originally came out in 1991 with the first score and it was decided to rescore it for Europe (and not the other way around). So Hans did it with Nick, who only joined Media Ventures in 1992 (and his first work was on Toys).
There's quite a few, really. I mean, David Arnold totally came out of nowhere in the mid-90s (and has since returned to nowhere, sadly). Danny Elfman's rise around the same time as Zimmer's was just as meteoric.
I'm not actually so sure about HGW, for that matter. He didn't get any really big assignments on his own until arguably Spy Game in 2001; he did a lot of collaborative work before then but usually played second fiddle to someone else (Rabin or Powell or Hans himself). Mark Mancina might be a better example for MV, coming out of pretty much nowhere to do a huge action movie like Speed. Or even Powell himself: Face/Off is a hell of a big movie to debut on!
So what is the story with this score. Was Hans brought in to save the day here? Did they leave Basils name because of his main theme?
I guess the MV formula worked really well for those guys... Powell, Mancina, HGW, what a dream team! But in Zimmer's case I find it even more impressive, because he started the whole thing himself, without this kind of studio to get him visibility (as far as I know, at least).
As for Junkie XL... for reasons you probably know, I think he's a totally different story (and with much less merits).
Next ones I've got to discover: K2 and A League of their own. As you probably guessed, I'm back in full fanboy-mode, I'm tired of waiting for new HZ releases and for the final concert, so I'm digging into the past! :-p
As I understand it, the filmmakers pushed hard to get a more contemporary sound to the score, and while Basil Poledouris is no slouch at that kind of thing (just listen to his Wind score, which is amazing), I guess they ultimately ended up "soft rejecting" what he wrote and got Zimmer to come in and stop the gaps. I've never seen the movie, but from what I've read, it uses portions of both scores; mostly Poledouris for the themes and Zimmer for the action music.
It certainly sounds like a weird situation!
(Oh, and by the way, the sequel score for White Fang 2: Myth of the White Wolf, an early-career effort by John Debney, is really good! Better than either the Poledouris or the Zimmer.)
Even Zimmer kind of got his start off the back of Stanley Meyers, admittedly. It's how he nabbed all those little British drama movies in the late 80s like My Beautiful Launderette and The Fruit Machine. But yeah, Junkie XL is a totally different story.
Dude, A League of Their Own will blow your mind. It's like absolutely nothing else in Zimmer's career - okay, the dramatic material and themes sound like him, but the game music is this crazy, complex, energetic big-band jazz stuff which is just so much fun to listen to. Think The Incredibles on steroids. It's my favorite early Zimmer score!
Haha Edmund you make me really curious! Just managed to get my hand on A League of their own, I'll let you know what I think!
As for K2, I can't find it anywhere. It's not on iTunes (in Europe at least), it's not for download on amazon, nowhere at all. If you have a tip, please let me know :-)
Edmund, I really love that soundtrack! Very reminiscent of some of my favorite parts from Madagascar 3, actually!!