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Because they didn't work direcly in this score, but their material from the previous one was reused.Does anyone know why some of the composer names are in brackets? Thanks!thanks4:05 of "STEALTH" some of the best soulful action music I've heard from a Zimmer score. I wonder who wrote that particular section. This the type of stuff I would play trying to rush a pregnant woman to the hospitalIn case he's visiting this site, I wanna say 'Thank You' to Ashton Gleckman who does the 'Behind the Score' episodes on YouTube. I loved the 1-hour episode for the Transformers scores and I actually learned a lot. Very educational. I found the video by accident and now I plan on watching his other videos as well.<br><br>Job well done, my friend.
@Hybrid <br>You don't add anymore Trevor Morris things ?Probably for chronological purposes<br>even though the movie uses a shortened version of Romanian Wind at that timei saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene.<br>===============================<br><br><br>I agree. <br><br>And I think at the end of the day the movie itself is not the type of movie that could win people over with its score. No matter how successful and popular it is and no matter how good the score is. I Am Number 4 was part of the YA craze that took over Hollywood a few years back (we all know how people feel about those movies), and even the most successful YA movies (like Twilight) are not exactly known for their scores.<br><br>People - even film critics who are supposed to talk about all aspects of the movie - were too busy talking about half-naked characters and Kristen Stewart's acting..... and completely ignoring the good work done by Alexandre Desplat.<br><br>It was pretty much the same with I Am Number Four...<br><br>It's not that Trevor created a "bad" score, it's simply a case of a nice, little score that went under the radar. No one bothered to talk about it..... Just like his score for Torque, which as far as I'm concerned is one of his best scores.I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.<br>===========================<br><br><br>I totally get what you're saying. I also get kinda frustrated when a "big" track overshadows an entire score. The best recent examples are IMO the Transformers scores. I don't blame folks for gravitating towards the epic sound and the power anthems, but A LOT of subtle, equally great tracks end up getting completely ignored. And just like you, they're usually my favorite tracks. <br><br>But why most people don't think like us?<br><br>The reason I think is because those "big tracks" are presented - most of the time - during the most memorable moments in those movies. They immediately get people's attention. They're stuck in their mind along with those iconic images. And I think by nature, people are more attracted to the big and "in your face". For most casual listeners the more subtle tracks work in the context of the movie and they absolutely do notice them while watching the actual film. But unlike you and I they don't feel the need to listen to them separately. They're too busy paying attention to the "big track". That goes even for some score fans.<br><br>While tracks like the Star War theme, the Indy theme, the Transformers theme, the Gladiator theme, the Godfather theme, the Armageddon theme, the Pirates theme, the Lord of the Rings theme are so big, melodic abd easily digestable that folks simply can't resist them. And when there are vocals involved as well (like Gladiator) it's even better, because people treat it as a full-blown song. An emotional song that they can listen to over and over again.<br><br>The subtle tracks simply can't win against that. Sadly....<br><br>By the way, speaking of The Island, My Name is Lincoln (as much as I like it) is not my favorite track of the score. The more subtle opening track (The Island Awaits You) and especially the Lima One Alpha theme are my personal favorite tracks. Of course, they're nowhere near My Name is Lincoln, in terms of popularity.<br>Why is Romanian Wind not sequenced after Case Re-Opened? Is not the former 7M48 and the latter 7M47?
Yeah that is true, canít argue there lol<br><br>And is it me or does ďCalypso Must Be ReleasedĒ sound like Black Hawk Down?To be fair there is a lot of King Arthur in At World's End too. Just the general feeling you get from the action tracks in both scores is virtually identical. Hell, one of the main themes from King Arthur even appears when Bootstrap Bill remembers that Will is his son.@MrTweedy<br>Thatís totally fine, everyone has their own favorite HZ scores, which is awesome!<br><br>Itís funny though, I feel like DMC is far more schizophrenic than AWE. Now donít get me wrong, I absolutely love DMC. Itís the score that got me into Hans Zimmer. But still, I feel like a major part of that score is note-for-note reprises of cues/themes from COTBP. Not to mention the temp tracking of King Arthur.<br><br>AWE always felt far more original to me, especially considering that the entire tone of the music shifts from the ďrockínírollĒ sound of the first two to a more traditional score (at least by Hans Zimmer standards lol)@MrTweedy<br><br>Just curious, what scores do you considered to be Zimmer's best?The Pinnacle of Hans' career?<br>Although I really like this score, I don't agree. But hey, I know it's just a matter of opinion, okay? ;)<br><br>Of course it shows Hans strengths in almost every area (action, drama, romance, comedy...) but for me it's too much of a medley of previous works, without much personality.<br>It feels a bit like a palette with too many colors. From the action sequences borrowed from Drop Zone, to the Morricone inspirations for Jack's Sequences, to Gladiator's duduk that ended up there with no real reason, to a beautiful Love Theme that brings another new shape to the sonic identity... it's like the score sometimes goes schizophrenic.<br><br>Though each individual idea is really enjoyable to listen to, I think Hans has made scores that are much more cohesive and enjoyable as a whole!
i also think it is an underrated score. especially the action music has a couple of nice touches. i saw the movie a couple of weeks ago again and the showdown in the school is very well shot and intense and trevors music is effective there. you can hear track 8 and 19 in that scene. a really good action scene. the emotional music is nothing ground breaking, but a lovely listen.Y'know, it's funny. The big names that always get the most attention in film music are often not my favorite tracks of the scores they represent. Now We Are Free, Arrival to Earth, Like A Dog Chasing Cars, Star Wars Main Theme, Indiana Jones Main Theme, Infinite White, One Day, Circle of Life, The Fellowship. Though they are the most well known, they're usually nowhere near the peak of quality of their scores. <br><br><br>I noticed this the most in Hans Zimmer's concerts (not World of Hans Zimmer mind you). The parts he played from The Dark Knight Trilogy in particular usually had the least substance. Just the bombastic tracks. The only choice I agreed with was Time from Inception. There was no Am I Not Merciful, A Watchful Guardian, Sunrise Over Pride Rock, none of that. <br><br><br>Even with Star Wars, the main theme and the Force theme are solid pieces of music, but neither come close to the beauty of Princess Leia's theme, or the wondrous Yoda theme. <br><br><br>Same with Lord of the Rings. The Fellowship Reunited, Very Old Friends, Gollum, and The Breaking of the Fellowship are much more substantial pieces than The Fellowship Theme alone in my opinion. <br><br><br>Can't say anything about My Name is Lincoln because I haven't finished The Island score yet, but yeah. I just find it odd how people gravitate to the triumphant or inspirational music first, rather than the more subtle, unique pieces.Thanks guys, will check out these cues.Hmm, aside from "The Guardian Suite' I don't think I've heard any other tracks from this score. And I have a feeling I'm not the only one....lol.<br><br>Speaking of.........I would most definitely put "The Guardian Suite' right up there next to "Now We Are Free" and "My Name is Lincoln". It's *that* good and powerful. Shame that the movie is not as popular as The Island and Gladiator. If it was, that suite would've been one of the most popular film score tracks with millions of views on YouTube. It certainly deserves it.Very underrated score. As already pointed out by a couple of reviewers, it's a nice, little throwback to MV/RC's Golden Years and Trevor's own scores from 1997 to 2002. Give it a listen if you can. It's not long and it's worth it.
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Henry JackmanDominic LewisMatthew MargesonFrank J. Garcia
ComposerAdditional MusicAdditional ArrangementsScore Coordinator
Wreck-It Ralph (Complete Score)
Label: Promotional Release
Length: 83'51
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (2915 votes)
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  1. 8-Bit Steamboat Willie (0:21)
    Dominic Lewis
  2. Fix-It Felix (1:09)
    Henry Jackman, Dominic Lewis
  3. Different Worlds (Part 1) (0:38)
    Henry Jackman
  4. Different Worlds (Part 2) (1:47)
    Henry Jackman
  5. Wreck-It Ralph Main Title (1:36)
    Henry Jackman
  6. Bureaucratic Dressing Down (0:43)
    Henry Jackman, Dominic Lewis
  7. Ralph At The Door Sting (0:08)
    Henry Jackman
  8. Felix Party Source (1:08)
    Henry Jackman
  9. Felix 8-Bit Death (0:07)
    Dominic Lewis
  10. Cake Remonstration (2:05)
    Henry Jackman, Dominic Lewis
  11. Pie In The Sky (0:33)
    Henry Jackman
  12. Oh Susannah (8-Bit) (0:28)
    Dominic Lewis, Frank J. Garcia
  13. Lost & Found (0:29)
    Henry Jackman
  14. Markowski Panics (1:14)
    Henry Jackman
  15. Reporting For Duty (1:08)
    Henry Jackman, Matthew Margeson
  16. The Beacon (1:14)
    Henry Jackman, Dominic Lewis
  17. Gameplay Gone Wrong (0:15)
    Dominic Lewis
  18. Where's Ralph? (Part 1) (0:56)
    Henry Jackman, Dominic Lewis
  19. Where's Ralph? (Part 2) (1:12)
    Henry Jackman, Dominic Lewis
  20. Rocket To Sugar Rush (4:09)
    Henry Jackman, Dominic Lewis
  21. Vanellope Von Schweetz (Part 1) (1:36)
    Henry Jackman
  22. Vanellope Von Schweetz (Part 2) (1:11)
    Henry Jackman
  23. Vanellope Von Schweetz (Part 3) (0:17)
    Henry Jackman
  24. Cybug Explanation (1:51)
    Henry Jackman, Dominic Lewis
  25. Pay To Play (2:34)
    Henry Jackman
  26. The Glitch (Part 1) (1:10)
    Henry Jackman, Dominic Lewis
  27. The Glitch (Part 2) (0:38)
    Henry Jackman, Dominic Lewis
  28. Oh-Ree-Yo March (0:47)
    Henry Jackman, Dominic Lewis
  29. Bad Guys Don't Win Medals (2:04)
    Henry Jackman, Dominic Lewis
  30. Discrimating Racers (2:04)
    Henry Jackman
  31. Jawbreaker (Part 1) (0:24)
    Henry Jackman
  32. Jawbreaker (Part 2) (0:34)
    Henry Jackman
  33. A Disagreeable Pact (1:49)
    Henry Jackman, Dominic Lewis
  34. NesQuik Sand (Part 1) (0:43)
    Henry Jackman, Dominic Lewis
  35. NesQuik Sand (Part 2) (1:00)
    Henry Jackman, Dominic Lewis
  36. Bakery Skulking (1:21)
    Henry Jackman
  37. Bake-A-Kart (1:18)
    Henry Jackman
  38. Trombone Fiasco (0:12)
    Henry Jackman, Daniel Pinder
  39. Emotional Biscuits (2:31)
    Henry Jackman
  40. Build A Racetrack (Part 1) (2:03)
    Henry Jackman
  41. Build A Racetrack (Part 2) (0:17)
    Henry Jackman
  42. Build A Racetrack (Part 3) (0:25)
    Henry Jackman
  43. Top Shelf (0:19)
    Henry Jackman, Dominic Lewis
  44. Gubbin Tampering (1:44)
    Henry Jackman, Dominic Lewis
  45. One Dynamite Gal (Part 1) (1:00)
    Henry Jackman, Dominic Lewis
  46. One Dynamite Gal (Part 2) (1:31)
    Henry Jackman, Dominic Lewis
  47. The King's Deceit (2:53)
    Henry Jackman, Dominic Lewis
  48. You Really Are A Bad Guy (2:53)
    Henry Jackman
  49. Alone (1:13)
    Henry Jackman
  50. Saccharine Conspiracy (2:21)
    Henry Jackman
  51. Fungeon & Fanfare (1:45)
    Henry Jackman
  52. Mario Karnage (2:31)
    Henry Jackman, Matthew Margeson
  53. Turbo VS Glitch (2:57)
    Henry Jackman, Matthew Margeson
  54. Cybug Invasion (1:35)
    Henry Jackman, Matthew Margeson
  55. No One I'd Rather Be (2:43)
    Henry Jackman
  56. Into The Light (1:07)
    Henry Jackman, Dominic Lewis
  57. Finish Line Transformation (1:18)
    Henry Jackman, Dominic Lewis
  58. Princess Vanellope (1:28)
    Henry Jackman, Dominic Lewis
  59. Wrap-Up (1:11)
    Henry Jackman
  60. Arcade Finale (2:14)
    Henry Jackman
  61. 8-Bit Suite (3:15)
    Henry Jackman, Dominic Lewis
  62. A Disagreeable Pac (Alternate Insert) (0:13)
    Henry Jackman, Dominic Lewis
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Frank reply Replies: 1 || 2015-11-02 00:06:07
I thought Jackman was gonna compose for Disney's next animation Zootopia but Giacchino took it over. Any news about it Hybrid?


Frisbee2015-11-02 10:30:31
Jackman seemingly passed on Goosebumps too (he had scored most of the directors films so I guess he should have been asked at the very least). I can only imagine he is being overwhelmed with his current assignments - or maybe he took an advice that the Bolt/Tangled director can be a hard man to work with? (He seemingly was during Tangled)

Giacchino was about the last person I thought they'd secure on another Disney movie on such a short time, especially by the studio who sacked Menken with the claim that they don't want to be repetitive.

Hybrid Soldier reply Replies: 2 || 2013-02-07 23:19:09
As promised, the full details.


Funny thing : the weird voices in the Nesquik Sand cue, that's actually Dom Lewis singing... :P


Blu2013-02-08 07:37:05
No roles for Skrillex, Adam Young, Matthew Thiessen, Jamie Houston and Yasushi Akimoto in the music? These guys have seemingly received the Annie award for the music of this film along with Jackman too?


Hybrid Soldier2013-02-08 09:04:02
I'm only interested in the score music team.

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Wreck-It Ralph (Complete Score) soundtrack - Henry Jackman 2012