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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 time
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.<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.The action cue "Escape" is easily one of my favorite from Powell. And the final cue for the scene right before the ending is absolutely beautiful. Face/Off is actually my favorite Powell score I think.If we're talking about the complete score, then<br><br>The Merry-Go-Round of Life<br>Airport Chase<br>Escape<br>Mikey's Grave<br>Boat Chase<br>Homecoming<br><br>is a good sampler of the absolute highlights to get you started. "Homecoming" (called "Ready for the Big Ride, Bubba" on the album release even though a different cue has that name on the complete score) is actually a really beautiful cue, one of my favorites from Powell.
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Additional Music - Orchestrator
Trevor RabinPaul LinfordDon HarperTom Gire
ComposerAdditional MusicAdditional MusicAdditional Music
National Treasure - Book Of Secrets (Complete Score)
Label: Unofficial Release
Length: 137'09
HZimmer.com rating:        Not yet rated
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 (2055 votes)
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  1. Opening (5:31)
    Trevor Rabin
  2. Mitch Introduces Diary (1:22)
    Trevor Rabin
  3. Diary Page (1:17)
    Trevor Rabin
  4. Sad Patrick (0:29)
    Trevor Rabin, Don Harper
  5. Bookstore (Part 1) (0:40)
    Trevor Rabin, Don Harper
  6. Bookstore (Part 2) (0:33)
    Trevor Rabin, Paul Linford
  7. Ferrari Towed (0:32)
    Paul Linford
  8. Breaking In (2:12)
    Trevor Rabin, Paul Linford
  9. Discovering Cipher (1:11)
    Trevor Rabin
  10. Ben Pleads With Abigail (0:33)
    Trevor Rabin, Don Harper
  11. Looking For Key (0:35)
    Trevor Rabin, Don Harper
  12. Decoding The Cipher (1:45)
    Trevor Rabin, Don Harper
  13. Paris - Resolute Clue (1:15)
    Trevor Rabin, Don Harper, Paul Linford
  14. Patrick Attacked - Hotel Room - Ben & Riley Prepare (2:01)
    Trevor Rabin, Paul Linford
  15. Insane In Buckingham (1:02)
    Paul Linford
  16. Buckingham Cage (2:14)
    Trevor Rabin, Don Harper
  17. Looking For Resolute (0:50)
    Trevor Rabin
  18. Resolute Desk London (2:43)
    Trevor Rabin, Don Harper
  19. Buckingham Evacuation (1:07)
    Trevor Rabin
  20. Buckingham Got Em (0:50)
    Trevor Rabin
  21. Car Chase (5:48)
    Trevor Rabin
  22. Ben Explains Cibola (1:23)
    Trevor Rabin
  23. Family Dispute (0:41)
    Trevor Rabin, Don Harper
  24. Patrick & Emily (0:55)
    Paul Linford
  25. Emily Translates (1:04)
    Trevor Rabin, Don Harper
  26. Telling Patrick Of Oval Office (0:30)
    Paul Linford
  27. Intro Bunny Roll (0:41)
    Trevor Rabin, Don Harper
  28. Oval Office (2:04)
    Paul Linford
  29. Riley Tells Of Book Of Secrets (2:14)
    Trevor Rabin, Don Harper
  30. Sadusky Visit (0:58)
    Trevor Rabin
  31. Ben Plans To Kidnap President (1:04)
    Trevor Rabin, Don Harper
  32. Ben Attaches To Boat (1:04)
    Trevor Rabin, Don Harper, Paul Linford
  33. President's Party (1:44)
    Paul Linford
  34. Ben Kidnaps President (3:10)
    Trevor Rabin
  35. Ben & President Talk (0:46)
    Trevor Rabin, Don Harper
  36. The Book Exists - L.O.C. (3:15)
    Trevor Rabin
  37. L.O.C. - Find Book (1:58)
    Trevor Rabin
  38. L.O.C. - Escape (1:30)
    Trevor Rabin
  39. Mitch & Emily (1:31)
    Trevor Rabin
  40. Meet In Mt. Rushmore (2:07)
    Trevor Rabin, Tom Gire, John Sponsler
  41. Looking For Clues (5:17)
    Trevor Rabin
  42. Balance Chamber (4:16)
    Trevor Rabin, Tom Gire, John Sponsler
  43. Leaving Balance Chamber (2:29)
    Trevor Rabin, Tom Gire, John Sponsler
  44. Chasm (0:49)
    Trevor Rabin, Don Harper
  45. Water Cavern (2:17)
    Trevor Rabin
  46. Sparkling Cavern - The Wheel (1:22)
    Trevor Rabin, Don Harper
  47. City Of Gold (2:14)
    Trevor Rabin
  48. Exploring City Of Gold (1:02)
    Trevor Rabin
  49. City Of Gold Survival (4:21)
    Trevor Rabin, Tom Gire, John Sponsler
  50. Mitch's Sacrifice (1:23)
    Trevor Rabin
  51. Aftermath - Negotiation (3:06)
    Trevor Rabin
  52. Anal Emily (0:41)
    Trevor Rabin, Don Harper
  53. Ending - Fireworks - So... (1:46)
    Trevor Rabin
  54. Riley's Ferrari (1:54)
    Trevor Rabin
  55. End Credits (2:40)
    Trevor Rabin
  56. Opening (Alternate I) (5:28)
    Trevor Rabin
  57. Opening (Alternate II) (5:24)
    Trevor Rabin
  58. Opening (Alternate III) (1:02)
    Trevor Rabin
  59. 1m02 (Unused) (1:00)
    Trevor Rabin
  60. Diary Page (Alternate I) (1:14)
    Trevor Rabin
  61. Diary Page (Alternate II) (1:13)
    Trevor Rabin
  62. 1m09 (Unused) (0:54)
    Trevor Rabin
  63. 1m09R (Unused) (0:50)
    Trevor Rabin
  64. Discovering Cipher (Alternate) (1:23)
    Trevor Rabin
  65. Decoding Cipher (Alternate) (1:06)
    Trevor Rabin, Don Harper
  66. Paris - Resolute Clue (Alternate) (1:17)
    Trevor Rabin
  67. 2m15A (Unused) (4:33)
    Trevor Rabin
  68. 2m15AX (Unused) (0:29)
    Trevor Rabin
  69. Telling Patrick Of Oval Office (Alternate) (0:25)
    Paul Linford
  70. 4m28 (Unused) (0:27)
    Trevor Rabin
  71. Oval Office (Alternate) (0:39)
    Trevor Rabin
  72. Ben Plans To Kidnap President (Alternate I) (1:02)
    Trevor Rabin, Don Harper
  73. Ben Plans To Kidnap President (Alternate II) (1:02)
    Trevor Rabin, Don Harper
  74. 4m37 (Unused) (1:04)
    Trevor Rabin
  75. 4m38 (Unused) (1:09)
    Trevor Rabin
  76. City Of Gold (Alternate) (2:19)
    Trevor Rabin
  77. Fireworks - So... (Alternate) (0:51)
    Trevor Rabin
  78. End Credits (Alternate I) (1:21)
    Trevor Rabin
  79. End Credits (Alternate II) (2:40)
    Trevor Rabin
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Mike reply Replies: 0 || 2015-07-30 14:14:57
Amazing how lame the album release of this score was.

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National Treasure - Book Of Secrets (Complete Score) soundtrack - Trevor Rabin 2007