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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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Harry Gregson-WilliamsStephen BartonJames McKee SmithHeitor Pereira
ComposerAdditional MusicAdditional MusicAdditional Music
Shrek 2 (Complete Score)
Label: Unofficial Release
Length: 53'46
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 (2884 votes)
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  1. DWA Logo (0:25)
    Harry Gregson-Williams
  2. Prince Charming (2:05)
    Harry Gregson-Williams
  3. Where Were We? (0:09)
    Harry Gregson-Williams
  4. Messengers Fanfare (0:09)
    Harry Gregson-Williams
  5. Five-O Fanfare (0:07)
    Harry Gregson-Williams (Morton Stevens)
  6. Leaving Home (0:20)
    Harry Gregson-Williams
  7. Are We There Yet? (0:29)
    Harry Gregson-Williams
  8. Arrival Fanfare (0:13)
    Harry Gregson-Williams
  9. Far Far Away (0:34)
    Harry Gregson-Williams
  10. Far Far Away Fanfare (0:16)
    Harry Gregson-Williams, Stephen Barton
  11. Happy To See Us (1:00)
    Harry Gregson-Williams, Stephen Barton
  12. Quartet A (0:37)
    Harry Gregson-Williams
  13. Quartet B (0:52)
    Harry Gregson-Williams
  14. Quartet C (0:16)
    Harry Gregson-Williams
  15. Dinner Waltz (1:06)
    Harry Gregson-Williams, Stephen Barton
  16. After Dinner (0:36)
    Harry Gregson-Williams
  17. Fairy Godmother Song (1:43)
    Jennifer Saunders, Harry Gregson-Williams, Andrew Adamson, Stephen Barton, Walt Dohrn, Dave Smith, Aron Warner
  18. Changes For You (0:30)
    Harry Gregson-Williams
  19. Need To Talk (0:41)
    Harry Gregson-Williams, James McKee Smith
  20. Harold Meets Charming (0:48)
    Harry Gregson-Williams
  21. Stop The Car (0:17)
    Harry Gregson-Williams
  22. Poison Apple (0:42)
    Harry Gregson-Williams
  23. He's An Ogre (0:06)
    Harry Gregson-Williams
  24. Who Dares Enter (0:46)
    Harry Gregson-Williams
  25. Dear Diary (0:51)
    Harry Gregson-Williams
  26. By The Ol' Oak (1:27)
    Harry Gregson-Williams
  27. Puss Attack (0:46)
    Harry Gregson-Williams
  28. Puss Sting (0:12)
    Harry Gregson-Williams, Heitor Pereira
  29. Make Her Happy (0:23)
    Harry Gregson-Williams
  30. Donkey Cries (0:25)
    Harry Gregson-Williams
  31. FMG Card (0:34)
    Harry Gregson-Williams, James McKee Smith
  32. Obliged To Help (1:03)
    Harry Gregson-Williams
  33. To The Factory (1:49)
    Harry Gregson-Williams
  34. Inside The Factory (0:58)
    Harry Gregson-Williams, James McKee Smith
  35. No Ogres (0:49)
    Harry Gregson-Williams, James McKee Smith
  36. Potion Room (1:54)
    Harry Gregson-Williams
  37. Caught! (0:39)
    Harry Gregson-Williams
  38. Deep Fried (1:21)
    Harry Gregson-Williams, James McKee Smith
  39. Drinks The Potion (0:23)
    Harry Gregson-Williams
  40. Not Meant To Be (2:49)
    Harry Gregson-Williams
  41. New Shrek (0:19)
    Harry Gregson-Williams, Stephen Barton
  42. A Stallion Baby! (0:07)
    Harry Gregson-Williams, Stephen Barton
  43. New Clothes - Flying Talking Donkey (0:58)
    Harry Gregson-Williams (John Powell)
  44. Hello Handsome (0:18)
    Harry Gregson-Williams
  45. Prince Of Her Dreams (2:05)
    Harry Gregson-Williams
  46. Mommy (0:44)
    Harry Gregson-Williams
  47. Pre Red Carpet (0:18)
    Harry Gregson-Williams
  48. Red Carpet (1:10)
    Harry Gregson-Williams, James McKee Smith
  49. Knights (0:49)
    Harry Gregson-Williams
  50. Knights Rewind (0:06)
    Harry Gregson-Williams
  51. Magic Tea (1:51)
    Harry Gregson-Williams, Stephen Barton
  52. Mission Impossible (0:53)
    Stephen Barton (Lalo Schifrin)
  53. Thong (1:14)
    Harry Gregson-Williams
  54. Muffin Man (1:10)
    Harry Gregson-Williams, James McKee Smith
  55. Piano Interlude #1 (0:13)
    Harry Gregson-Williams
  56. Piano Interlude #2 (0:24)
    Harry Gregson-Williams
  57. Holding Out For A Hero (Gum Ball Button - Less Heat, More Foam - Fire In My Blood - Mongo Drowns - Puss Saves The Day) (4:15)
    Jennifer Saunders, Dean Pitchford, Jim Steinman, Harry Gregson-Williams
  58. Get The Wand (2:08)
    Harry Gregson-Williams, Stephen Barton
  59. Frog (1:29)
    Harry Gregson-Williams
  60. The End - Happily Ever After (1:55)
    Harry Gregson-Williams (John Powell)
  61. Dragon (0:38)
    Harry Gregson-Williams
Create Topic

DTC reply Replies: 0 || 2018-02-26 19:37:14
2004 - Shrek 2 - DWA Logo
2004 - Shrek 2 - Where Were We?
2004 - Shrek 2 - Messengers Fanfare
2004 - Shrek 2 - Drinks The Potion

liamdude5 reply Replies: 1 || 2018-01-07 00:05:20
Does anybody know where I can get this?


Felix2018-01-07 10:40:42
Sadly....no

Hybrid Soldier reply Replies: 1 || 2016-07-09 13:17:41
Cuesheet !


Cameron2016-07-09 17:59:07
NICE. I really want to hear the full film version of "Holding Out For A Hero," with the piano intro. As I said before, this is my favorite Shrek movie and soundtrack/score.

Cameron reply Replies: 0 || 2016-05-23 00:53:53
This movie is my favorite of the four, including the soundtrack. Would love to hear this.

Russian Youtube Poop reply Replies: 1 || 2015-12-04 11:43:03
Will the Shrek the Third complete score or not?


Edmund Meinerts2015-12-04 12:52:52
Nobody knows, man. I wish people would get that into their heads. A score will leak when it leaks. It won't be announced, there isn't a release date, and asking doesn't achieve anything.

Just roll with the punches is my advice. :)

Felix reply Replies: 1 || 2015-11-04 07:32:30
Shrek 2 is here, too :)


Scorefan2015-11-07 02:59:02
I want it too

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Shrek 2 (Complete Score) soundtrack - Harry Gregson-Williams 2004