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Alright, after re-listening to the score, I've made a few educated guesses of what the additional composers did, based on what we know about the score and their previous work. Note that none of this is confirmed by Hybrid, just my opinion.<br><br>Lorne Balfe: Seems to practically be a co-composer here. I hear a lot of him in this score. It seems he did Invasion (as he's known for contributing trailer music to films he works on) seemingly the suites "Brooding", "Deciphering the Signal", "Battle", and the one we know he cowrote, "Journey Suite". Based on this here's my guess as to what he contributed. <br><br>Soccent Attack - Sounds like his style, probably him arranging AllSpark and Decepticon material. <br><br>Keller's Briefing - Arrangement of "Deciphering the Signal"<br><br>Deciphering the Signal - Obviously another arrangement of "Deciphering the Signal" with Batman Begins-like action at the end.<br><br>Sam's Pink Bike Ride (Part 2) - Sounds like an arrangement of "Brooding" material. <br><br>(Possibly?) Are You LadiesMan217? - Some arrangement of "Brooding" and "Journey Suite" material, although hard to say whether the theme at 1:10 is Steve's or Lorne's. Could be Steve arranging Lorne material, as it sounds more Jablonsky-esque to me. <br><br>Autobots to the Rescue - Could be Steve imitating Batman Begins style, but sounds far too Lorne for me to not consider it a co-written track. <br><br>Sector 7 Chase - Part 1 sounds more Jablonsky than Lorne, but there's no question to me that part 2 has a lot of Balfe in there. <br><br>Where Is My Car? - Batman Begins-like again, probably Lorne solo, or Lorne and Steve<br><br>Decepticons Mobilize (Part 2) - Arrangement of "Brooding"<br><br>Freeway Fight - Battle version of Decepticon theme from "Brooding"<br><br>Stumble Bumble (Part 1) & (Part 2 Alternate) - Arrangement of "Journey Suite", second part not used in the film sounds like Steve & Lorne Combo to me. Film version of part 2 sounds pure Steve to me. <br><br>You're A Soldier Now (Parts 1 & 3) - Lorne being heavily involved in the final battle is known, and Parts 1 and 3 have arrangements of Lorne material. I'm also fairly certain that Lorne wrote the Optimus vs Megatron theme from Part 3 and "Optimus vs Megatron".<br><br>Optimus vs Megatron - Finale of theme introduced in "You're A Soldier Now (Part 3)" as well as the "Journey / AllSpark" theme which could be Lorne's or Steve's. <br><br>Trevor Morris: I can infer from his work on Pirates 2, The Island, and the one track we know he worked on. <br><br>Soldiers Arrive - Not sure why, but I've always assumed this military theme was Morris'.<br><br>Arctic 1897 - Dark theme that reminds me a lot of his work from Pirates 2. <br><br>Scorponok - Known fact that he co-wrote this. <br><br>Hoover Dam - Arrangement of military theme<br><br>Transforming -  Same theme from Arctic 1897<br><br>Sam on the Roof (Part 2) - Arrangement of theme from Scorponok, though could be Steve or Lorne arranging it.<br><br>Optimus vs Megatron - A slight hint to the Military theme when they begin attacking Blackout, and Scorponok theme reprisal, once again could be Steve or Lorne arranging these themes. <br><br>Creeper Suite / A Call to Arms (Unused) - Original music for Optimus' Epilogue, contains arrangement of military theme. <br><br>Jay Flood: Can be inferred from his work on Transformers: The Game, his overall more orchestral writing, and his contributions to Nightmare on Elm Street, Sims 3, and Desperate Housewives. <br><br>Camaro on the Run - Definitely has a TF: The Game sound to it overall. As well as a bit of Thomas Newman-esque music. <br><br>Witwicky (Parts 1-3) - Definitely some of his style here along with Steve's overall Desperate Housewives-esque music. <br><br>Decepticons 2 Suite / Frenzy - The suspenseful strings make me think of Flood's Nightmare on Elm Street work, and the brass writing seems more characteristic of him than Jablonsky to me, though it was still probably a co-written suite. <br><br>Tense Action Suite - Once again reminds me of Flood's Nightmare suspenseful string writing, probably at least co-composed with Jablonsky. <br><br>Clay Duncan - I can guess somewhat based on his contributions to "The Island" but otherwise I don't know much about him so I'm not sure about any of the inferences I'm about the make. <br><br>Angry Camaro - This sort of drone music sounds like it could be him as his contributions were very electronic in The Island.<br><br>Bumblebee vs Barricade - Strange electronics and sounds plus more minimalist writing make me think Duncan. <br><br>Tow Truck Charge - Definitely has The Island's sound. Could be Trevor Morris too. <br><br>TJ Lindgreen: I know so little about his style except he works with Elfman and did additional music for TF: The Game so not much I can say for what he did. <br><br>Belly Shot(?) - The ethereal choir style sounds somewhat like TF: The Game's score and Elfman's choir. <br><br>Not to Hear That(?) - Maybe he composed this motif for Mikaela that also appeared in "Belly Shot". <br><br>Surreal Mikaela(?) - Once again I'm hoping the specific choir sound is part of his style. <br><br>Anything I didn't mention is a track I'm assuming is all Jablonsky. Please note that I'm not trying to take away from Steve's work on this score, and that for most of these track I'm assuming Steve had some involvement in as well, I'm just speculating for fun because I've always wanted to know who did what on this score.LP sadly, but it's also on Spotify.Technical reasons ! lol ;)<br><br>But she was there.Most welcome news. Should be a nice replacement for the Fantastic Beasts score that will have to have been pushed off. I imagine his work on Jungle Cruise will be great as well. 2021 is looking pretty exciting for score releases!She definitely performed on the score, I don't know why she is uncredited...
The poster shows Lorne Balfe as the composer.<br><br>But then it also did have Desplat!So no solo cello by Tina Guo? Is it digital then or is it no cello?CD or LP release?Why is Lorne Balfe not nominated for a Grammy for Ad Astra ?To my understanding, James never worked for Hans or Remote Control. They’re simply friends and have collaborated on a few projects. Powell (and Gregson-Williams) used to work at Remote Control before moving on to his own studio/endeavors. <br><br>BUT, I am equally as excited for James to return to Disney Animation. Very excited for this and Jungle Cruise.
I guess James Newton Howard doesn't count as a Remote Control composer anymore (and yet John Powell does? I don't get it), but anyway, he's scoring Disney Animation Studios' Raya and the Last Dragon. After his epic trilogy of Dinosaur, Atlantis, and Treasure Planet, I welcome his return to the studio!Some original cue titles with slates from a music mixing CD-R:<br>1M13 Transactions<br><br>2M16 Jake Gets Stoned<br>2M20A Alley<br>2M21 Rapists Castration<br><br>3M24 My Old Division<br>3M27 Go Fetch Dog<br>3M30 The Freeway<br>3M32 Alonzo Steals Money<br>3M33 Into The Jungle<br><br>4M41 Safety Is First / Busting Into Rogers<br><br>5M46 Helicopter<br>5M48 Sunset / Wet Streets<br>5M51 Jake Gets Beaten<br>5M52 Smiley Calls His Cousin<br><br>6M57 On The Roof<br>6M58 Jake Lands On Car<br><br>7M61 Alonzo Dies<br>7M63 Sun ShotMovie credits:<br><br>Music by Hans Zimmer & David Fleming<br><br>Music Supervisor: Joe Rudge<br><br>Score Produced by Hans Zimmer<br>Supervising Music Editor: Ryan Rubin<br>Music Editor: Nate Underkuffler<br>Music Production Services: Steven Kofsky<br>Additional Music by Ben Powell<br>Featured Guitar Soloist: Derek Trucks<br>Score Mixed by Seth Waldmann<br>Score Mix Assistant: Aldo Arechar<br>Technical Score Engineer: Chuck Choi<br>Technical Assistants: James Grimwade, Aldo Arechar, Steven Doar & Fabio Marks<br>Synth Programming: Hans Zimmer<br>Digital Instrument Design: Mark Wherry<br>Digital Instrument Preparation: Taurees Habib, Raul Vega, David Naroth & Paul Salerno<br>Studio Manager for Remote Control Productions: Shalini Singh<br>Assistant to Hans Zimmer: Cynthia Park<br>Score Mixed at Remote Control Productions, Santa Monica CA<br>Music Clearances: Jessica Dolingerthats trueCan't think of a more meaningless and laughable award than the Oscar.
an oscar for this one? nahh...<br>maybe he gets a nomination for dune or bondMaybe WW1984damn it would be kinda awesome and hilarious if Lorne Balfe got Lorne Balfe’d LOLYeah 100% fake... And there was HJ rumor on Black Widow sometimes last year, so if you do the math...Henry doesn't have an official Instagram. It looks like you are referring to the account "henry0262020" which appears to be a fake account, to the best of my knowledge.
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Steve JablonskyJeff BiggersLori Castro
ComposerMusic Scoring MixerScore Recordist
Spenser Confidential
Label: BMG Rights Management
Length: 54'09
HZimmer.com rating:        Not yet rated
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Knight reply Replies: 0 || 2020-11-17 14:27:23
Composer credits:

Steve Jablonsky, Jared Fry

WTF IS A CLOUD?
ONE WORLD ONLY


Steve Jablonsky, Nathan Whitehead

YELLOW CORVETTE
WHOLE LOTTA DRUGS
LET'S GO

superultramegaa reply Replies: 13 || 2020-03-05 18:05:36
I think Steve's creative fire is gone. Every new release by him just has this air of "this is for a paycheck and nothing else." I know as composers they are work for hire, but usually there's an element of tangible care put into music.

Sure he'll say in interviews why he thought a movie he worked on gave him a great pallet to work with, but just listening to his modern work, it seems like he's been drained of any passion.

Maybe TF5 broke the camel's back, because of the way the score was butchered along w/ the film in editing. I do remember him being frustrated in interviews over how much of a mess the score's production was.

I don't blame him. If someone took melodies I composed & put my heart and soul into, and barely used/chopped them in the film or covered them up with the sound effects, I might just settle for sound design scores from then on too. That way you don't have as much attachment if the score is butchered.


MrZimmerFan2020-03-05 18:56:14
TF5 is not Spenser Confidential, is not the same thing.

If Peter Berg asked for something like sound design (the score is pretty disappointing, yes), that deliver that for the director, not because is frustated for other movie.

Not every composer have 5 masterpieces or good scores in one year. ;)


dingelding2020-03-05 18:59:19
In my eyes, you're all doing him wrong. Jablonsky never changed his style. But you are so boring and always want to have a Transformers-like score. Before Transformers, he used to make music with synthesizers and I think he can do it. He reinvents himself and doesn't always use the same samplers. Occurs but not as extreme as some others. Clearly it was a disappointment with the Transformers 5 that not all of its music was in the film and was changed. But nothing new! It has appeared in so many films! Even with the previous films in the Transformers series. Some pieces were not used completely or only appeared in the following film. Deepwater Horizon has a great score that just sounds a bit neutral and takes up the happenings atmospherically. Which fits very well! Likewise with Skyscraper these horny deep string sounds. Bloodshot never looked like a kindergarten Marvel movie or a DC movie to me. If Vin Diesel participates, it is known that he is invincible. Come on Bad Ass music. I've been a big fan of Jablonsky since his first Texas Chainsaw Massacre score. I couldn't say that he has let up. I don't always need music with a 100 man orchestra. Although I think that he relies on everything at Bloodshot. I like the guitars as much as the synthesizers. If the name Hans Zimmer were there some would say "What a masterpiece!" Like the poor Dunkirk Score or the not outstanding Inception Score. Likewise your super exaggerated hyped Lorne Balfe which I would rather hit one on the mouth. Because it is light years away from memorable music! BUT that was already the case when he composed the additional music. If I consider what Jablonsky, Harry Gregson-Williams, Geoff Zanelli etc. did as additional composers. Then there is a mess that Balfe has always been involved in the music of Michael Bay films. I'm getting sick! Steve Jablonsky has worked on Michael Bay films since 1998. Since 2003 he has been composing scores for the horror remakes. Since 2005 he has been the main composer of Michael Bay films. The fact that not every Jablonsky score is a hit is clear, but not very bad either. Like now Friday the 13th, I didn't have to have a score from. I also think it's good that Steve Jablonsky isn't just attached to Michael Bay. But also works with new directors. very good cooperation with Peter Berg. What about his score for Teenage Mutant Ninja Turtles - Out of the Shadows ?! Great work! Great theme for the Turtles! I liked it more than Brian Tyler's work on part one. Although I'm also a big Brian Tyler fan. I'm looking forward to the Spenser Confidential and Red Notice scores, and many more. But to assume that he would have lost his inspiration is already awesome. Just because he took a little time out for his children.


MrZimmerFan2020-03-05 19:09:57
@dingelding:

Actually, i never minded his work with sound design (The Island or Battleship, altough, never top his work in the Transformers series or Your Highness, only Age of Extinction was dissapointing), but Spenser wasn't good, specially with you compared with Skyscraper (is a much better score, altough is pretty ok to me) and Bloodshot (is a much better score than Spenser, and far more Jablonsky-esque)

Shit, even i think Gangster Squad and Pain & Gain are much better than Spenser


superultramegaa2020-03-06 00:53:44
@dingelding

First of all, I don't want nothing but Transformers. I would've preferred if Jablonsky stuck closer musically to things like Steamboy, Your Highness, or D-War. Second, I'm ok with synthesizers. Halo 3 ODST, Halo Reach, or the Batman Arkham series use them in very creative & organic ways.

However after listening to Spenser, it sounds like nothing but generic-o's, non-descript, studio/trailer/commercial music. Not only that, but the synths are mostly ugly/distracting and take away from the score, the horns (and the entire orchestra) are garbled because of how heavy the electric instruments are emphasized in the mix, and the guitars are performing simplistic & uninteresting patterns.

Plus any themes that might be in here, or so minimalist it doesn't matter. Bloodshot at least had tangible melody. However, I agree w/ @MrZimmerFan that the overall sound falls on Peter Berg's hands and not Steve Jablonsky, but it's annoying that we haven't had a standout score from the guy since 2017 at best.

P.S. @ dingelding
For the love of god space out your thoughts into paragraphs. Your comment is awful to read.


Brent2020-03-06 10:54:43
I am perhaps one of the biggest Jablonsky fans there is, but I do have to agree. This score is bland and is simply uninspired. However, I think it has more or less to do with the types of films he’s choosing to do more so than any draining of creativity. These last batch of films (Spenser, Bloodshot, Skyscraper, Game Over) have all been generic action thrillers with little to no substance. It’s an almost “been there, done that” approach. So, creatively, what is there ultimately to draw from?

I kind of liken this to the Gregson-Williams thriller scores verses everything else he’s done. His thrillers are {mostly} bland, uninspiring works that leave little to be desired, but most everything else he’s done is superb. I think this just shows that Steve needs a good push in a different direction. I mean, can we hand this guy another animated film already?!?!

I hope to God Red Notice gives Steve a little more to chew on (being so high profile and Netflix’s most expensive investment so far).

I also want to acknowledge the fact that Michael Bay is probably the culprit of Steve’s descent into playing it safe more than anybody. Like other people have mentioned, I can’t begin to seem to understand how he felt after something he worked so hard on (and the “grand finale” of a major series nonetheless) got oh so butchered. I mean, look at Balfe’s latest example. There was so much blatant temp tracking and straight up copy/paste jobs in 6 Underground, it was almost completely devoid of anything resembling creativity (and this is coming from a guy who seriously loves 13 Hours).

All this to say, I will continue to be a strong supporter of Jablonsky and am looking forward to what’s next. :)


Bayhem2020-03-06 11:58:25
I can’t begin to seem to understand how he felt after something he worked so hard on (and the “grand finale” of a major series nonetheless) got oh so butchered.
================


Wait, wait, wait...

I keep hearing from the same few folks here how "bad" Steve felt after TF5. Where exactly did you get this info? I follow Steve everywhere on social media, I've seen all of the interviews he's done and he never complained or acted weirdly about it.

Yes, he did talk about TF5 and some editing decisions but it was all in good spirits and certainly not something we haven't seen before. Keep in mind: he did FOUR TF movies before TF5. The TF2 schedule/editing process was a nightmare and Steve never complained.


==============
I also want to acknowledge the fact that Michael Bay is probably the culprit of Steve’s descent into playing it safe more than anybody.
==============

That is not a serious statement, my friend.

It is quite ironic actually, considering the fact that the most beloved and popular Steve scores are his scores for the Bay movies. Hell, even the "butchered" TF5 score is incredibly popular and there are several awesome tracks.

So let's not blame filmmakers who have nothing to do with Steve's recent work. You want to blame someone in this case? Blame Peter Berg.

He's the one who FOR YEARS have been pushing Steve to do "sound design" scores. Exactly the types of scores people complain about here...


Hybrid Soldier2020-03-06 12:48:22
Game Over, Man!, Keanu & TMNT 2 are absolute fun scores (TMNT 2 is probably one of my very favorites of Steve). Don't judge him only by what gets a soundtrack release.


TF5 was not a "nightmare", it's just that at the very end it got super frustrating that they had to reedit the movie so much and it was very complicated for him to meet the deadline so he called LB for help. But that was the same in TF3. Difficulties on Bay projects is simply a tradition. TF2 was complicated, but by then he was still at RCP so when you have a problem just knock the next door and Hans is around. TF1 was probably the most complicated of all but for very different reasons that had nothing to do with the film production itself or Michael Bay.


Knight2020-03-06 13:18:27
Can't exactly judge him by scores no one's able to listen to outside of the film either :p


Bayhem2020-03-06 14:40:34
TF5 was not a "nightmare", it's just that at the very end it got super frustrating that they had to reedit the movie so much and it was very complicated for him to meet the deadline so he called LB for help. But that was the same in TF3.
===============


Exactly!


MrZimmerFan2020-03-06 17:04:24
Saw the movie, and give to credit to Steve (and Berg), the score works well in the movie, yeah, lot of synthetizers and guitars (and disorted sound design for a much darker sequences), but accomplish the tone and Walhberg's character (plus, you get in the album the theme for him).

But still, i prefer Bloodshot over this.

PS: TMNT 2 is a blast


rockhound2020-03-07 22:58:23
I also have to say, that the music works in the movie good and is a nice combination with the songs. But nothing in this music says....this is Spenser Confidential. It has no own identity. Same goes with the last 3 Peter Berg movies. I guess Steve writes these scores for Peter Berg, because he just likes to work with him. The movie was also good. A nice little crime movie with a sloid story, down to earth action and good characters. But i hope Steve finds a movie soon again, where he will be asked to get more creative again.


Everan2020-09-01 20:36:52
Steve just released his website, he has some unreleased tracks from Keanu and so on. I'm currently listening to Origin Story tracks and they are gorgeous, way different to what he does with Berg and sound design-ish scores. Steve still has it.


superultramegaa2020-09-01 23:33:05
Yeah, some of his unreleased stuff he put on there is interesting. A lot of the Game Over, Man! tracks are pretty fun ("Ear Sandwich" in particular), and Origin Story is a nice throwback to his Desperate Housewives style, but there's not a lot of great melody in there.

Game Over, Man! at least has an ok hero theme/anthem, but not much else worth noting, and Origin Stories' melodies feel pretty basic and more like arpeggios disguised as melody. Better music overall on those 2 small albums, but still a little bare feeling.

MrZimmerFan reply Replies: 0 || 2020-03-05 14:08:30
Up in Itunes NZ

https://music.apple.com/nz/album/spenser-confidential-music- from-the-netflix-original-film/1500496292

superultramegaa reply Replies: 2 || 2020-03-03 00:42:47
Don't have much expectations for this one after Bloodshot, but I'm rooting for Jablonsky as always.


MrZimmerFan2020-03-04 17:55:03
Maybe i gave him more credit than that score deserves, but i have more enjoy with that, than with Skyscraper.


dingelding2020-03-05 03:13:47
YEAH GREAT JABLONSKY LOVE BLOODSHOT AND SKYSCRAPER!!!!!

Jack Afrogarrix reply Replies: 0 || 2020-03-02 22:46:37
Wow, I Can't wait to hear the score and see the film in netflix this friday.

Jack Afrogarrix reply Replies: 0 || 2020-03-02 22:46:29
Wow, I Can't wait to hear the score and see the film in netflix this friday.

MrZimmerFan reply Replies: 0 || 2020-03-02 20:31:47
I can't wait

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Spenser Confidential soundtrack - Steve Jablonsky 2020