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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Additional Music
Hans ZimmerHeitor PereiraMichael BrookJim Dooley
ComposerAdditional MusicAdditional MusicAdditional Music
Black Hawk Down
Label: Decca Records
Length: 67'01 (Score: 49'32)
HZimmer.com rating:        5/5
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 (13875 votes)
  1. Hunger (6:35)
  2. Barra Barra - Rachid Taha (5:47)
  3. Vale Of Plenty (2:27)
  4. Chant (2:33)
  5. Still (4:48)
  6. Mogadishu Blues (2:53)
  7. Synchrotone (8:55)
  8. Bakara (3:12)
  9. Of The Earth (2:19)
  10. Ashes To Ashes (4:43)
  11. Gortoz A Ran - J'Attends - Denez Prigent & Lisa Gerrard (5:51)
  12. Tribal War (2:39)
  13. Leave No Man Behind (6:18)
  14. Minstrel Boy (Film Version) - Joe Strummer & The Mescaleros (5:42)
  15. Still Reprise (2:12)
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Super Six Four reply Replies: 0 || 2017-09-13 12:26:56
My best war movie either,we can't see a movie like this movie nowadays and Hans Zimmer is genious.

Black Hawk Down reply Replies: 0 || 2017-09-13 12:25:49
My best war movie,I'm watching this awesome movie since 2001(release date of Black Hawk Down),the best part of the movie was the whole damn movie&#65279;.
Hans Zimmer make this movie very good.He is the god of composers.I had eargazm aowwww...


Felix reply Replies: 0 || 2017-05-14 00:44:33
Is there any right tracklist from the recording sessions???

Mike reply Replies: 4 || 2014-01-05 22:17:47
Was this score similar to Rush (a band score where everyone writes everything) or is it indeed mostly Zimmer? It's older, and his older scores tend to be more traditional in the crediting area. :P


Marc2014-01-06 02:36:53
Nope, Heitor Pereira & Jeff Rona did write themes here. I see no bands, except the VA songs.


Magnus Rex2014-01-06 04:21:30
You misunderstand what Mike meant; I believe he is at least partly right, some of the music was scored like a jam session, where music was improvised that later became honed into the score. Mike didn't mean actual bands did music for the film.


Mr Tweedy2014-01-06 13:15:59
That's right... They were like a band jamming in the studio. The music was recorded and some of it ended up in the film, usually re-arranged depending on each sequence's needs.
But basically, HZ wrote the main themes (Still, Vale of Plenty, Tribal War, Leave No Man Behind) but it was all played and arranged by the band itself during the jamming sessions or later.
Some cues are credited to other musicians (Pereira for Mogadishu Blues, Rona for Bakara, Wesson for the ambient part from Chant...). "Ashes to Ashes" starts with some kind of improvisation on the electric cello by Martin Tillman, then the band starts to play all together.

There's a lot of unused / additional music that never ended up in the film.


Mike2014-01-06 21:35:10
Thank you, Mr. Tweedy.

Leo reply Replies: 8 || 2013-11-10 01:52:21
I'm really curious as who wrote "Hunger" ;P


Mike2013-11-10 03:30:44
I'm curious who did what in this entire score. I imagine off the bat that Zimmer did "Leave No Man Behind" and "Tribal War", but wasn't this score basically a bunch of jam sessions?


MacArthur2013-11-10 17:35:44
I think hunger is Zimmer isn't it?


Edmund Meinerts2013-11-10 18:02:09
MacArthur, unless you're willing to substantiate that claim, all anyone is going to read is "I HAVE NO CLUE ABOUT ANYTHING" on a post with your name on it.


MacArthur2013-11-10 21:17:21
My question is why wouldn't it be? let's just put it that way.


Edmund Meinerts2013-11-10 21:48:02
There's no reason why it wouldn't be...just like there's no reason why it would. My point is, if you don't have anything more than an "I think," without any reasoning or argument to back it up, then you're contributing jack shit to the discussion. It's like the internet version of talking because you like the sound of your own voice.

When Hybrid says a cue is by a certain composer, we listen because he has access to information we don't have. With you it's just random gut feelings and opinions without any convincing substance behind it whatsoever. Hence, why should we listen to you?


MacArthur2013-11-10 22:01:55
When did Hybrid say that it wasn't Zimmer. I didn't go against what he said If he says it, it's fine with me.

Does it say anything about Hunger being by a different Composer?


Edmund Meinerts2013-11-10 22:25:08
There's four additional music guys up there, so there is absolutely ZERO guarantee that the cue is by Zimmer alone. Similarly, there is ZERO guarantee that the cue ISN'T by Zimmer alone. Until we know more for sure, there is also ZERO point in slinging your "I thinks" around.


MacArthur2013-11-10 23:17:27
Yeah That I know but the guy on top seem to say that Zimmer didn't have a hand in it at all.

That's what baffled me I wasn't trying to throw in my opinion on it.

RECORDING SESSION reply Replies: 5 || 2011-09-23 20:42:05
there is the recordings session out there. is it real?


Anonymous2011-09-23 21:01:11
No, ergo its not the recording sessions.


jack arnold2011-09-24 09:38:41
this is what i mean:

CD 1
01. Somalia 1993 - Hunger Is The Weapon (6:35)
02. Leaving - Ambush (2:42)
03. Barra Barra (Performed By Rachid Taha) (5:47)
04. October 3Rd - Pray (1:22)
05. Preparing To Go To Bakara (2:14)
06. Bakara (3:13)
07. Missing - Synchrotone (9:54)
08. Synchrotone (Alternate) (5:3
09. Militia Is Coming (5:05)
10. Super 61 Down (3:32)
11. Mogadishu Blues (2:53)
12. We Got A Black Hawk Down (7:27)
13. Ashes To Ashes (4:43)
14. He's Dead - Cover Fire (7:06)
15. Night Battle - Cavalry (4:13)
16. Truck Battle Over The Streets Of Mogadishu (7:03)

CD 2
01. Leave No Man Behind (8:05)
02. Wounded - Holding On (7:19)
03. Of The Earth (2:17)
04. Vale Of Plenty (2:27)
05. Chalk Four Advances (0:47)
06. Still (4:46)
07. Chant (1:03)
08. The Rescue (2:39)
09. Cover Fire (4:04)
10. The Convoy Arrives - Rolling Out (3:07)
11. Gortoz A Ran - J'attends (5:51)
12. Tribal War (2:37)
13. Nobody Asks To Be A Hero (10:1
14. Still Reprise (2:12)
15. End Credits (8:34)

CD 3
01. The Weapon - Hunger (Featuring Josh Hartnett) (5:09)
02. After the Crash (Composed by Ilan Eshkeri) (2:40)
03. Holy War (Composed by Heitor Pereira) (0:49)
04. Arrestment (Composed by Heitor Pereira) (3.11)
05. Black Hawk Down Live Demos (5:21)
06. Mogadishu Montage (1:27)
07. Score Montage I (3:04)
08. Score Montage II (3:15)
09. Score Montage III (12:56)
10. Trailer Music (Performed by Moby) (4:24)


So it is not real?


Dawn2011-09-24 09:48:02
Combination of OST, songs used in the movie, music from the DVD bonus and some promotional cues from the musicians of the score... Everything is edited/chopped so that it looks "new", but, it's definitely fanmade.


jack arnold2011-09-24 09:59:17
ah ok, thank you very much dawn for your explanation :)
it's still a nice version.


Mr. Charles2011-11-19 22:45:13
Well then, what are these ones:

h t t p://www.hans-zimmer.com/index.php?rub=disco&id=610&id_news=& page=2

h t t p://www.hans-zimmer.com/index.php?rub=disco&id=519

Poe reply Replies: 2 || 2011-08-03 08:52:48
There's an unreleased track named Leaving - Abduction, does anyone know the source of it? I heard its from DVD audio but I dont rememeber hearing it on the DVD menus??


Lasse2011-08-03 13:30:36
i have heard of both of them. and i have asked the same qustion as you many times on this site whit out reply so...
i could only guess that Leaving is maybe the same soundtrack as Solkdiers back on, but i dont know


Takehiro2011-08-03 19:50:08
Its a fake track, its an edit of Tall King Dub (source) crossfaded with the end of Hunger.

matthew reply Replies: 1 || 2010-08-13 00:00:00
what is the name of the song during the preparations??


Lasse2011-08-03 13:29:13
its Faith No More , Falling to pices ;)

Phil reply Replies: 0 || 2011-07-15 17:23:27
Synchrotone -> love it when it flips over to in second 42 :) amazing turn over

Bluenose reply Replies: 0 || 2011-02-09 00:00:00
Here is the translation...it's Gaelic or Breton

-Gortoz a ran (Denez Prigent & Lisa Gerrard)
I'm waiting
very approximative translation from breton to english !

- Gortozet 'm eus, gortozet pell
I was waiting, waiting for a long time
-skeud teñval tourioù gell
In the dark shadow of grey towers

- E skeud teñval an tourioù glav
In the dark shadow of rain towers
-C'hwi am gwelo ' c'hortoz atav
You will see me waiting forever

- Un deiz a vo ' teuio en-dro
One day it will come back
-Dreist ar morioù, dreist ar maezioù
Over the seas, over the lands

- Dreist ar maezioù, dreist ar morioù
Over the lands, over the seas
-D'am laerezh war an treujoù
To steal me on the trunks

- ' Teuio en-dro karget a fru
It will come back full of spray
-E skeud te4val an tourioù du
In the dark shadow of the black towers

- ' Teuio en-dro an avel c'hlas
Will come back the blue wind
-Da analañ va c'halon c'hloaz't
To breathe my wounded heart

- Kaset e vin diouzh e anal
I will be pulled away by its blow
-Pell gant ar red en ur vro all
Far away by its stream to another land

- Kaset e vin diouzh e alan
I will be pulled away by its breath
-Pell gant ar red, hervez 'deus c'hoant
Far away by its stream, wherever it wants

- Hervez 'deus c'hoant pell eus ar bed
Wherever it wants, far away from this world
-Etre ar mor hag ar stered
Between the sea and the stars

Also, "Breton" is a celtic language:http://en.wikipedia.org/wiki/Breton_language

Kotellius reply Replies: 0 || 2010-05-12 00:00:00
Awesome movie! Great OST!!!

Adrian reply Replies: 0 || 2010-03-10 00:00:00
@Kyle
You mean the electronical violin?

Kyle reply Replies: 0 || 2010-03-09 00:00:00
What is the instrument at the very beginning of the song.. it sounds like a string instrument but i'm not sure

Soldier93 reply Replies: 0 || 2010-01-08 00:00:00
I really love the movie Black Hawk Down.
It's your music that makes the movie itself.
But the scene when Corporal James Edgar Smith Jr.. lies on the stretcher,
Played course, "Leave No Man Behind" Piano version that I can not find anywhere.
But keep up the good work! sorry for my English, I'm from Sweden:)

Enrico reply Replies: 0 || 2010-01-08 00:00:00
I think that the mark 10/10 is too much...I would mark this soundtrack with 8/10...

genaro reply Replies: 0 || 2009-12-22 00:00:00
good discografi

khaled reply Replies: 0 || 2009-07-09 00:00:00
i could notice the rythem beat and tempo is so much close to the sound and timing of a black hawk rotor chopping the air in it's flight. i notice it special in Hunger and synchrotone and sure in Chant.

Chris reply Replies: 0 || 2009-05-26 00:00:00
I first heard hans zimmers work when i watched Black Hawk Down and since then i have been hooked, great work mate hope to hear lots more

Larssa reply Replies: 0 || 2009-03-12 00:00:00
I have a question. i know what J'Attends means but what about "Gortoz A Ran"? what does it mean?

AndrewH reply Replies: 0 || 2009-01-17 00:00:00
The blend of West and Eastern sentiments in the music is extraordinary and sums up the clash between cultures with pinpoint accuracy. It demonstrates that image and music can achieve a power that each on their own cannot reach...a masterpiece!...thanks

afidie reply Replies: 0 || 2008-12-11 00:00:00
awesome!

LokfuehrerAndre reply Replies: 0 || 2008-11-16 00:00:00
can you tell me the language of the song "Gortoz A Ran - J'Attends"

josh G reply Replies: 0 || 2008-10-12 00:00:00
hey for "still reprise" wat is the instrument it sounds like a stringed instrument or a cello but im not sure
if anybody can tell me asap thx

Ruthlessgravity reply Replies: 0 || 2008-07-30 00:00:00
One of the most uncompleted soundtracks ever.

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kiarash reply Replies: 0 || 2008-06-30 00:00:00
where can i find an acurate english lyrics for the song (Gortoz A Ran)?

bal reply Replies: 0 || 2008-06-10 00:00:00
very nice

Dmytry, Russia reply Replies: 0 || 2008-03-22 00:00:00
Áîëüøîå ñïàñèáî ãîñïîäèí Zimmer!!!!

Suicune reply Replies: 0 || 2007-12-05 00:00:00
There is another Recording Sessions 3 CD available:

CD 1:

1. Somalia 1993 / Hunger Is The Weapon
2. Leaving / Ambush
3. Barra Barra (performed by Rachid Taha)
4. October 3rd / Pray
5. Preparing To Go To Bakara
6. Bakara
7. Missing / Synchrotone
8. Synchrotone (Alternate)
9. Militia Is Coming
10. Super 61 Down
11. Mogadishu Blues
12. We Got A Black Hawk Down
13. Ashes to Ashes
14. He's Dead / Cover Fire
15. Night Battle / Cavalry
16. Truck Battle Over The Streets of Mogadishu

CD 2:

1. Leave No Man Behind
2. Wounded / Holding On
3. Of The Earth
4. Vale of Plenty
5. Chalk Four Advances
6. Still
7. Chant
8. The Rescue
9. Cover Fire
10. The Convoy Arrives / Rolling Out
11. Gortoz A Ran - J'Attends
12. Tribal War
13. Nobody Asks To Be A Hero
14. Still Reprise
15. End Credits

CD 3:

1. The Weapon - Hunger (feat. Josh Hartnett)
2. After the Crash (performed by Ilan Eshkeri)
3. Holy War (performed by Heitor Pereira)
4. Arrestment (performed by Heitor Pereira)
5. Black Hawk Down (live demos)
6. Mogadishu Montage
7. Score Montage I
8. Score Montage II
9. Score Montage III
10. Trailer Music (performed by Moby)

The CD contains No-FX

Adam reply Replies: 0 || 2007-11-22 00:00:00
whats the music called at the KIA part of the movie?

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