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He’s definitely not a bad reviewer, and his writing style is pretty sharp. The obvious problem is that he has a strong bias against Zimmer. Most of his recent Zimmer reviews are less spent talking about themes and more so the “issues” with his current style.'At World's End' is possibly one of his greatest 'missteps' for sure, but he is a mostly reasonable guy when reviewing, and simply has a taste that doesn't accomodate a lot of the more modern sounding scores, which I think is ok, since we all have our preferences. His 'Solo' review is a must read for any fan of the score though. :DIf you want to understand why he's persona non grata, just go and check out his review of Hans Zimmer's masterpiece At World's End, it sums up pretty nicely the guy's mental issues :p<br><br>But his other reviews are mostly OK and that Solo one is indeed very good, worth a read.Who is he and why is he a persona non grata? ô_OHow dare you mention his name ??<br><br>I should erase that post... :P
What site are his reviews on again? Not really sure where to look.As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.I assume that's the official cover....<br><br>I dig it. Very Die Hard-y : )I know Clemmensen is kind of persona non grata around here (not without good reason), but he put up his review of Solo a few days ago and it's one of the best he's ever written, a fantastic in-depth analysis (and appropriately positive). Worth spending an hour or two reading and listening to help unpack this score's many complexities.Is it just me or does the “Catwoman” riff (not the main theme) in “Bar Shootout” and “Nothing Out There” sound very much like the main Scarface theme?<br><br>I’ve also noticed that Hans sometimes will write a main tune and a series of riffs for a character, but will mainly incorporate the smaller motifs in the film (Angelica’s music from OST, Megamind’s main tune, Catwoman, etc.) Definitely not a problem though, I like the variety.<br><br>Look at the evolution of Batman’s theme from Begins, where he had the 2-note motif and the actual theme, to here where it’s just the 2 notes and the chord theme. I wonder if that was Chris Nolan’s decision.
John Powell answered in Facebook there is still 45 minutes of music outside from the CD.Yep, he knows how to do BIG and small moments. He's so versatile. I'm praying rian johnson uses him for his new trilogyThank you! Glad you enjoyed it.If there is one who can replace John Williams on Star Wars than is it John Powell!!<br><br>Great Job!!It sounds great ! I think I will listen to the CD after the hamburg concert, to keep the surprise, because they will play some cues there ! <br><br>Are some french JP fans going to Hamburg next week ? It would be great to have a beer and talk about film music !
Dear Mr. Zimmer (or those interested), <br><br>  Over the years I have always enjoyed some of the higher-intensity compositions you have produced and made a point of putting my money where my mouth is and actually buying the soundtracks - money well spent. I've used specific songs of your's to get through moments of fatigue at work and also to prepare (silly as it may sound) for sporting events, even working out or running. I found them better than any rock or even electronic-type energetic music, until such a point, naturally, that I'd listened to them too many times and the magic wore off. Some of your songs rise to a crescendo that sometimes are powerful but perhaps lost on those who are unfamiliar with the corresponding movie scene ("Flight" from Man of Steel, it rises gradually but the concept you capture is magnificent, "Time" from Inception as well comes to mind). Some are obviously and undeniably potent like "A Dog Chasing Cars" or, going way back to when I learned of your work, "The Battle" from Gladiator which reminded me of "Mars, the Bringer of War", -- or even the latest "Sea Wall".<br><br>  Admittedly this is odd but I can't help but wonder if despite all the solicitations you must receive it seemed to me I might as well send the following two-fold feedback: in the same way I was pleased to learn that Daft Punk was handling the soundtrack for the modern remake of TRON (and what a fine job they did) I was also heartened to find that you were handling the soundtrack for Blade Runner 2049. It seemed a good sign to me at the time and I knew I would buy a ticket at that point. That was a movie (BR2049) I was worried they would BOTCH much in the same way they completely did whatever it was they did with remake of Total Recall (in which they completely stripped it of its cerebral essence and made it a very long chase-scene). <br><br>  All of this is to express some appreciation and also plug an obscure pianist from Montreal who has been on the CBC and all that, who, when I spoke to him after a show and compared some of his energetic imaginative work (Nostos comes to mind, and damn he hit 99% of those complex piano notes) to your's he admitted it was a dream of his to work with you under any capacity. Of course I suspect nothing will come of this but either way I think it harmless to tip my hat your way as a long-time fan who has utilized your music for motivation many, many, many times and also note that on my esoteric playlists five or six came from you and one or two came from him (Nostos, Il, Hypoctite)<br><br> Lastly, it should be noted for the historians that one time Jean-Michel Blais saved us Canadians (if you do the collective math based on viewership) a great deal of time and intellectual agony. Chevy was running commercials during the NHL playoffs (last year, not the the latest Washington Capitals win) in which an irritating scenario of "real people" were supposed to judge cars/trucks that popped out from behind sliding doors or lifted from basements (aircraft-carrier-style), and the poor fools/actors/allegedly "real people" had to say something nice about it all. It was such garbage. How splendid, how refreshing, then, that they ran a good commercial with someone just winding corners and enjoying driving the damn car to the music, which I recognized as JMB's "Hypocrite". He saved the society a good 10k hours of perniciousness.<br><br>Whew! That's all from me. Love the music, keep it up. Please give JMB a shot I think you'll find his attitude/ethic/skills refreshing. Regardless of that at least it was worthwhile of me to express my appreciation for ten years of masterful original music on your part anyway.Separate question:<br><br>Is Toby Chu part of RCP? I think he had some connections at least right?Why wouldn't Hans go all-out for something that's going to be viewed on this scale? I mean, how hard is it to compose 45 seconds of compelling, original music when you've worked on innumerable 2+ hour films?Woah, Hans actually did good work on this; it's admittedly a bit anonymous-sounding, but the combination of percussion, strings, and choir works in a way that's reminiscent of Angels & Demons (oh, those were the days...).John just precised this point, i was just too impatient ;)
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Music Scoring Mixer - Score Recordist - Music Producer
Steve JablonskyAlan MeyersonBlake NeelyBruce Fowler
ComposerMusic ProducerConductorOrchestrator
Steamboy
Label: Domo Records
Length: 60'49
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 (4963 votes)
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  1. Manchester 1866 (5:13)
  2. The Chase (5:02)
  3. Unexpected Meeting (2:20)
  4. Scarlet (1:30)
  5. Raid By The Airship (2:37)
  6. London World Exposition (3:33)
  7. The Atelier Of Ray (1:40)
  8. Crystal Palace Waltz (2:12)
  9. Ray's Dilemma (5:37)
  10. The Sortie Of Scotland Yard (1:46)
  11. Fight In The Exposition Ground (3:44)
  12. Launch! (5:23)
  13. Temptation (3:48)
  14. Fly In The Sky (1:07)
  15. Two Delusions (4:00)
  16. Collapse And Rescue (8:24)
  17. Ray's Theme (2:53)
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superultramegaa reply Replies: 13 || 2018-03-23 00:44:24
After watching the film, and hearing the music in context, I think this is one of the most perfect scores I have ever heard. People talk about Dunkirk being "inseperable from the film", this is a film that just plain wouldn't work without the music. The intensity of the battle music, the character themes/motifs, it's Danny Elfman's Spider-Man levels of perfection.

The most major thing I took away from the experience though is this: Why is Jablonsky not getting more animated films? This score is on the level of Shrek, Finding Nemo, Ice Age, and How to Train Your Dragon! Now, I know he's comfortable around action films and Bay productions, but if Steamboy is anything to go by, his talents are better suited to this genre. This score is too perfect to have been a mere fluke.

Hollywood (or his agent) needs to stop type-casting Jablonsky as a Zimmer/action-type and give him more directors and films that suit his talents. Or at least, don't force him to sound like Zimmer through temp tracks and the like. Once again, I love Transformers 1, 2, and 5. They're fun as hell and have some of Jablonsky's unique traits. But if I had a choice of 2 timelines, where I had to choose one timeline where Jablonsky somehow became a John Powell type, or one where he scored Transformers, I'd choose timeline 1 in a heartbeat.


MrZimmerFan2018-03-23 14:42:57
I don't think Jablonsky is going to be a new John Powell ;)

But this one of his most notable efforts, i will said that.


Edmund Meinerts2018-03-23 14:48:23
I don't think he means that, just that it would have been interesting if Jablonsky had gone more into animated movies like Powell did, rather than mostly Michael Bay. I think maybe we got a hint of what that could have been like with Your Highness a few years ago, a score I'll always defend, but yeah...the lack of follow-up to Steamboy is a great tragedy in Jablonsky's career.


superultramegaa2018-03-23 21:20:41
Edmund's right. It's really just sad that Jablonsky could have been one of the greatest composers ever, one with more notoriety and respect from the music community, but instead settled for being... a decent composer.

TF5 was a step in the right direction, D-War was a great monster movie score, Your Highness came close to Steamboy levels, and IDEA felt like Jablonsky's symphony in a lot of ways. But on the other end you have Ender's Game, Transformers 3 and 4, Battleship, Gears of War 2, Gears of War: Judgement, and a few others that range from ok, to flat out awful. Occasionally though you get some decent ones like Gears of War 3, and A Nightmare on Elm Street.

My point is, we get a composer overridden with bland projects, and musically inept directors, when he had the potential for being Oscar level.


MrZimmerFan2018-03-23 21:58:12
I will disagree with TF3, Ender's Game, Gears of War 2 and 3, there are good scores, altough i'm a massive fan of that guilty pleasure is Battleship ;D

And A Nightmare on Elm Street was cool.


mpolonest123 2018-03-23 22:07:55
Ender’s Game isn’t bad at all, there are some cool power anthems and orchestral moments in it. As for Battleship, while I find most of it generic, I genuinely do like the alien “MRI” sound design he incorporated.

And one of Jablonsky’s most underrated scores imo is Gangster Squad. If you want a fun Jablonsky score that strays away (mostly) from the Zimmer sound that’s it. Any score using Antz as a temp track is fine by me!


MrZimmerFan2018-03-23 22:23:00
Gangster Squad was Ok, but i prefer Ender's Game, actually the sound design in that i find it certain interesting.

In Battleship, yeah, it's nothing original, but for me, is a guilty pleasure, i love the percussion (i'm a big fan of the taiko sound)



superultramegaa2018-03-23 23:12:09
I'll try to explain myself more with the scores I wasn't a big fan of. I really like a lot of Gears of War 3. It has a lot of faster paced, melodic action cues, and the cues from Gears of War 2 are improved. Its main problem is it's not very memorable, which Jablonsky is usually able to produce.

Ender's Game I found to be a bit of a slog. There was a lot of ambient/sound design cues which I found incredibly dull. However, it's possible I was expecting too much, or maybe I was too harsh on it. I'll try to have another listen to that one.

Gangster Squad was one where I just looked at the comments to see what people thought about it, and the consensus was "it copied every recent Hollywood score", so I just skipped that one.

TF3 had a lot of good thematic material, and the finale's action music was a lot of fun, but it lacks the memorability and excitement of the first 2, or the subtlety of 5, making it fall in the middle for me. Plus the Inception sound was pretty annoying.

Gears of War 2 falls into mediocre for me. The main theme is solid, but the action is repetitive and doesn't have much variation. Plus it also wasn't very memorable. It's basically a worse version of Gears 3 to me.

Transformers 1 and 2 don't really count to me because those were more an RCP effort than a Jablonsky one. Just to clarify, I don't hate that Jablonsky went down this route. I first learned of his existence through the Transformers scores for god's sake. It's just that listening to Steamboy, it makes me sad there wasn't more of this side of Jablonsky. Oh, and honorable mention to TMNT: Out of the Shadows, that was a great superhero score!


Bayhem2018-03-25 14:09:41
So much Jablonsky talk and no one mentions PAIN & GAIN. Which, for my money, is easily one of his best - if not the best - scores. Shame that it's so underappreciated by some of his fans. It's unlike any previous Bay/Jablonsky scores. That cool late 80s/early 90s Miami vibe that runs throughout the whole score, it's just perfection. Steve himself said that he had complete freedom doing the score and it shows. When I introduce people to his music, Pain & Gain is usually the score I tend to use.

And I would like to say this: there is a reason why Steve works so much with Mike Bay. As demanding as Bay is with the scores for his movies (as he should be) when you think about it he's actually the only one who allows Steve to really experiment. I mean, Pain & Gain is a perfect example. The Transformers movies have a specific sound, but even with them Steve is allowed to experiment - for example TF3 is a completely different score from TF1. It's not like they had a gun to Steve's head and they were like: "Do ONLY the TF1 sound! Don't you dare do any experiments!". So in my opinion, the notion that Bay somehow holds Steve down and doesn't allow him to show his real talent is simply false.

Peter Berg is actually the director who wants Steve to create nothing but sound design scores. Thankfully, Bay is not like Berg.

By the way, superultramegaa. I agree with pretty much everything you said. However, I don't think it's right to think of the TF1 and TF2 scores as purely an MV/RC effort. Sure, Steve wasn't the only MV/RC composer working on them, but this is certainly not Pirates 1 situation. Steve is not Klaus Badelt. And more importantly, it's Steve himself who wrote all of the great themes from the first movie. The themes people know and love.

So I'd say that both TF1 and TF2 are very much Jablonsky scores. He had help, sure, like all other MV/RC composers who work on such gigantic productions, but still, the Jablosnky sound is pretty obvious. On the surface it may sound like a Zimmer sound, but for the hardcore Jablonsky fans (like you and me) there IS a difference between the Zimmer sound and the Jablonsky sound. Even in the most obvious MV/RC tracks Steve "inserts" some of his own stuff.


superultramegaa2018-03-25 15:16:23
Oh hey, welcome back Bayhem! That's true, I haven't listened to Pain & Gain yet. It's on my list along with retrying Ender's Game. And yeah, of course there's a lot of Jablonsky hallmarks in the those scores. "Autobots" sounds a lot like the horn and string part of Ray's Theme, "Optimus" has the heart-felt woodwind with strings similar to "London World Exposition", and some of the action has a similar pace with percussion rhythm as Steamboy. Plus a few horror tracks of course.

My point is, of course I don't think they suck for ripping off other Zimmer projects. Most of the ones he ripped off were ones he had heavy involvement in to begin with. It's more disappointment that he got so involved with Bay, who doesn't allow for more scores like Steamboy, Your Highness or even D-War. With more clever homages to scores of the genre Steve is scoring and instrument variety. Steve just needs more variety in his movie choices I think. He has talents above pure action and horror, and it would be great to hear more of his other talents.

However, I am extremely interested to hear his new scores. Apparently Game Over, Man! is getting a score release April 20, and Skyscraper is getting a July release. Hope these projects let him do something interesting with the music.


MrZimmerFan2018-03-25 15:21:09
And where is the official annucement for the release score of Game Over, Man! ?



superultramegaa2018-03-25 15:24:26
https://soundtracktracklist.com/release/game-over-man-soundt rack/


MrZimmerFan2018-03-25 15:31:28
Official, not a page when the releasing date are the same day as the movie release.

By the way, was this past Friday.


superultramegaa2018-03-25 15:36:39
It's the most official thing I've found, and it's not even close to the same release date as the film. It's almost a month after.

dark prince reply Replies: 5 || 2014-02-01 06:23:04
Amazing score by Steve Jablonsky, maybe his better score, with an inocent sound to define the protagonist, heroic and epic themes for the action scenes, this is a only score on the filmography of Jablonsky, the top defect of the composer is that he have talent, but sometimes look like he use it when he wants, like on this case and in other moments waste it, in scores like Gears of War: Judgement, Gangster Squad or Ender's Game


MacArthur2014-02-01 16:31:26
Ender's Game was great to.


Edmund Meinerts2014-02-01 17:51:15
This score is light-years beyond Ender's Game. You can't even compare the two.


Macejko2014-02-01 19:06:14
Actually, I think Ender's Game is far better than this.


MrZimmerFan2014-02-01 21:34:33
Ender's Game is a very entertaning score, but i think Steamboy is such of cool


genesis2016-06-09 05:49:20
The reason why this score is so good than any of his other scores is that the main theme/melody (Ray's Theme) is so good.

Its like John Williams score. I think the melody is up there with Superman and Star Wars.
The theme is "that" good.
I felt exactly the same with Mark Mancinas score for Twister.

Miles reply Replies: 2 || 2009-11-14 00:00:00
This an absolutely incredible score, arguably better than Transformers, even! So many memorable tunes and themes blended so well!

@Hybrid Soldier: Perhaps it's just me, but I haven't noticed any real "borrowing" by GZ other than the overarching Remote Control style. The most explicit I've heard is near the end of "Gunnar's Raid" on the Outlander CD, which is pretty much a carbon copy of Jablonsky's theme for The Island.


Edmund Meinerts2012-10-25 00:46:31
If you listen to Zanelli's unreleased cue "Escaping Cannibal Island" from Pirates of the Caribbean: Dead Man's Chest you'll hear about 30 seconds or so that are copied directly from "Fight in the Exposition Ground" from Steamboy. My jaw literally dropped when I heard that listening to the expanded DMC the first time.

...I just realized I replied to a post from 2009. *shrug*


Edmund Meinerts2012-10-25 00:49:28
This score needs way more love, by the way. As fun as Transformers is, I have to say that Steamboy is a more unique and dynamic work, one that manages to step out a lot further from Zimmer's shadow and showcase the true voice and style of Steve Jablonsky. The only other score where he got to stretch his wings like that is Your Highness...and it always makes me sad when he has to write a Zimmer copycat/sound design/headache-inducing thing like Battleship.

But check out Steamboy if you haven't yet. It's easily SJ's best :)

Adrian reply Replies: 0 || 2009-11-14 00:00:00
@ Miles,

Black Hawk down is in Outlander too!

Hybrid Soldier reply Replies: 0 || 2009-07-19 00:00:00
You know, GZ likes borrowing stuff from his pals... ;)

Deakins reply Replies: 0 || 2009-07-19 00:00:00
Yes, but these guys work in the same "enterprise" and the exchange of ideas is their strenght (and their major default for certain people).

Ele reply Replies: 0 || 2009-07-18 00:00:00
After listening to some cues in Geoff's website... i was wondering. Did he wrote any cues for this? Its strange... no additional music on this one?

Anonymous reply Replies: 0 || 2006-12-21 00:00:00
It's wonderful! I love it!

N1Ce reply Replies: 0 || 2006-08-11 00:00:00
An awesome score, i have been listening to it for over a year and had never got bored of it!

Paul reply Replies: 0 || 2006-03-18 00:00:00
A Great Score. A 15 out of 10 :):):):) Hope That Steve Jablonsky More Music Like This Composes

Shinji reply Replies: 0 || 2005-04-18 00:00:00
Definately one of the best scores i've heard from these guys in the last few months, a score that perfectly matches the pace of the movie, for example the awesome Chase scene/track. It is melodic, most of the time very rythmic and fast paced music, plus a great main theme. Jablonsky did an awesome job, and i hope we will hear more of his music soon (The Island maybe?), because he sure has some huge amount of talent hidden somewhere inside. This score is a huge step out of Zimmer's shadow.

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Steamboy soundtrack - Steve Jablonsky 2004