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Wasn't expecting any of that so I'm not disappointed :D <br><br>So apparently this is out as well as The Golden Circle.. listening now. Can’t believe I missed this.And that's why it bugs me so much lol. They're literally the biggest studio out there, so it would've been nice to see them go to the max with this release. Especially since it's one of their most popular IPs if not their most popular IP.BLU-RAY SPECIAL FEATURES:<br>Deleted Scenes:<br>Edwards Air Force Base<br>Charles Returns Home<br>Mission Prep<br>Beast MIA<br>Charles Says Goodbye<br>Rise of the Phoenix: The Making of Dark Phoenix (5-Part Documentary)<br>Scene Breakdown: The 5th Avenue Sequence88<br>How to Fly Your Jet to Space with Beast<br>Audio Commentary by Simon Kinberg and Hutch Parker<br>*Commentary available on Blu-ray, iTunes Extras and Movies Anywhere only<br>-----<br>no Hans (making of) and no isolated score :/ damn...Hey, this is Disney we're talking about. Never expect this sort of thing for that. The ONLY film from them that immediately springs to mind that got that the first time round was Frozen.
I feel like this is simultaneously the most enjoyable and least interesting Zimmer score of the last several years. It's nice to listen to, but it's basically the 1994 score rerecorded and tweaked in just a few places. Those tweaks do produce some highlights especially in the stampede and final battle sequences, but it's hard to think of this as a major effort, really. Yeah, it's good, but we've known that The Lion King is good for 25 years.I seriously don't understand why they didn't do two separate releases like most musicals do (La La Land comes to mind - perfect release). <br><br>A soundtrack album and a score album. No missing tracks, no fuss. And optional 2-CD set containing both.<br><br>Instead, they went with a soundtrack album with some of the score and another song album for whatever reason that is lol.The second half of the new "Elephant Graveyard" is basically note for note "I Was Just Trying to Be Brave" from the 1994 version as well, just with a few changes in orchestrationThis is only HGW's score, a good chunk of it was rejected.Wonder if it will take 20 years for an official complete score XD Not to mention any unofficial leaks (it took a long time to even get that for the original film). TBH, I'd prefer a proper release of any score any day of the week.<br><br>To answer the question above me: Mostly it's new material using the same themes from 1994, though if my interpretation the OST is correct, the hyenas and Timon and Pumbaa get new themes. The only true 'copies' of music from 1994 are Circle of Life and Remember, but even then, they are at least partially-new recordings.
Do we know who wrote what?Is it all material from 1994 or is it new 2019 score?I confirm I'm back from it, there's quite a bit of unreleased score.Well, now we have somebody who's seen it (and yes, it's out in some countries today), we know for certain.<br><br>I wouldn't expect anything official any time soon unless Zimmer wants to release a second CD.I absolutely love Kai’s theme in this score, there are so many cool variations that weren’t on the initial album. Hans and Co. really stepped up their game here. I don’t feel the temp as heavily here as KFP2 (which is still an amazing sequel score).
Saw the film today, there is a LOT of music missing.As stupid as this film is, you can tell Tom probably had fun working on it. The music is so over the top, it just goes nuts all the way through.This is one of those scores that I have really warmed up to since it’s release. The emotional stuff for Alita works really well in context and her “Hero Theme” gets some great development (the way it culminates in “Epilogue” is incredible). Also really love the “Motorball” stuff. <br><br>After seeing the film I think the only substantial music not on the album is “Motorball Plan” and “Alita’s Revenge Pt. 1”. The end credits piece I’m guessing is edited from the Full Motorball Suite.Hybrid, did Lorne actually do a lot of writing on this one or is he just being credited for the theme?We've had this argument before, almost any score can fit in a film. But what separates the mediocre composers from the best is the ability to make great music that works on its own, outside of the film. <br><br>Hans has had a lot of work lately that hasn't been doing that, and it's the reason people want him to work with orchestra again and produce is 2000s, late 90s type of style. Because those scores, for whatever problems they had, they felt distinct, memorable (for the most part), and easily could have been enjoyed away from the film.<br><br>Good scores have themes and ideas that both enhance the film, and enhance the listener's experience. Music like Dunkirk, Inferno, or Widows just feel like shallow and empty committee scores that the studio/directors didn't want too much thought put into. "Ah just write one main theme, and fill in the rest with electronics, Hans, it'll be fine!"
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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 (5398 votes)
  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