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About his studio at RCP, is it rental or he owns the stuff? What happens to the gear when he is not around?That is probably the fairest thing anyone on this website will say about Clemmensen. :P@Anonymous<br><br>Christian Clemmensen believes that Hans Zimmer found his definitive voice back in the 1990s with scores such as Driving Miss Daisy, Rain Man, Crimson Tide, and Lion King. However, he has in reviews of later scores compared Zimmer's overly obvious chord progressions and masculinity with what the "rock ballad" did to rock-n'roll music of the '70s. To him, it's overly powerful, unsubtle, and aggressive music that appeals to the gut more than the heart or the mind. Some of Zimmer's most popular scores such as Gladiator, Pirates, and The Dark Knight he has given middling reviews for because the general sound is derivative from his earlier works, not colorful, and not creative. He also accuses Zimmer of starting a trend with overly-recycled, bombastic, masculine action music that's big on density and power and low on subtlety and personality. <br><br>I can definitely see where he's coming from, one cannot deny the similarities between Crimson Tide, Lion King, Gladiator, Pirates, Dark Knight and so forth. One also cannot deny that scores such as Dunkirk and Blade Runner 2049 qualify more as sound design than actual symphonic music (mostly). However, if he had his way, every film score would be shamelessly optimistic and flighty, all major chords (and occasionally alternating off-key), with prominent woodwinds and metallic percussion. He definitely knows what he's talking about, but he has an ideal image for film music in mind, and that very much comes through in his Zimmer reviews, some of which I think deserve much more credit than he offered (Pirates 3, Da Vinci Code, and Gladiator come to mind).a more orchestral fury roadTom is gonna score Mortal Engines<br>What kind of sound do you expect?
He has a studio at RCP but mostly work from his own home studio. His business is "Sacred Tiger Music."<br>Does Henry actually work for HZ at RCP or does he have his own film score company now like HGW?Why filmtracks always behave very Aggressive about hans zimmer and always trys to make his scores worthless ??!! Its odd for meAw Hell...<br><br>I guess it never did freeze over.Sorry, I should've been more specific. This is a comment I had originally posted on the Filmtracks forum, NOT from a Christian Clemmensen review. My bad.
Referring to the previous comment (how did it not reply to the the previous message?)That's not the actual review. The length is a pretty big giveaway. Also, I'm fairly certain he's still given some RCP efforts some good scores.WOW....color me impressed at Filmtracks. I thought that site was anti-Zimmer in all aspects far, wide, near and dear.Copied from Filmtracks:<br><br>Excellent score - a little slow in the middle third*, but some really stirring fantasy-adventure elsewhere. "The Internet" is Cue of the Year material. Although it's odd how little synth there is here, particularly in the finale, where the orchestra seems to completely take over; this isn't too bad of a thing because Jackman's orchestral skills are downright breathtaking at times. The references to other Disney scores/musicals (yes, including Star Wars) left a big dumb grin on my face.<br><br>*I get the sense that this movie might be too long (1 hour and 52 minutes).No you're not. I think Jackman has made some great score over the last through years.<br>And I think this is one of them. Both tracks with or without electronics
So I guess I'm the only one who likes less-electronic-Henry?Henry has been removing electronics for 4 years now...Listen to<br><br>A Big Strong Man In Need Of Rescuing.<br><br>That whole track is a damn easter eggI haven't seen the movie yet but I like the score more with each listen. Not a classic Zimmer by any means but still an enjoyable listen at its short running time. Looking forward to the movie as well.This is me or Henry Jackman removed the electronics this year it could be affect to the predator score because I was thinking about the predator score affect him to remove electronics and turned serious & dramatic. That's weird when Henry Jackman used a lot electronics & fun since 2009 to 2017 with his scores.
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Trevor RabinPaul LinfordBob Badami
ComposerAdditional MusicMusic Supervisor
Glory Road
Label: Hollywood Records
Length: 34'43 (Score: 6'44)
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4785 votes)
  1. People Get Ready - Lyfe Jennings & Alicia Keys (2:43)
  2. Ain't That Peculiar - Marvin Gaye (3:00)
  3. Uptight (Everything's Alright) - Stevie Wonder (2:54)
  4. Dancing In The Street - Martha Reeves & The Vandellas (2:40)
  5. I'm On My Way To Canaan - Mahalia Jackson (3:23)
  6. Can You Do It - The Contours (2:20)
  7. Shake It Up Baby (aka Twist And Shout) - The Isley Brothers (2:30)
  8. Down In The Boondocks - Billy Joe Royal (2:36)
  9. I've Been Loving You Too Long (To Stop Now) - Otis Redding (3:13)
  10. Ain't That Good News - Meditation Singers (2:40)
  11. I Will Make The Darkness Light - Alicia Keys & Trevor Rabin (2:25)
  12. Glory Road - Trevor Rabin Featuring Alicia Keys (4:19)
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rockhound reply Replies: 0 || 2015-07-15 09:35:09
Thank you for uploading the Glory Road Suite. I wished this would be the suite on the official cd. So there is an unofficial version of this score with the complete music from the final game with vocals by alicia keys and not a studio singer. good to know. :)

RUDY reply Replies: 0 || 2008-09-20 00:00:00
... and RUDY!

Mikel S.i.W (from Spain) reply Replies: 0 || 2008-09-20 00:00:00
Oh yes! Goldsmith´s RUDY is Inmortal. A love that piece.

kelby reply Replies: 0 || 2006-01-27 00:00:00
Glory Road was one of the best sports movie i have seen in a long time. it was wonderful!

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Glory Road soundtrack - Trevor Rabin 2006