Main Themes by Hans Zimmer Music Produced by Hans Zimmer & Lorne Balfe Music Composed by Lorne Balfe
Additional Music: Mark Mancina, Nick Phoenix, Thomas Bergersen, Dave Metzger, Jacob Shea, Noah Sorota & Atli Örvarsson Additional Arranging & Programming: Bart Hendrickson, Clay Duncan, Ryeland Allison, Andrew Kawczynski & Tom Broderick Music Editor: Daniel Pinder Music Production Services: Steven Kofsky Music Supervisor: Tom Broderick Score Wrangler: Bob "call me old fashioned" Badami
Music Mixed by Alan Meyerson Additional Engineering: Katia Lewin Palomo, Slamm Andrews & Jeff Biggers Assistant Engineer Adam Schmidt Production Coordinator for Hans Zimmer: Andrew Zack Music Mixed at Remote Control Productions, Inc.
Release date : 06/01/2010
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Zimmer's Opening Title track is really an underrated gem of the last decade as far as themes he's written go. It harkens back to his 90's sound, a la The Rock, and presents a genuine, tuneful, heroic theme that I wish he'd revisit. It's awesome. Much more interesting to me than his "take a couple notes and see what you cab do with them" approach he's started since working with Chris Nolan.
I quite agree. I'd love to hear Zimmer do an action movie and write a theme like he did for MW2, but I really doubt he'll do that. This was already 7 years ago. He's moved on in his style. :( I don't mind his new style, but a throwback would be cool.
I'm sorry if this has been discussed here before, but it would be cool to get a definitive answer to this question to clear up something I've been curious about forever:
Did Hans have a hand in the "Extraction Point" theme? One, it has always struck me as *sounding* particularly Hans-like (along with "Code of Conduct"...). Two, the cover says, "Main ThemeS" by Hans Zimmer, and while we know he did Opening Titles, the word "themes" implies more than one track.
Is there any chance for this score to receive the proper credits?
These are the credits as I have them, but I've completely forgotten where I got this information from or whether it's legitimate at all (the lack of any co-composed cues makes me rather suspicious), so take this with a grain of salt:
Does Two Steps From Hell compose things like this?
Very possible they do compose for film trailers, and the video game music is similar in the way it's written, whereas film score is a little less repetitive
You have, like, zero idea what you are talking about, MacArthur. It appears to me that you just put random words together and hope they'll make something that resembles a sentence. There is just no way - NO WAY - Two Steps From Hell will compose a score for a videogame. Ever.
And you know this because..................Oh wait you don't.
What I was saying was a GUESS. Mike was wondering if they would do a video game score and I said it's POSSIBLE. Because if they were paid enough money I'm sure they would do it.
With that definition - would you also say it's "very possible" for Ennio Morricone to score Avengers 2?
MacArthur, you really need to stop. Your comments are getting very annoying. Behave yourself a little bit more, please...
Ennio Morricone If he was offered. again it also has to do with who the director wants to do the picture. I took a GUESS and said it was a possibility. I did not say it was going to happen Heck....Zimmer could score Avengers 2. Like I said it is just the Director's choice.
Also if you don't like our conversations you don't have to say anything. Mike and I were having a conversation if you don't like what I have to say, just don't comment on it. we are talking about music composer's and possible music composer's. From what I'm grasping that's what we are supposed to comment on right.
And if you don't like the way I type, or have a problem with what I say, Get a life. Because I'm allowed to have an opinion as well. that is what this site is for.
You don't understand. Guesses don't work this way. They need to be based on something logical, but yours wasn't. You just pulled a random name out of your ass and said it was "very possible for them to score Call of Duty" because "they do compose for film trailers, and the video game music is similar in the way it's written, whereas film score is a little less repetitive". What kind of guess is that? You could put there literally any trailer music group (Audiomachine, X-Ray Dog, Immediate Music...) and the result would be the same.
Picture this dialogue: x - Anyone knows who will compose a score for The Avengers 2? Y - I guess it's very possible for Ennio Morricone to do it. X - How do you know that? Y - Well, he composes film music, doesn't he?
You've done the same damn thing. It wasn't offensive or harming in any way, it was just incredibly stupid.
Like I said It was possible. But I understand that there are hundreds of film composer's. I'm Just saying that of all of the Hundreds Two steps from hell would be seriously cool.
Heck, Like I said. Zimmer Could come back and score this game. I don't know.
I was trying to engage in a conversation with Mike, cause also if you didn't know other topics can come out of these conversations and I think it was rude of you to just come in and say your "stupid" or an "a**" you know if you have a problem leave it alone.
You don't have to comment on something if you don't like it.
Not to depart from the original topic, but MacArthur makes a good point: as scared as I am of this idea, Zimmer COULD score Avengers 2. I thought for sure he wouldn't be attached to a Marvel film, but then we got the Spider-Man news.
Well, Silvestri's score (and his Captain America score) was by far the worst piece of superhero music I have ever heard, so I would be glad if Hans (or practically anyone from RCP) did it instead of him.
I liked the old-school style of Captain America. We got a fanfare march. That just doesn't happen anymore. But The Avengers was insanely forgettable. I almost always notice the music while I watch a movie, but I don't remember any of what was in there.
Agreed! Captain America, I enjoyed it and Thought that the Fanfare was Totally America. It was a nice score. The Avengers though I thought was very good as well. (I have the Soundtrack)
You know I said Two steps from Hell Because they also did the Vietnam Documentary It's a war film and a couple of all the guys who did that did some sort of Video Game
And they did music in this very game... :P
Some of the things you say, Macejko...I mean, Silvestri's Captain America and Avengers scores were admittedly forgettable outside of their main themes, but worst superhero music ever? Honestly?
And MacArthur, you're a damned fool.
I seriously cannot think of a worse example than those two, Edmund. I've seen pretty much every modern superhero movie there is, and I've heard their scores, too. Silvestri is a bloody good composer, capable of creating great themes and soundtracks overall, but his Avengers and Captain are a total travesty in my opinion. Only the main theme of the Avengers is more or less good.
I didn't like Batman and Robin's score. The theme was okay, IF you could totally remove it from the awful film and view it as a piece of music. I found that difficult.
Agree with Macejko here. The Avengers score was just dull. Given that Marvel have no idea what "musical continuity" means, it's very possible they pick up Hans for Avengers 2.
As a fanboy i'd be delighted. Batman? Zimmer. Superman? Zimmer. Spiderman? Zimmer. Avengers? Zimmer. It would be another proof that he's still the king of modern filmmusic :p
Btw, the official website for "Captain America 2" has a track by Henry Jackman, it sounds pretty good imo.
I'm still seriously of the opinion that Zimmer should be the designated DC guy, but stay the heck away from Marvel. lol. But yes, Marvel has no idea what musical continuity is.
@Ds - that is exactly what I don't want to have happen. It was bad enough in the early 2000s when Danny Elfman was doing practically every comic book movie that came out...but Zimmer is starting to develop this really annoying ultimate monopoly on superhero scores. I don't even think he's that good at them to be honest, and yeah, obviously that won't be a very popular opinion here, but I just don't particularly like his brooding pounding non-thematic approach. When he occasionally breaks out of that shell into something a bit more heroic and emotional ("Like a Dog Chasing Cars" or "An Ideal of Hope"), I like it, but for the most part it seems very mono-mood and, honestly, dull. Silvestri's more old-fashioned scores for Avengers and Captain America are nowhere near what those movies deserved (I mean, look at what an awesome score he did for that awful Sylvester Stallone Judge Dredd movie), but they're refreshing if for no other reason than they aren't afraid to go for some propely heroic brass fanfare. Real brass, not that synth crap Zimmer is obsessed with lately.
So, long story short, if Zimmer gets hired on Avengers 2, I'll...I'll...scream with impotent rage. And start a petition or something. :p
I agree, Edmund. Zimmer has shown that he can write something big and heroic, but he insists on being a minimalist and having people "earn their themes". I get the idea, but I feel like he may be taking comic book films a little TOO seriously. I also agree that he's gotten a monopoly on the genre. Still, I like his Batman music a lot and would say Man of Steel was good for the most part--though its use in the film left a lot to be desired.
I guess part of my appreciation of Zimmer's Batman music particularly is that I really like this incarnation of Batman, and I feel that the music Zimmer wrote nails said incarnation (even if the insistence on minimalism was sometimes aggravating and some of his music for the villains was just obnoxious). They totally could have used the awesome part of "Like a Dog Chasing Cars" in the Pruitt Building scenes, but no, they went and used a cue similar to "Train Fight". I was disappointed when I saw the movie and found the former piece unused.
Speaking of that, that is certainly something I would say Zimmer superhero scores could work on--villain themes. The Joker theme was "something Hans wanted us to really hate", and it fit the film despite its near-unbearableness to listen to, so I'd actually give that one a pass, but I felt like a lot of the music for Bane was just...ugly. Muscular and no-nonsense, but not great as a listening experience except on occasion. And the music for Zod and the Kryptonians in Man of Steel was rather generic. Bad? No. Great? No. It could have been a lot more.
Disagree about man of steel. and Edmund you are a fool because Zimmer actually does use brass I talked to one one my friend's who is a horn player in an orchestra and he said that the way Zimmer uses his horns is possible. And the use of the man of steel music in the film I thought made it a lot better.
Now granted I don't want Zimmer doing every Superhero movie that there is but for the majority of composers that are out there I think that Zimmer or one of his people would do it best. And Zimmer's superhero scores have been amazing. and I don't expect anything less of Amazing spider-man.
And for a little additional info, Richard Watkins is Zimmer's Horn Player.
Amazing how this went from COD to superheroes. lol.
Yes, Zimmer uses real brass players but he then "overdubs" them with his original samples and ends up drowning out whatever organic tone was there in the first place. At that stage it sounds so fake that he may as well never have bothered with the orchestra in the first place. Save a bit of money that way.
The sad thing is, most people probably can't even tell the difference.
That's kinda the point cause Zimmer is the Father of mixing Synth and Real Instruments in movies. so all the things that he does with the brass is Real and I don't think sounds like a Sample. I listen to John Williams A lot and find a lot of similar stuff in terms of the horn so in reality there really is no difference at all.
So you're saying the brass in, say, Williams' Superman theme vs. Zimmer's "Ideal of Hope" cues sounds exactly the same? You can't hear how thin and tinny and, frankly, cheap Zimmer's sounds in comparison? And I'm fine with him being the pioneer of mixing synth and orchestra or whatever. He's done some amazing work in that field. But what I don't like is when he uses synth to cover up the existing orchestral performances. IMO you should only use electronics to produce sounds or tones that you couldn't get using an orchestra. John Powell gets that; you can always tell what's what in his scores, and I love it. It's what makes his music so colorful.
What Edmund said.
How to Train Your Dragon was all samples just FYI. and Believe it or not, yes Zimmer's brass in Man Of steel was real and is definitely possible. Now they didn't sound the same, but it's all on how the horn player play's it. I have studied music for a long time and believe me it is possible. Williams Horn Player's don't attack or put as much hard breath into it whereas Zimmer's Players put sharp breath's into it (Therefore Creating the BRAAAAM). Or Sharp and tinny sound as you say. that's why he uses Watkins one of the best horn player's in the WORLD.
I see that he does use synths in the music but I don't get how or why you say that it "overdubs" cause he doesn't. He uses a main thing and he knows not to over ride that.
And Also another score by Powell that was all Samples. was the Bourne scores and I quite frankly thought that those were some of his best scores (Also Read The Zimmer Article). so stop complaining about samples and the thing that I definitely know that when Zimmer does sample he always uses real people and records them (Martin Tillman) then uses his program to mix it and put it on screen. so even on his program you can hear in essence a concert hall. Get it.
I really don't think you have a clue what you're talking about, MacArthur. Powell's Bourne scores were most definitely not done with only samples; there's plenty of drum loops and synths in there, but the strings are real orchestral strings. You can tell because they sound, for lack of a better word, "meaty" - you can never quite get the same sound out of samples.
Although I do agree that some of the brass in How to Train Your Dragon sounds like synth at times (one of the very, very few bad things I have to say about that otherwise phenomenal score), but at others it sounds very organic and "real".
As for Zimmer, you act like I'm denying he uses live players; I'm not. His soloists, Martin Tillman's cello for example, are obviously live recordings. But just listen to the Sketchbook from Man of Steel (which is all samples) and compare it with the same music in the actual cues from the score, which allegedly contain the real orchestra. I can't tell the difference, can you? And that's because he overdubs the orchestra with his samples. It's a well-known fact that he does this (so stop denying it), and it bugs me because it makes his scores sound low-budget and cheap when there's no reason for it to. Even by the standards of today's samples (which are quite high - just listen to Jeremy Soule or Two Steps From Hell), Zimmer's just don't sound as good. And I bet it's intentional, I bet it's because Zimmer gets so used to the sound of his music on his own keyboard mockups (like the sketchbook) that he doesn't want to change it at all. And I don't like it one bit.
Now I agree about the Sketchbook. but When It comes to his string samples his do sound real believe me. I have done and been in orchestra hall's and Zimmer's sounds real.
Powell's drums especially in the Bourne 3 In the track "waterloo" those drums are samples and Zimmer's Stuff even though it is samples as you say. it does sound quite real and I think it sounds more real that two steps from hell (The track "Fill my heart) Zimmer's Sketchbook sounds more real than that. Now granted I like them Both. But I can tell the difference. and I think Zimmer's are better and more real sounding and he has adapted to the modern sound better than any composer in my opinion. (In a sense he pioneered it with the Batman Scores. (Read Dark Knight Booklet). So that's why in my opinion Zimmer is the best.
MacArthur, just stop with your subjective "facts" and ill-informed critique. "They sound real, believe me." Who is to say that something sounds real because you happen to say so? Honestly, man, give it a rest, geez...
Hybrid - a little housework is needed here bigtime!
What You don't seem to get is they are not subjective. I'm backing Zimmer's because people slam his use of synths and I've had concert hall experience and I say it sounds real.
I've played in a fair few orchestras myself and I say it sounds fake. We're going in circles.
We'll Just have to agree to disagree then. No Big deal, you have your opinion and I have mine.
Just One Question if you don't like Zimmer why do you follow him.
This will no doubt come as a surprise for you, MacArthur, but liking or loving somebody else's work doesn't mean you have to worship every single thing they do, or every single aspect of said thing. And Zimmer is not Jesus nor is this Twitter, so nobody follows him. (and don't you dare ask me if I'm a catholic or any similar "doesn't-make-a-sense" question, or I'm gonna loose it)
"...liking or loving somebody else's work doesn't mean you have to worship every single thing they do, or every single aspect of said thing."
I don't use this as "Twitter". I use it to create my point, and I think mine was a good one. You just happened to Disagree. I don't worship Zimmer, and I wasn't going to ask you if you are catholic cause obviously you haven't shown it (Hence calling me an a**). And I don't Necessarily like everything Zimmer has done. If you think that, you're an idiot. Most of his stuff I find very good I think that he is the best film composer out there and that is my opinion. (The Lion King I didn't Think was that great.) I think that Crimson Tide should have won before that one did. So your Info about me and everything you assume about me is false.
And The question I was asking is why are you on here if you don't like Zimmer. and I didn't say that you had to WORSHIP him either.
I do like Zimmer. A lot of his music I absolutely adore. But that doesn't mean I think every score he does or every choice he makes is a good one.
I miss the good old times without MacArthur around.
Funny, that's what they said in Korea in the 50s too.
I miss those times too...
Actually the thing about MacArthur In Korea was a very bad decision. (Not a lot of time to go into it)
but I do get what you say about some of ZImmer's decisions some I don't care for either.
Bundy you're just being annoying. You haven't said anything worthwhile accept say they are stupid or wishing people would leave. we are actually talking about Zimmer and his music choices. If anything I think we ALL even Me need to work on communication. and not just slamming people for having an opinion.
1 more quick thing without MacArthur, You'd be speaking Japanese right now.
Learn some english grammar, Mac.
What did I say that was not good english?
Never Mind I get you eXe.
Looks like the composers are daniel clem and rick sakruai
IT's like they took all the toxicity on the site and just compressed it into this thread. Amount of rudeness and namecalling is brainnumbing.
Ok so I did a little reading into it, and on some sites they said Hans collaborated with Lorne on some of the tracks as opposed to just producing it. Is this true or is this false a little help if you don't mind.
Cause I hear Balfe use Zimmer's theme in Extraction Point "Code of Conduct and a few other's help.
Ok so here's what i've got. by Hans Zimmer Opening Titles (Hans Zimmer) Extraction Point (Hans Zimmer) Guerrilla Tactics (Hans Zimmer) Code of Conduct (Hans Zimmer) Chain of Command (Hans Zimmer)
Thats what I've heard and i'm guessing from knowing Zimmer's style
Wrong. Only opening titles is Zimmer. Don't believe what iTunes says.
Though to be fair, if I had heard that a lot of these tracks were Zimmer and didn't know better, I'd believe it.
Ok I'm just going by what I heard and the style Zimmer uses is almost exact in the tracks i listed I knew the rest were Balfe
It's true. "Code of Conduct" especially is trademark Zimmer, POTC-esque stuff.
I think the track "Ranger Victory Theme" which is in Extraction Point was Zimmer because that is one of the Main Themes in The game. Of all the Tracks i Listed Zimmer's Themes are all throughout the tracks and used 95% of the time so i would say that these tracks are written by Zimmer and also the track safeguard
No, believe me, Zimmer really didn't write much here...
does he ever actually "write"?
Yes, he does, but that isn't the topic of this conversation. The topic of this conversation is his involvement with this particular score.
Ok but like I said it sounded like Zimmer and I know that he didn't do much of this score but i Know that he had some slight involvement in MW2 in the tracks I listed. and I know that he collaborated on this score a little not so much but a little. it's like Lorne on Inception just vise-versa Zimmer doing a little and Lorne Doing the Majority because i do know that on the tracks i listed he did have some involvement.
This is the only Balfe score that I really think is good. not usually a fan of Balfe cause he repeats himself to much if you do it twice thats fine. but over and over again it gets old. Zimmer I from what i've heard doesn't usually repeat himself more than twice. from all the soundtracks I have of his. and also the way Lorne Orchestrates his music is just not as good as Zimmer's. that is my opinion. Zimmer's is more full than Balfe. another one who has a full sound and doesn't tend to repeat himself is Steve Jablonsky hence my 2 favorite composers. Zimmer is definitely my all time favorite. and for you people who say that he doesn't Compose. of course he does MoS TDKR POTC etc. get a life
Yes bundy what are you saying that he doesn't write give the score name's.
Well see, Zimmer might have given some level of input on the other music (since he was the score producer, he would have layed out the general direction to take with the music as a whole), but I'm pretty sure the only writing Zimmer did on here was the "Opening Titles" piece (which was reprised for a few moments as the closing titles after Nikolai says, "Da, I know a place"--it then segues into Lorne's "Extraction Point" cue). Maybe Hybrid can prove me wrong, but I think Zimmer only did Opening Titles (though Lorne and others occasionally and briefly reused that theme in their own cues). It's like Skylanders. Hans did the theme and gave input to Lorne, but didn't do any of the other composing.
I think Hans wrote the whole opening titles, and Lorne et al took the opening violin statement played by Noah Sorota and turned it into a recurring motif.
How much did Zimmer have to do with this score as a whole? I get that he composed the main titles, but the end credits list him as the score producer, and sites like iTunes and Dave Metzger's site credit the score to him without Lorne's name attached. So what does it mean, in this case, that Hans produced the score?
Hybrid, do you know who worked on each campaign mission of the game or no?
Atli worked on Favela levels...
I know Mancina/Metzger did 3 levels, but not which ones...
It's a complicated case...
I don't know about the individual missions, but on this release:
Opening Titles = Hans Zimmer Extraction Point (listed as "Moscow Action" on his site) = Lorne Balfe Retreat and Reveille (listed as "Threat" on his site = Lorne Balfe) Onwards (listed as "Onwards Action" on his site) = Lorne Balfe Chain of Command (listed as "Reload" on his site) = Lorne Balfe Coup de Grace (listed as "Threat Adiago" on his site) = Lorne Balfe
Nick Phoenix did Deadline. Funny because that track sounds completely "90s Zimmer" to me.
Then Noah Sorota apparently did the music while Soap and Roach are climbing up the ice, or some variation on it (it's called "Cliffhanger: Stealth" on his site. It's not on this release though.
I would assume judging from Hybrid's respond that Atli Orvarsson did Guerrilla Tactics. But neither he nor Mark Mancina have any MW2 music on their sites.
I can't help thinking that Mancina did the Crow's Nest and Ordnance parts of DC, but I might be wrong..
I believe Mark Mancina did the snowmobile-escape sequence ("Safeguard") - but again, I have no actual proof. :)
Bioscope: I think "Ordinance" sounds like something from Lorne rather than Mancina (mainly because of those short horn-pulses ... he used similar technique in Ironclad, Megamind, The Sweeney and Crysis 2 :) ).
Out of curiosity, Prott, what makes you guess that?
You mean why I think Mancina did Safeguard? It kind of reminds me of his writing style (mostly in Speed 2).
There's a photo of Brian Tyler, Hans Zimmer, and Christopher Lennertz together. It's neat because they've all worked on a war game (Brian Tyler did MW3, Hans Zimmer did MW2, and Christopher Lennertz did MOH Rising Sun and European Assault). Their styles all are different.
I think Michael Giacchino (sp?) was there too and he did a lot of the old MOH games and the first COD.
Michael Giacchino's Medal of Honor scores are some of the best things ever! The Medal of Honor main theme to the original game, "Manor House Rally", "Operation Market Garden", "The Rowhouses", "Arnhem", and "Kleveburg" from Frontline, the theme used in Medal of Honor: Vanguard... :) Ahh, they make those games a joy to play!
Christopher Lennertz's MOHs were great too :)
Indeed they were. I didn't have Rising Sun very long. My PS2 broke down shortly after I got the game. :( But I used to just keep European Assault on the main menu and let the theme play. :)
Who thinks COD Ghosts will be composed by an RCP member?
Well, two of the Infinity Ward games have been (Harry Gregson Williams and Steve Barton for MW1 and Lorne Balfe and Hans Zimmer for MW2), so I wouldn't be surprised. But there's no way of knowing right now. And besides, MW3 was done by Brian Tyler, not someone from RCP. Either way, I bet a prolific composer will be hired. With the exception of World at War and Black Ops, Hollywood composers have been hired for every COD game since #4.
I wish Brian Tyler had incorporated the themes from COD4/MW2 in some way. I liked the scores to all three games overall but there wasn't any continuity. Although I must say I thought they got worse as they went. COD4 sounded dark, suspenseful, and serious, MW2 sounded more movie-ish but still epic, and MW3 sounded too "heroic"--it made it feel more like an action film than war. Not that there's not a place for heroism, but IMO it was slightly overdone in the third one.
I'm inclined to agree with this. I don't know if the themes from the other two games, or a hybrid of them, would have worked, but I do think the score sounded like a "typical" modern action film (does anyone else think of Transformers when hearing the Modern Warfare 3 theme?). Oh, and let's not forget the appearance of the Bourne theme in the "Return to Sender" mission! :P Don't get me wrong, I do like the score, but if you've heard a modern action score, you've heard MW3.
1.Main Menu 2.For The Record 3.S.S.D.D. 4.Survival Skills 5.Danger 6.New New 7.Crime Wave 8.The Most Powerful Military Force 9.Armored and Combat 10.Cliffhanger 11.Espirit de corps 12.Downed ACS Module 13.Escape from Tein Shan Mountain Base 14.Snowmobile Chase 15.Airport Massacre 16.Kilinka 17.No Russian 18.Rio de Janeiro 19.Takedown 20.Guerrilla Tactics 21.Rooftop Fight 22.Wolverines! 23.U.S. Army Rangers 24.Brazilian Militia 25.Favela 26.Rooftop Escape 27.The Only Easy Day... Was Yesterday 28.Vikhorevka 36 29.Breach 30.Extraction Point
1.The Gulag 2.Prisoner #627 3.Gulag Liftoff 4.Of Their Own Accord 5.Heliride 6.Ordnance 7.Stealth Job 8.Contingency 9.Second Sun 10.Aftermath 11.Whiskey Hotel 12.Retaking the Whitehouse 13.Loose Ends 14.Safehouse 15.DSM Download 16Retreat and Reveille 17.Coup de Grâce 18.The Enemy of My Enemy 19.Shadow Company 20.Pickup Deadline 21.Just Like Old Times 22.Infiltration 23.Protocol 24.Siege 25.Desert Drone 26.Boat Ride 27.Endgame 28.End Credits 29.Special Ops
indeed, who cares? we have the recordings, so who cares about a custom list?
Who knows what the tracks worked on Mark Mancina, Noah Sorota and Atli Örvarsson?
If you scroll down for a little bit you should come across a post made by Bondo that lists the credits for each track. However, it sounds like it's just what Bondo has figured--it might not be official.
Also, I think Noah Sorota may have some Modern Warfare tracks on his website (which, of course, would mean those are the ones he worked on). I don't know about the other composers though.
My notes are based on composer interviews and what is available on their official sites. So probably 95% accurate
Brian Tyler`s Score for Modern Warfare 3 is awsome!!! amazon.com/Call-Duty-Modern-Warfare-3/dp/B005ZLRT5S/ref=sr_1 _9?ie=UTF8&s=dmusic&qid=1320043685&sr=1-9
Now that's amazing!! Let's hope that the full score tops MW2.
I'm pleasantly surprised, those samples actually sound really nice.
The Score is Awsome, great, amazing!!!
The score is now available on iTunes and Amazon.
Buy it !
Trent Easton Navarro
Listening to it now. It's better than the samples had me believe. But it's still a shame that such a talented composer like Tyler is forced to write in the RC mode. Tyler is way more talented than this.
The score for MW3 is very 'Tyler' for me, not so RC. I can feel THE FAST & THE FURIOUS and RAMBO in it and it's still highly enjoyable. The main theme in "Call Of Duty: MW3" is epic catchy so far. "I Stand Alone", "Battle For New York", "Paris Siege", and "First Contact" are also my favorite tracks.