So Peter's a racist dick?

Just to throw a few pennies in this mess of a thread, I like it. Very experimental and something I would and will enjoy more on later. You just either like Hans Zimmer for who he is or just don't. No ill-will about it.

The coolest part of this soundtrack is track number 4 from 6:42 until 07:00. That is 18 seconds of total awesomeness. The rest not so much. I wish there where more parts like this.

There MAY be, in the actual film score which we all know is never well presented on the official releases.

What is going on in this thread?

So, my CD finally arrived today... and I can find nothing wrong with the score (except the sound, but that has nothing to do with the music... not directly anyway). I think, people would consider me to be a member of the 'old guard'... but what�s there NOT to like? For Hans Zimmer, it�s fairly inventive and right now I�m falling for the idea that this collaborative effort might have been a very good idea. When was the last time for an action/superhero movie with 'Hans Zimmer' tagged onto it where one could hear a main theme in major mode?? Combining baroque with dub-step? Sounds good!

I find the electro-effects for tracks that (probably) feature the character Elektro a bit cheap and in-your-face... but hey, it�s not an arthouse movie (which I don�t like anyway).

Regarding Zimmer being a copycat: the main theme is definitely more than influenced by Copland's 'Fanfare for the Common Man'. Or it might evoke that feeling purposefully. When I try to hum the theme, I automatically switch to 'Back to the Future' by Alan Silvestri. Whatever it was influencing it, it�s also like a faint shadow of Horner's theme (progression is similar). Maybe they all share Copland's 'Fanfare' as a common ancestor. Anyway, I love this theme! And I�ve never expected it from Herr Hans.

Haven�t heard all the music yet... but the things I did listen to, felt more than OK to me.

EDIT: Oh, and who said something about filmscores formerly being an artform? That�s not true, filmmusic has always been (by definition) functional music in the first place. The concept of scores being an artform follows closely behind. It�s simple because it�s written to accomodate a movie. Without the movie it wouldn�t exist. The soundtrack CD is 'only' an afterthought. Why do you think composers like John Williams or Hans Zimmer are producing suites for their CDs? They know perfectly well, that a CD needs a certain push to be able to stand on its own feet.

Are filmscores commercial? You bet they are. They are a combination of commerce and art. But classical music from Beethoven or Mozart is the same: Mozart took a lot of money for his compositions, Beethoven had a patron of the arts.

I�m not saying that scores shouldn�t exist because of that. Of course they are an artform. An artform created with a clearly defined purpose: to support a movie.

I suspect this will fit the film perfectly. And so, by the only real measure that matters, it will be considered a successful score. And yes, that hero theme IS there and is NOT buried. It runs through almost all tracks, is noticed and featured in action movements. All that is certainly true.

What is going on in this thread?

So, my CD finally arrived today... and I can find nothing wrong with the score (except the sound, but that has nothing to do with the music... not directly anyway). I think, people would consider me to be a member of the 'old guard'... but what�s there NOT to like? For Hans Zimmer, it�s fairly inventive and right now I�m falling for the idea that this collaborative effort might have been a very good idea. When was the last time for an action/superhero movie with 'Hans Zimmer' tagged onto it where one could hear a main theme in major mode?? Combining baroque with dub-step? Sounds good!

I find the electro-effects for tracks that (probably) feature the character Elektro a bit cheap and in-your-face... but hey, it�s not an arthouse movie (which I don�t like anyway).

Regarding Zimmer being a copycat: the main theme is definitely more than influenced by Copland's 'Fanfare for the Common Man'. Or it might evoke that feeling purposefully. When I try to hum the theme, I automatically switch to 'Back to the Future' by Alan Silvestri. Whatever it was influencing it, it�s also like a faint shadow of Horner's theme (progression is similar). Maybe they all share Copland's 'Fanfare' as a common ancestor. Anyway, I love this theme! And I�ve never expected it from Herr Hans.

Haven�t heard all the music yet... but the things I did listen to, felt more than OK to me.

EDIT: Oh, and who said something about filmscores formerly being an artform? That�s not true, filmmusic has always been (by definition) functional music in the first place. The concept of scores being an artform follows closely behind. It�s simple because it�s written to accomodate a movie. Without the movie it wouldn�t exist. The soundtrack CD is 'only' an afterthought. Why do you think composers like John Williams or Hans Zimmer are producing suites for their CDs? They know perfectly well, that a CD needs a certain push to be able to stand on its own feet.

Are filmscores commercial? You bet they are. They are a combination of commerce and art. But classical music from Beethoven or Mozart is the same: Mozart took a lot of money for his compositions, Beethoven had a patron of the arts.

I�m not saying that scores shouldn�t exist because of that. Of course they are an artform. An artform created with a clearly defined purpose: to support a movie.

It was I who said something a few pages ago about scores being an artform, and to some extent I happily agree with your post. They are primarily a product to serve the visuals, but as I had mentioned composers like Herrmann believed that the music should be more than a product, it should stand outside of the film.

I actually prefer a complete/sessions presentation of Williams' scores and anyone elses for that matter because we get the whole picture, the whole narrative. People find me untoward for liking the most incidental "crash-bang" noises, or "the boring parts". I guess I just love every part of orchestral film music!

Williams' uses of the liet motif makes hearing the entire score, as written, in order a must. Now I do not mean the entire score as heard in the film. THAT is an editing of the original narrative after the fact. I mean as written. Empire again is a supreme example. Every character, every setting, every set piece has it's own set of themes. Of atmosphere. Hoth sequences are never heard through the cloud city scenes. All of the character's themes grow and intertwine through the scene's given sounds and combine. That story is told musically. So to cherry pick a certain piece here and there, put it on an album and then judge the whole on it is unfair. That said, Williams himself does just that. For a more balanced listening experience. Assumes one might not sit down and listen to the entire score but rather perhaps merely 40 minutes. Certainly this was the case with LP's.

And as I keep saying, remember the composers do not have any kind of say over the final sound of their work or how it will be used in the film. (see Aliens...) They may intend "stand alone art" but directors and editors most certainly could care less about how the public will judge a score outside of it's function in their film. Actually, a good one cares about how the film functions without the score. Not every scene, moment, emotion or eye blink needs a"BWAAAAaaaaaaaammmmmm......:awsm:

amen.

oh, and just because, the foghorn sound so elegantly portrayed in this and other posts...
it's in nolan's script.

Thank you very much!

thanks man

Ya know, it's not half bad. I'm not even going to try to guess who actually wrote any of it, but I like most of what I'm hearing. Electro's stuff is a bit obnoxious for me, but you catch it. Seems fitting, anyway, since I always thought Electro was an obnoxious villain. I really like what I'm hearing for Harry Osborn. So dark, yet so quiet and simple. "Harry's Suite" is quite the gem, if you ignore the fact that the last third of the track has the exact same electronics from TDKR.

Still think Christopher Young had the best crack at a Spider-man score thus far. His style fit Raimi's so well and the score sounded like it was right out of a comic book. But this is, at the very least, an interesting listen.

Still think Christopher Young had the best crack at a Spider-man score thus far. His style fit Raimi's so well and the score sounded like it was right out of a comic book. But this is, at the very least, an interesting listen.

Nothing will top Danny Elfman's Spider-Man theme, but Young's Black Suited-Spidey theme is boss

Ya know, it's not half bad. I'm not even going to try to guess who actually wrote any of it, but I like most of what I'm hearing. Electro's stuff is a bit obnoxious for me, but you catch it. Seems fitting, anyway, since I always thought Electro was an obnoxious villain. I really like what I'm hearing for Harry Osborn. So dark, yet so quiet and simple. "Harry's Suite" is quite the gem, if you ignore the fact that the last third of the track has the exact same electronics from TDKR.

Still think Christopher Young had the best crack at a Spider-man score thus far. His style fit Raimi's so well and the score sounded like it was right out of a comic book. But this is, at the very least, an interesting listen.

Cheese, for me this has that Ultimate Spidey wacky groove. I think it will work well.

Thanks for the link!

Seems to me most of the haters just immediately rant about Zimmer in general, yet bypass the other people involved in this particular score. If they didn't like the score, where's the shared hate for Pharrell Williams, Johnny Marr, or the dubious "Magnificent Six?"

Call me insane in the membrane... but I found something very interesting in disc 1, track 15-- Sum Total. At around the 1:15 mark, that part reminds me of the opening sequence to Crysis 2 (co-composed with Lorne Balfe). Strange... but I like that. Fits the image of the Green Goblin character in that picture.

Listening to it now, the stuff for Electro's really giving off a (don't kill me) "Duel of the Fates" vibe... wonder if the vocals are going to stay in the film.


Cheese, for me this has that Ultimate Spidey wacky groove. I think it will work well.

I agree, one thing you have to hand to Zimmer/RCP is that they sure do know how to deliver exactly the right sound.

Call me insane in the membrane... but I found something very interesting in disc 1, track 15-- Sum Total. At around the 1:15 mark, that part reminds me of the opening sequence to Crysis 2 (co-composed with Lorne Balfe). Strange... but I like that. Fits the image of the Green Goblin character in that picture.

I've heard parts of Carter Burwell's Twilight in it, briefly


Listening to it now, the stuff for Electro's really giving off a (don't kill me) "Duel of the Fates" vibe... wonder if the vocals are going to stay in the film.

Good Lord, I hope not. The chanting is awful and ruins the rest of his theme. I wish we could get those tracks w/o the chants

That definate is the crysis sound effect that zimmer used in his crysis 2 theme. awesome!

Nothing will top Danny Elfman's Spider-Man theme, but Young's Black Suited-Spidey theme is boss

It's interesting, because even though there is a clear theme in there, for years the common consensus was "what theme?" when it came to Elfman's Spider-Man.

Then, when Amazing came out, that all seemed to change!

At least one thing is certain (to me at least), whatever the preference is, all the different Spider-Man themes work, just as all the Batman themes work. :)

It's interesting, because even though there is a clear theme in there, for years the common consensus was "what theme?" when it came to Elfman's Spider-Man.

Really? I've always been able to recognize it, it's right there. I can even point out the times it plays throughout the trilogy.


all the different Spider-Man themes work, just as all the Batman themes work. :)

Elfman's will always be the fan favorite, but I'm gonna have to choose Zimmer's (do your worst, haters!!). Although, Elfman's does hit home with me because I'd always watch the 90's cartoon Batman when I was young(er) and his theme in the opening credits was something I always looked forward to

I've never seen any sort of need to compare the different Batman themes, because they all work for their respective interpretations of Batman. Attempt to mix and match and they don't work. I guess time will tell how Spider-Man is perceived in this kind of situation. I like Elfman's and I like Horner's, and I'd have to hear Zimmer's in context with the film to get a real sense of it. It'll be interesting because Horner's and Zimmer's ultimately could be compared for no other reason than they are for the same interpretation. Not that I'd personally want to compare (never been into "which is better than the other") more of a preferential thing.

Love Elfman's Batman theme, love Goldenthal's Batman theme (Forever, not Batman and Robin), love Zimmer / Howard's as well. Walker's was awesome for The Animated Series as well.

Thanks for sharing~~~~~~~~

Just chiming in again to say it definitely works better in the film. I've seen twenty minutes of the film and can say the music used fits well.

I love Harry's Suite, in some way it's progressions are similar to the Ode To Harrison suite by Michael Giacchino which I also love!

Thanks Goback.

I've heard parts of Carter Burwell's Twilight in it, briefly



Good Lord, I hope not. The chanting is awful and ruins the rest of his theme. I wish we could get those tracks w/o the chants


I've seen the movie and ALL the chanting is definitely there, and believe me it's not under-mixed like the TDKR chant was. Almost every time you see Electro on screen, you get these little voices on the music. And you know what? It works INSANELY well in the movie. It's a big part of Electro's character, it matches exactly the weirdness of the man and the mad, crazy fury of the monster he becomes. This chanting is one of Hans' most brilliant ideas in a long time. And I say that as a fanboy!

I amend my earlier statement about the score. I saw the full movie on the weekend and the score fits rather snugly in the film. Sometimes the chanting was a bit incessant but I'm hoping that was to reflect the character. I was hoping there would be more to the instrumental side of Electro's theme instead of the dubstep blasts, like perhaps some ever growing, rising and falling theme like Sandman's theme from SM3.

Agreed, after watching the movie, I also feel that the score does fit well enough. However, it just doesn't make for a great listening experience on CD. Elektro's theme is just too obnoxious, the hero theme too underdeveloped, and except for Harry's Suite it's all rather boring on its own.

I did enjoy the movie, though, and recommend watching it instead!

There are definitely some edits done to the music that the score didnt pick up though
particularly noticed these during 'My Enemy' and the final battle with Goblin

I amend my earlier statement about the score.

Hey, I don't think this score is anywhere near the greatness achieved by someone like John Williams or Howard Shore, or Giacchino for that matter, but I think it works well with the visuals it's trying to add to. Still, Zimmer needed six people and more to write THIS? I thought they might've come up with a greater tapestry, but what i've learnt from the RCP team is that composing scores with a dozen writers like a puzzle doesn't feel as cohesive as one composer with an orchestrator or two...

Earlier this morning, I had seen The Amazing Spider-Man 2 in 3D... 24 hours after the film's release in the United States-- my country. Not to add spoilers or any fillers, I thought the music that Hans & The Magnificent Six have composed and performed... they have done an AMAZING job. It's a pity that 70% of them are not in the finalized Deluxe Edition (minus the recording artists and suites). I'll look forward to either the complete film score or recording sessions within the next few years.

Thank you!

Awesomeness! Thank you!

Thanks a lot!!!

To those of you who have seen the movie, did you sit through the end credits and listen to the music? Was it something that can be found on the album? If so did it sound exactly the same or was it a variation?

I enjoyed the film and music. The acting and emotional scenes were really done and felt very genuine. I liked Electro I just wish he was more strongly written.

Does anybody know how to re-order the soundtrack to match film? It's very obvious let her go and rest of my life are one cue and flow perfectly into each other yet they are split up on the soundtrack @_@

I enjoyed the film and music. The acting and emotional scenes were really done and felt very genuine. I liked Electro I just wish he was more strongly written.

Does anybody know how to re-order the soundtrack to match film? It's very obvious let her go and rest of my life are one cue and flow perfectly into each other yet they are split up on the soundtrack @_@

From H-Z.com:

There He Is
I�m Spider-Man
Cold War
No Place Like Home
Ground Rules
Look At Me
You Need Me
So Much Anger
My Enemy
I'm Moving to England
You�re My Boy
I Need To Know
Special Project
Sum Total
We�re Best Friends
Still Crazy
I Chose You
I�m Goblin
Let Her Go
The Rest of My Life
You�re That Spider Guy

After download I thought the music sucks, but I have seen the movie and the music fits there perfectly and I think Zimmer finally wrote theme for Spidey that is easy to remember. Thank you, Hans!

After download I thought the music sucks, but I have seen the movie and the music fits there perfectly and I think Zimmer finally wrote theme for Spidey that is easy to remember. Thank you, Hans!

Hans Zimmer wrote nothing.... the spidey theme is a note for note rip off of aaron copland fanfare for the common man ..... Don�t believe me ... here ya go have a listen

https://www.youtube.com/watch?v=4NjssV8UuVA

Hans Zimmer wrote nothing.... the spidey theme is a note for note rip off of aaron copland fanfare for the common man ..... Don�t believe me ... here ya go have a listen




https://www.youtube.com/watch?v=RFZrzg62Zj0

OK, Hans and his minions copied a and remixed 70 year old fanfare, but atleast they used it to create easy to remember and recognizable Spidey theme ;-)
https://www.youtube.com/watch?v=7S8SAYtIVnc

Hans Zimmer wrote nothing.... the spidey theme is a note for note rip off of aaron copland fanfare for the common man ..... Don�t believe me ... here ya go have a listen

https://www.youtube.com/watch?v=4NjssV8UuVA

to me hans' theme is pretty much james horners minus 1or 2 notes and a difference in transposition. Also if you was to adjust the pitch to match horners theme it starts and end with the same notes. i dunno if this really matters but I'm just saying.


anyway apart from that i have managed to make an edit of the soundtrack in more or less film order. a couple of tracks i have left them crossfaded because they are in the right order plus it doesn't ruin the pace as they are short
and I've done a film-ish version of I'm Spider-Man and Cold War in one track that crossfades into No Place Like Home

here is the link of I'm spider-man and cold war edited together if someone wants it. its end to crossfade into No Place Like Home as on the deluxe album

aac 277 vbr
http://www.sendspace.com/file/fllho1

https://www.youtube.com/watch?v=RFZrzg62Zj0

Tell that to everyone who harps on Horner.

Hans Zimmer wrote nothing.... the spidey theme is a note for note rip off of aaron copland fanfare for the common man ..... Don�t believe me ... here ya go have a listen

https://www.youtube.com/watch?v=4NjssV8UuVA

Really? This is not a "note for note rip off". Is it similar? Yes...

Really? This is not a "note for note rip off". Is it similar? Yes...


don't be in denial.... it's practically note for note :0)

don't be in denial.... it's practically note for note :0)

I'm not in denial. I even mentioned that it sounded similar. But if it was note for note, it would sound exactly the same, which it does not.

There's also the Australian Channel 4 news theme 'Best Endeavors' as well.

Channel4 News - YouTube (http://www.youtube.com/watch?v=iyaXhplaSQ4)

Since when did the meaning of the term "similar sounding" change to "note for note ripoff"? Did I miss something? So they sound similar, big deal. Jablonsky's "It's Our Fight" from DotM sounds very similar to Zack Hemsey's Mind Heist, and Michael Wandmacher's "Mass vs. Acceleration" from Drive Angry is nearly identical (I'm actually using the term "nearly identical" properly here) to Zimmer's Mombasa from Inception. And let's not forget Tyler Bates straight up plagiarized Elliot Goldenthal's Titus. Move on, people.

I have come for your Hans Zimmer.

Thanks for the share. I love Zimmer.
I don't love Garfield though. :notgood:

I have come for your Hans Zimmer.

Thanks for the share. I love Zimmer.
I don't love Garfield though. :notgood:

Likewise. This is why I didn't see #1 (I have now, since I saw 2 on Sunday). I didn't like the look of it, wasn't fond of the Spidey suit and the CGI looked like shit. And it was. Lizard was an abomination. But #2 was great. I will give Mr. Garfield props for a "not bad" American accent, though. I think the moment I decided I wanted to see this was when I found out Jamie Foxx (an A-list Oscar winning actor) joined. I was psyched when I saw the leaked set pics of him in Electro garb and makeup. And then it was announced Zimmer would be composing and I shit a gold brick

Likewise. This is why I didn't see #1 (I have now, since I saw 2 on Sunday). I didn't like the look of it, wasn't fond of the Spidey suit and the CGI looked like shit. And it was. Lizard was an abomination. But #2 was great. I will give Mr. Garfield props for a "not bad" American accent, though. I think the moment I decided I wanted to see this was when I found out Jamie Foxx (an A-list Oscar winning actor) joined. I was psyched when I saw the leaked set pics of him in Electro garb and makeup. And then it was announced Zimmer would be composing and I shit a gold brick

I think Garfield is a PERFECT Spider-Man! Peter Parker on the other hand... not great, but not bad either...

I think Garfield is a PERFECT Spider-Man! Peter Parker on the other hand... not great, but not bad either...

He's a little too cocky, I was sitting there like "alright, enough already. We get it"

Since when did the meaning of the term "similar sounding" change to "note for note ripoff"? Did I miss something? So they sound similar, big deal. Jablonsky's "It's Our Fight" from DotM sounds very similar to Zack Hemsey's Mind Heist, and Michael Wandmacher's "Mass vs. Acceleration" from Drive Angry is nearly identical (I'm actually using the term "nearly identical" properly here) to Zimmer's Mombasa from Inception. And let's not forget Tyler Bates straight up plagiarized Elliot Goldenthal's Titus. Move on, people.

Again, tell that to the people who harp on Horner. ;)

Tell that to everyone who harps on Horner.

"You wanted to be the hero. And now you gotta pay the price!"

Again, tell that to the people who harp on Horner. ;)

I don't know who harps on Horner, I don't even do that. All I'll say is that almost everything sounds like Titanic. While that may not be the right way to state it about scores that predate it, you know what I mean. Jumanji, Aliens, Casper, TASM, Avatar, The Pagemaster, Willow...I'm sure I'm missing some. I can even recall watching some of these films without having known Horner was the composer and then saying to myself "this is James Horner, it sounds exactly like Titanic and a lot of his other scores". That's not a bad thing. I'm just saying that not every single composer has an entirely new and different sound that no one has ever heard before

*I think I use Titanic as a reference because that's the Horner score I associate with most

Having seen the movie, I'd really love to have a full score leak. Seems like there was quite a bit left off of the soundtrack, especially with the final fights at the end.

well the final Goblin fight is fully there
the final Electro fight only has the starting theme

This wold fit well into inception. Better then inception ost in my opinion

thanks !

Thanks!

thanx ^_-

Thanks!!!!1

Thanks!

Thank you

Here you go someone... a new avatar -

Where's "The Edge"?

So no ones got the version with Tonight Alive - The Edge on it??

Thank you so much for the upload. I just hope that someday we get a complete recordings collection. I want to hear the full piece during Peter's depression after Gwen's fall. Especially with those haunting choral textures in the background. Was very sad to find that piece wasn't on the soundtrack.

Sweet

Thank you so much for the upload. I just hope that someday we get a complete recordings collection. I want to hear the full piece during Peter's depression after Gwen's fall. Especially with those haunting choral textures in the background. Was very sad to find that piece wasn't on the soundtrack.
I agree. I've missed those "haunting choral textures" as well. Those 33 seconds of "let her go" (track 12) are not enough.

Thanks!

The Amazing Spider-Man 2 - Hans Zimmer and The Magnificent Six [Deluxe Edition] (OST) (2014)



The Amazing Spider-Man 2
Hans Zimmer and The Magnificent Six; Pharrell Williams; Johnny Marr
Released: 2014
Format: MP3 160kbps
Size: 142 MB



Tracklista

"01. I'm Electro [00:47]
02. There He Is [02:54]
03. I'm Spider-Man [01:04]
04. My Enemy [08:18]
05. Ground Rules [01:12]
06. Look at Me [03:10]
07. Special Project [03:14]
08. You Need Me [03:17]
09. So Much Anger [02:12]
10. I'm Moving to England [01:03]
11. I'm Goblin [03:42]
12. Let Her Go [00:34]
13. You're My Boy [02:57]
14. I Need to Know [05:00]
15. Sum Total [02:51]
16. I Chose You [01:34]
17. We're Best Friends [02:17]
18. Still Crazy [02:42]
19. The Rest of My Life [02:28]
20. You're That Spider Guy [05:30]
21. The Electro Suite [12:36]
22. Harry's Suite [10:07]
23. Cold War [03:28]
24. No Place Like Home [01:53]
25. It's On Again (Alicia Keys feat. Kendrick Lamar) [03:50]
26. Song for Zula (Phosphorescent) [06:10]
27. That's My Man (LIZ) [03:47]
28. Here (Pharrell Williams) [04:38]
29. Honest (The Neighbourhood) [03:57]
30. Within the Web (First Day Jam) (Czarina Russell; Hans Zimmer and The Magnificent Six) [04:31]
31. Ohne zur�ck zu sehen (Tim Bendzko) [03:39]
32. Electro Remix (Alvin Risk and Hans Zimmer) [03:28]"



ul.to


http://uploaded.net/file/xkuvkgny/TASM2-HZ.rar

rg.to


http://rg.to/file/d54daf5b37dd67c561272fdb15307e8b/TASM2.HZ.rar.html

freakshare.com


http://freakshare.com/files/k7s15kx5/TASM2.HZ.rar.html

rapidu.net


http://rapidu.net/3843303439/TASM2-HZ.rar


Enjoy and Please Say Thanks :)




I don't trust any of these sites.

I don't trust any of these sites.

So then go download Lockdown's FLAC version.

I wish you had one long post for me to quote, as you quoted collection's entire post. Never understood that. It's obnoxious.

Thank you very much! :-)

Any chance for a Re up?

A Re-upload would be great!

:)

Thanks!