Orlando Love

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-   -   POTC: AWE Soundtrack (http://orlandolove.net/orlandolove/showthread.php?t=9630)

Neldorwen May 2nd, 2007 07:10 AM

POTC: AWE Soundtrack
please mods, remove if this new thread is not correct:

here you can hear to some sounds from the AWE OST
(head ups from KTTC)


and this is the cover of the upcoming CD (pic taken from Amazon.com)


princessoftroy May 2nd, 2007 03:47 PM

Has a release date been set yet?

Neldorwen May 2nd, 2007 06:53 PM


Originally Posted by princessoftroy (Post 507453)
Has a release date been set yet?

according to Amazon, the release date is May 22

Shallow May 2nd, 2007 07:04 PM

GOSH !!! I've just heard the samples and the soundtrack sounds terribly good !!
The soundtrack look so rich compare to the POTC I soundtrack.
The "One Day" sample sounds like Gladiator (aah Hans Zimmer...)

princessoftroy May 2nd, 2007 10:54 PM

The songs I heard sounded good!:D I can't wait to buy the soundtrack!:cheerlead :smitten:

Artanis May 2nd, 2007 11:25 PM

Thanks a lot for that, Nel. I'm a music freak, and a soundtrack nut. I have to have the music with my movies. I fully intend to buy this when it comes out. Though...they should have put more than just Jack on the cover.

Meneander May 2nd, 2007 11:29 PM

Oh dear. "Parlay" just sounds awsome! I already love it! Can't wait until it's finally starting!!! :cheerlead

anuk May 3rd, 2007 12:42 AM

Awww! I want this CD!

Andnolewen May 3rd, 2007 03:06 PM


Originally Posted by Neldorwen (Post 507412)
please mods, remove if this new thread is not correct:

here you can hear to some sounds from the AWE OST
(head ups from KTTC)


*preorders* :cheerlead

Llyneth May 3rd, 2007 07:03 PM

Thanks Nel! I had been looking around for a place that had some sneak sound bites from it. Wish it would come out a bit earlier though, than three days before the movie release!

Neldorwen May 3rd, 2007 08:34 PM


Originally Posted by Llyneth (Post 507651)
Thanks Nel! I had been looking around for a place that had some sneak sound bites from it. Wish it would come out a bit earlier though, than three days before the movie release!

here there are examples for all the tracks! :D


Etoiline May 3rd, 2007 11:03 PM

Oh my Bloom, that's *gorgeous*. I can't wait to have this one! Thanks for the Soundtrack.net link, Nel!

There are some awfully curious song titles there, no? Makes me wonder what's happening along with the music :)


Artanis May 3rd, 2007 11:21 PM


Originally Posted by Neldorwen (Post 507658)
here there are examples for all the tracks! :D


I love you, dear. Now my life is fulfilled...until POTC 3 comes out, that is.

Thanks, Nel. :hug:

kikisarah May 3rd, 2007 11:56 PM

" Parlay " it's a music of western movie LOOOOOOOOL , thank you so much for the link :wink2: .

princessoftroy May 8th, 2007 11:39 PM

I agree Artanis!!:D They had more people than just Jack on the front cover of the last 2 so why should it be any different?:confuse:

ambayuun May 11th, 2007 09:35 PM




Oscar-winning composer Hans Zimmer sometimes talks to himself. Well, maybe more than sometimes -- especially when he's working on the epic score for the second "Pirates of the Caribbean" sequel and comedic music for "The Simpsons Movie" at the same time. Zimmer says he likes using all his creative juices at once.

He worked for five months with director Gore Verbinski and producer Jerry Bruckheimer on "Pirates of the Caribbean: At World's End," which hits theaters May 25.

Sequels often can be a creative trap for composers, who can fall into a rut, especially on a third film. Zimmer instead wrote 80 minutes of entirely new themes, including a 12-minute suite for the Orlando Bloom-Keira Knightley romance.

"We were coming to the end of a trilogy, and everybody put in so much work," Zimmer says. "It just felt like the right thing to do -- to go and dig a little deeper and not just do the same thing. The story has evolved and the actors have evolved."

He recorded with an 80-piece orchestra in Los Angeles and London. Perhaps inspired by Keith Richards' cameo in the film, Zimmer used the Rolling Stones as his muse and approached the music as if scoring a "biker" pirate movie. In fact, drummer Simon Phillips, of the Who and Toto fame, plays percussion.

The soundtrack to "At World's End" will be released May 22 on Walt Disney Records.

Artanis May 11th, 2007 10:49 PM

Thanks for the info, amby. I can't wait for it to come out.

Eowadia May 13th, 2007 05:02 PM

Can't wait for the album to drop!!!
The music is always so great! thanks for the info

ambayuun May 15th, 2007 01:30 AM

Pirates of the Caribbean: At World's End
Reviewed by Mike Brennan of FILM MUSIC


[Rating - 4.5]

Pirates of the Caribbean: The Curse of the Black Pearl unknowingly set the stage for an intricate franchise in terms of plots, characters, and musical themes. The original score was written quickly by numerous composers and was heavily mixed with synthesizers. This gave the score a very direct structure with memorable theme after theme being thrown on screen without any subtlety. The result of this was the creation of a hugely successful score and the foundation for better scores to follow. Pirates of the Caribbean: Dead Man's Chest, with Hans Zimmer now officially at the reigns, did two things: rework elements of the first film's score into a more intricate, diverse, and complex score, this time with a full orchestra, and expand upon the Curse of the Black Pearl foundation with a number of new themes. The epic nature of this film franchise leads fans to wonder what the finale will bring. For Pirates of the Caribbean: At World's End, Zimmer brings to bear the full arsenal of themes and musical ideas from the first two films to create a whirlpool of action-packed, heroic score in a level of thematic complexity that is astounding. This review will only scratch the surface.

I have struggled over how to structure this review. Readers can view SoundtrackNet's First Listen for what each track contains, so I will examine the score in two ways: how certain themes are used and developed through the score, and how this album ranks in the grand scheme of Hans Zimmer's past works. More than having a large number of themes weaving in and out of the score, Zimmer wrote two new themes: the Love Theme, and the Pirate Theme (based around the song "Hoist the Colours"), both of which are very long and broken up into multiple segments. This leads to a level of thematic complexity that rivals most other franchises. Surprising are the few prominent themes from the first two films that were not included, at least on the soundtrack. Foremost among these is the moving cello theme from the first film that was fully orchestrated for the final scene of Dead Man's Chest. Due to its prominence in the first two films, this was a surprise. Other themes, such as the Black Pearl Theme and Tia Dalma's Theme, appear once or twice on the album, but no more than expected as new, more important themes rise to the foreground.

The first theme I want to discuss is first introduced in the opening track in the form of the song "Hoist the Colours". This is, basically, the Pirate Theme and has multiple parts to it, which can be identified by following the progression of the song, beginning with the boy through the addition of the male chorus. I call this the "Pirate Theme" because one of the main elements of At World's End is the addition of new pirate characters that unite against the East India Trading Company in the film. When one thinks about it, there really weren't many real pirates in the first two films. Curse of the Black Pearl featured an "undead" crew and the renegade Jack Sparrow, who didn't even have a ship. In Dead Man's Chest, I don't recall any actual piracy occurring, just chasing and being chased by Davy Jones. So finally, we get to see a greater expanse of the pirate's world in At World's End. This is expressed with the Pirate Theme as one of the major thematic focal points of the score. Additionally, this theme - along with the even more central Love Theme - brings the swashbuckling element to the score that even critics of the first two probably will enjoy.

Curse of the Black Pearl was heavily criticized by certain film score fans for two reasons: that is was mixed heavily with synth, and that it lacked the swashbuckling quality of other pirate films, such as Cutthroat Island. At World's End corrects both these issues. Curse of the Black Pearl could even be said to be the "synth mockup" of this score, at least in regard to the original themes - they sound better and are further fleshed out in their orchestrations. In fact, some of the brass performances during the action sequences are simply stunning. So what is swashbuckling anyway? It basically means action-packed, but here, I suppose it means in regard to pirate films. Cutthroat Island remains the prime example of a modern swashbuckling score, though Zimmer himself has achieved this sound once before in Muppet Treasure Island. The two new themes - the Pirates Theme and the Love Theme - are well suited for being adapted to action scenes and are done so often. The best example is the cue "Up Is Down" which actually sounds a bit like the Muppet Treasure Island main title. While this score does lack the orchestral bombast and countless triumphant fanfares of Cutthroat Island, Zimmer makes an amazingly good attempt at creating a soundscape suitable for the pirate world. In this score, he utilizes harpsichord and other instruments that give parts of the score a certain period feel. In addition, Zimmer, for probably the first time in a Bruckheimer production, uses prominent woodwinds often, giving this score a much wider spectrum of orchestration that even Cutthroat Island did not boast. Bits of choir behind the action sequences ("What Shall We Die For") further flesh out the score.

Okay, so back to the Pirate Theme. "Hoist the Colours" introduces the two main elements of this theme, the first sung by a boy, the second by a male choir; this latter part is the theme's main part and is varied in its statements throughout the score. This theme is not used until halfway through the album where it gets its first orchestral statements in "The Brethren Court". The orchestral variation of the melody, especially when backed by choir, reminds me of James Dooley's choir theme from SOCOM: U.S. Navy SEALs Combined Assault. It is used in the middle of this cue and is followed by a quirky statement of the melody by an accordion and recorder, adding to the "period" feel of the score. This theme returns in "What Shall We Die For" with a drawn out version of the main Pirates Theme variation. The choir comes in singing the lyrics to "Hoist the Colours" for a nice, epic reprise. The other use of this theme on the album is interspersed with the Love Theme and "He's A Pirate" rhythms during the second half of the major action sequence of "I Don't Think Now is the Best Time" where the subtheme based on the boy's portion of the song returns.

Now for the complicated part of the score: the Love Theme (which is basically the film's main theme). This was a huge melodic suite that Zimmer broke up into multiple parts for various purposes of the score. This way it gets very nice statements and also very loud, bold statements for action scenes. The theme, as a whole as well as its individual parts, is extremely versatile and this characteristic is utilized in full. Love Theme A is heard first in "At Wit's End" in a quiet French horn solo. Love Theme B is a descending motif, kind of like the dark motif from "Anakin's Dark Deeds" in Star Wars: Episode III - Revenge of the Sith. This is hinted at in "At Wit's End" between A statements and then in full a bit later on. The motif version of this theme is the descending notes, the full version has a melodic pattern not unlike the heroic theme from The Last Samurai, which follows the ethereal vocals in "At Wit's End" beneath a high string countermelody, which I will return to. In the last segment of this cue, Zimmer introduces an action motif based on Love Theme B, which is also a descending three note melody, like the beginning of his theme for Batman in Batman Begins.

The theme(s) comes back in "Up Is Down" in a fast-paced cue, which has a moving ostinato string line that follows the melodic pattern of the theme. Love Theme A is performed by the brass over this line. The cue ends with the B action motif. Zimmer flips around some of the note patterns in this cue, hence the title. Most themes in the Pirates trilogy start with the same three ascending notes, but here Zimmer puts them in a descending pattern. For the Love Theme B motifs as well, which descend, this gives At World's End a darker, more epic feel, which is appropriate for the final film, as Williams did for Revenge of the Sith. To drastically simplify, Love Theme B is the descending second half to the ascending Love Theme A. At least in certain forms, of which there are many. Love Theme A is also performed on a solo oboe at the start of "I See Dead People in Boats" (what an awesome track title!), a sound that is relatively unheard of to date in Bruckheimer productions. Then, more at home for Bruckheimer, Love Theme A gets a Morricone-influenced statement in heavy guitar in "Parlay". Yes, this sounds like Broken Arrow, but that was an ode to Morricone too!

Toward the end of "I See Dead People in Boats", we are introduced to a drawn out melodic version of the Love Theme B, which could be considered a C Theme. This only returns a few times on the album, mainly as a huge orchestral moment at the end of "I Don't Think Now is the Best Time". This finale action sequence cue is the culmination of all the themes and features both the Love and Pirate Themes, in most of their variations, interspersed with various Jack Sparrow themes as well. What is interesting about this chaotic theme conglomeration is that a fast short-string ostinato keeps a steady pace through the entire sequence, kind of like the action climax from King Arthur. The final two tracks on the album are big orchestral conclusion cues featuring the Love Themes. "One Day" opens with a series of brass chords over a moving string line in a near identical pattern to the wedding scene at the end of King Arthur, as Jack's Heroic Theme from the first film is played over it. Then, in order, Love Themes A, B, and C are stated in full. These three are stated again in "Drink Up Me Hearties", which sounds like an end credits suite.

I have mentioned in a couple previous reviews (such as The Island) that there has been a certain trend in recent scores from Zimmer's studio that feature a style that utilizes an underlying moving string line. King Arthur, Batman Begins, and The Da Vinci Code are good examples of this. With At World's End, Zimmer takes this further - as he did with a number of things with this score - and adds a new level of complexity to it. An example is the ostinato line from "Up Is Down", which is later used as a backing rhythm to the final theme statements in "Drink Up Me Hearties". "I Don't Think Now is the Best Time" contains a moving line under the majority of the 10+ minute track in a style like "Hello Beastie" from Dead Man's Chest. In the first part of this cue, the moving line is an ostinato variation of Beckett's Theme (aka the East India Trading Company Theme) from the second film. Alternately, there is a moving string countermelody, ascending/descending, that is played over Love Theme B on a number of occasions, first in "At Wit's End" and then prominently at the end of both of the last two tracks. This countermelody almost takes on a life as a stand-alone motif in two places. First, it is stated dramatically by the low brass directly after the Love Theme C statement and then again at the very end of "One Day" by a flute, as a fading away afterthought.

I know, I need to wrap this up! Those are the major themes and we haven't hit on the smaller ones. The multiple Jack Sparrow themes by this point are used frequently, unlike in Dead Man's Chest, but are generally interspersed within statements of other themes. The action motifs from the cave scene in Curse of the Black Pearl appear at the end of "I Don't Think Now is the Best Time" as well. The new pirate character, Sao Feng (Chow Yun Fat), gets a new theme, which is most apparent in the "Singapore" cue played on the erhu and has a sound style similar to parts of The Last Samurai. I do want to just mention the uses of my favorite theme from the franchise, which is for Davy Jones. His music box/organ theme from Dead Man's Chest is stated briefly again with chimes in "At Wit's End" before the theme gets a new arrangement for Jones' more action-based sequences in this film. Following the music box statement, we get a full orchestral statement which possesses more power than those from Dead Man's Chest. This theme returns at the beginning of "I Don't Think Now is the Best Time" in a militaristic style which actually sounds a lot like the main theme to The Rock. Beckett's Theme is heard throughout the score, but with a new brass melody, often in relation to either Davy Jones' Theme or Sao Feng's ("Singapore"). It is also given a tragic choral quality in the final action sequence ("I Don't Think Now is the Best Time").

Okay, I'm almost done. Clearly I like this score. Hans Zimmer has upped the ante for action scores by utilizing hugely complex themes, full orchestra and choir, electronic and ethnic elements, and multiple solo instruments like accordion, erhu, harpsichord, banjo and music box. This franchise has come a long way from the original score, even when compared to the change from postmodern to epic choir in the Matrix trilogy. I think this score has all the elements a modern pirate film needs and finally stands up to Cutthroat Island. I know it's early, but this is one of the best scores of the year.
The DESCRIPTION of the Soundtrack from SOUNDTRACK.net *maybe spoilerish*


Pirates of the Caribbean: Dead Man's Chest became the most successful movie of 2006. Composer Hans Zimmer, who had written themes for the first Pirates film, took over the scoring duties and delivered a score that resulted in a smash soundtrack success, selling over 220,000 copies worldwide. Expanding on the original score, Zimmer created new themes for the villains (Davy Jones, Beckett and the East India Trading Company, The Kraken), as well as giving Johnny Depp's Jack Sparrow a few new themes of his own.

Now Zimmer returns for the next film in the trilogy, Pirates of the Caribbean: At World's End, and he's bringing a whole boatload of new themes to add to the ever-growing pile of thematic booty. He's also bringing along the musical sensibilities that he had in his critically acclaimed score to The Da Vinci Code, with a more orchestral concert sound at times, and even an oboe solo - probably a first for a Bruckheimer film!

Where the first film brought us the often-played "He's a Pirate" theme, this third film brings in a whole new melody - a song called "Hoist the Colours". Originally written for Pirates of the Caribbean: Dead Man's Chest, this new pirate shanty is heard throughout the score, uniting all the pirates together under one melody. We're also taken to Singapore, where Captain Sao Feng (Chow Yun Fat) gets his own Asian theme, as well as to the ends of the earth where not only do Will Turner (Orlando Bloom) and Elizabeth Swann (Keira Knightly) get a new love theme, but it's a super-theme that also encompasses Davy Jones' lost love and is versatile enough to work as a new Jack Sparrow theme as well.

Hans Zimmer's score album to Pirates of the Caribbean: At World's End will hit stores on May 22, 2007, and the film opens three days later on May 25th. SoundtrackNet hasn't seen the finished film - so we're not entirely sure what's happening during all of the music cues, and it's possible (even likely!) that what follows could be incorrect in some aspects. But we're excited to kick off our Summer 2007 coverage for you with an exclusive track-by-track "first listen", with sound clips, of Walt Disney Records' Pirates of the Caribbean: At World's End.

The latest version of QuickTime is required to listen to the audio, and clicking the track titles below will pop open a new window. If the media server is overloaded, try again later!

Windows users: you might have an issue with the QuickTime Plug-in. Be sure to upgrade, and if necessary, "reload" the popup window (Ctrl-R)

1. Hoist the Colours (1:31)
Snare drum rolls swell with a lonely chime tolling at the peak as the track begins. A boy starts to sing the A-Theme of "Hoist the Colours", a melodic pirate shanty. He is uncertain and his voice wavering at first, but then a rabble gang of pirates take over with the B-Theme, singing the lyrics: "Yo ho, all together, Hoist the Colours high / Heave ho, thieves and beggars, never shall we die!" It ends with a triumphant snare hit, and a chain rattle.

2. Singapore (3:40)
A low gong softly starts the track as ethnic Asian woodwinds flit and dance, and then Sao Feng's theme is heard on the erhu. Backed by low toned strings, a fiddle adds some color, as well as some rhythmic pipe bursts and percussion softly underscoring the melody as it builds. It rolls into a determined and rhythmic ostinato of Beckett's Theme (aka the East India Trading Company Theme) on harpsichord and orchestra, as an action cue takes hold. Strong brass works around Beckett's Theme as fast Asian patterns and rhythmic ostinatos keep the momentum moving forward. It all dies down finally, leaving us with a short statement of the "Foghorn Theme" from Pirates of the Caribbean: The Curse of the Black Pearl. The erhu and a cymbalon softly play Sao Feng's Theme again, and then a snare drum heralds in the heroic Jack Sparrow Theme from the first film, with a regal edge, including a large choir. It ends, leaving us with the new playful Jack Sparrow Theme from the second film on the cello before the track comes to a close.

3. At Wit's End (8:05)
The first part of the new love theme (Love Theme A) is heard here, softly on the strings as airy atmosphere encompasses the soundscape. Tremolo strings slowly play the countermelody as hints of a music box can be heard deep in the background. Now a darkened version of the secondary section of the Love Theme is played (Love Theme B) on the low strings, and things fade down as new short-string ostinatos slowly start working towards the front. Love Theme A is now heard more heroically on the French horns (showcasing it's diversity for usage in different areas), and choir gently and ethereally takes over, with a dream-like siren quality to it, kind of like portions of The Da Vinci Code. Strings quickly swirl upwards to the main version of Love Theme B - high strings sing out while a darker and slower version of the love theme played beneath. It all ascends to a crescendo, then drops away leaving us with a snare roll and chime tolling coming in quick bursts.

Now a music box plays the Davy Jones theme as an organ plays a new countermelody on top of it. The organ slowly fades away, leaving just the music box, and then strings come in tenderly with Love Theme A as the music box changes hands and provides the backing texture. The orchestra rises back up, with a dramatic statement of the Davy Jones theme with triumphant hits and choir subtly beneath. It builds and heralds in a new action sequence.

Rhythmic ostinato in the low strings keep the pace going as French horns and brass build upwards, climaxing in a burst of choir. Dissonant strings swirl around as choir chants, and now the strings continue their ostinato as a new descending brass motif is heard ascending through the musical range (for the sake of consistency, we'll refer to this as the "World's Edge Theme"). It carries over into the strings as the choir builds, the tension is ratcheted up and everything comes to a crashing conclusion.

4. Multiple Jacks (3:51)
We recover from the frenetic nature of the last track with a very odd and off-kilter cue. Ambient tones and springy-sounding bass elements with sparse percussion start to come together slowly. A low guitar tone is heard, wavering deep. Now the new quirky Jack Sparrow Theme from Dead Man's Chest is heard on harpsichord and plucked strings (along with some other weird instruments), and a bit of percussion kicks in, with off tune twangy guitars, cymbalom and other plucked instruments including a banjo. The backing chords are "off" as well, giving the music an out-of-tune, stumbling quality. Now Jack's Heroic Theme from the first film is heard, in the same weird orchestration, accentuated with an accordion. Low ambient atmospheric toned are heard as low pipes softly call out, and a new rhythm starts up with electronic pulses, percussion and some other odd sounds. It's a very modern sound, and includes pulses of grungy static modulated in the background. It slowly gains speed, and then kicks in hard for a few seconds before the track comes to an end.

5. Up is Down (2:42)
Another playful track, this one starts with a brass chord that swells into a rhythmic ostinato on the strings, with a fun sliding bass line. Now fiddles come in with a playful version of what is actually Love Theme B disguised (talk about versatility!) as a complex ostinato, and then a piccolo comes in, and the brass belt out the countermelody of the B-Theme as the primary theme (we'll call it the Noble Jack Variation for clarity), and then the whole orchestra joins in as the playful nature gets larger, and now the love theme is used as a triumphant and heroic melody. The playful ostinato is back now, trading off from piccolo to oboe to bassoon, before upward rising statements of the Noble Jack Variation are heard. Once a new key has been attained, Love Theme A is back in full splendor, with big orchestra, and then the World's Edge Theme is heard briefly before the track crashes to a finale.

6. I See Dead People in Boats (7:09)
Love Theme A is heard on solo oboe backed by tender strings. It's soft and romantic and takes its time to play out in full. When it finishes, a bit of foreboding ethereal choir is heard faintly and then a brief statement of the DMC Jack's Theme bass line. Now swells of orchestral chords with gently hits push out, and Jack's Heroic Theme is slowly heard on strings, which crescendo and then pull back down, leaving us with distant ethereal choir. Lush elegiac strings work through some soft variations of thematic material, in a very classical sounding way, before some the rhythm starts to kick back in with a string ostinato. As it builds, we hear a bit of Love Theme C (yes, another part to the Love Theme), and then with a flourish, it increases in energy, with a quick statement of Love Theme B in the bass that builds into an emotional and driving version of the World's Edge Theme, stated with choir the second time. The track ends with a two strong yet tender string chords, and then an organ holds down a chord and fades out.

7. The Brethren Court (2:21)
The quirky off-kilter Jack Theme is back, and while it starts out sounding like the "Multiple Jacks" track, it quickly moves into a regal and stately version of the "Hoist the Colours" C-Theme, which is kind of like a variation on "Hoist the Colours" mutated with "He's a Pirate", melodically. Yes, it's complicated, and performed with solo brass, backing strings and choir. It then goes into a quirky accordion and mandolin/dulcimer based version of the Hoist the Colours B-Theme which has a drunken quality to it. It's repeated again with a pipe (or recorder) playing the melody before ending.

8. Parlay (2:10)

This track is clearly an ode to the maestro, Ennio Morricone. A variation on Beckett's Theme starts an ostinato accentuated by dramatic brass chords, low choir and tense strings. It swells, and then reduces back to the ostinato, before erupting into a Once Upon a Time in the West-inspired mélange of wailing guitar, short strings, dramatic percussion and retro grungy guitar playing out a minor version of Love Theme A.

9. Calypso (3:02)
Starting off soft, with tender strings, there's suddenly a bit of choir and drama, with a taste of the vocals from Tia Dalma's Theme. The strings evoke a bit of Prince of Egypt mixed with The Da Vinci Code and the climactic scene from the end of DMC with the confrontation between Elizabeth and Jack. Now things build up to an emotional frenzy as the orchestra builds up to some intense choir chanting, and it holds then fades out. Mournful pipes hint again at Tia Dalma material, and the track actually ends with a ghostly vocal statement of her theme as wind softly whistles around us and a dulcimer faintly plays rhythmically to close the track.

10. What Shall We Die For (2:02)
Low soft booming percussion brings in a slowly building rendition of the "Hoist the Colours" C-Theme, starting out with just strings and brass. Then short strings start to add a bit of momentum to the piece, and soon strings join in the melody, followed by percussion. Suddenly it bursts into a rousing version of the theme, very heroic and excited. It jumps up a key, and now the choir comes in, with the lyrics for "Hoist the Colours" fitting over the C-Theme quite nicely, building to a big dramatic ending, and taking us right into the next track.

11. I Don't Think Now is the Best Time (10:45)
This is the big track of the album, so be prepared to lash yourself to the mast and weather the musical storm about to hit! The track starts out with a low but driving rhythm with fast short strings pushing an ostinato through the mix. Brass call out a very militaristic version of the Davy Jones Theme that you might miss if you didn't realize what it was, and a choir works its way into the background as dramatic staccato hits burst over us. Pulled back a bit, now the orchestra slowly ascends with choir, which starts chanting and breaks into a very powerful statement of the Black Pearl Theme with full orchestra and choir. Now it's back to that militaristic brass Davy Jones theme and then darker rising choir and heralding brass. Now we're treated to a very King Arthur-esque sequence that uses a rather dramatic melody (not a recurring theme, however), using string ostinatos backing strong brass and emotional choir. A blast of taiko, and now we have soft ethereal female choir ending the section.

Now the Jack Sparrow Theme from DMC playfully comes in, and builds to the dramatic Jack's Action Theme from the same suite (4:15 on "Jack Sparrow" from the CD). From there it moves nicely into a statement of the Hoist the Colours B-Theme, followed by the C-Theme, and then the Black Pearl Theme, followed by the World's End Theme. But the action doesn't stop there, and as the rhythm continues, suddenly tender strings call out Love Theme A, only to be answered by the brass as the theme continues. Short strings keep the energy going as action and romanticism trade off each other with stylistic hints of The Da Vinci Code. Love Theme A continues, moving into a spirited rendition of "He's a Pirate", and then after things build up, we move into a lyrical romantic rendition of the Hoist the Colours A-Theme, followed by a sweeping brass laden version of Love Theme A, with blasting French horns adding a royal edge to it. From there it goes back into "He's a Pirate" and then finally consummates an emotionally large version of Love Theme C. Now it moves into lots more action, with the same type of build up heard in "Wheel of Fortune" from DMC, as well as the swordfighting music from the first Pirates film, in all of it's swashbuckling glory. After a bit of fighting, the track finally calms down with with a French statement that ends the cue.

12. One Day (4:01)

Slowly ascending chords (like the end of the previous film), start up the track with a subtle string ostinato of Love Theme B (like the one heard in "Up is Down") building into a strong slow and regal version of Jack's Heroic Theme. There's a definite touch of King Arthur, as the choir builds up in the background, climaxing to bring the theme to an end. We're left with a soft string ostinato, and now French horns come in with Love Theme A, and then the strings join in, creating a tender heartfelt moment as we move through Love Theme B into a solid statement of Love Theme C, and then finish out with a small statement on flute ending the track.

13. Drink Up Me Hearties (4:31)

Jack's Heroic Theme is heard on accordion, with the orchestra providing the quirky background. Now strings build an ostinato into a hesitant statement of "He's a Pirate" as though Jack were contemplating something. Now his Jack's Heroic Theme is back with rhythm slowly gaining speed and then suddenly we get the big triumphant theme, with choir as it builds into the end credits with "He's a Pirate". It's similar to the arrangement as the end titles of the last film (not on the album for DMC however), but slightly different in that it breaks away into the triumphant version of Love Theme A instead. Now we hear Love Theme B, with the "Up is Down" rhythmic ostinato subtly behind it, and then it moves into Love Theme C, performed strongly in an epic manner. It comes to a close with final orchestral swell, and the album comes to an end.

The soundtrack to Pirates of the Caribbean: At World's End runs a solid 56-minutes, with no suites, and no remixes. What we have here is all score, and it tells a story that lives quite happily in the musical world established from the previous two films, but with surprisingly minimal use of the previously written themes. They show up, for sure, but with a multiple part Love Theme that is versatile enough to work both as tender romance and strong heroic action, along with "Hoist the Colours", Hans Zimmer has created a multi-layered work that is strongly thematic, and varied in its presentation.

Artanis May 15th, 2007 02:11 AM

Thanks so much, amby.

livdh May 15th, 2007 10:21 AM

I can't wait to have this soundtrack in my hands ! :D :wink2: :crafty:

Llyneth May 16th, 2007 05:14 AM

That's got to be the longest friggin' soundtrack review I've ever seen! :shock: Thanks amby!

BellaU May 16th, 2007 03:25 PM

Can't wait to get this. I loved the first two soundtracks and this one sounds like its going to be just as great. Thank you for the reviews Amby. :D

Etoiline May 23rd, 2007 10:04 PM

The full soundtrack is great. My iPod has been playing it on repeat since I picked it up! "Drink Up Me Hearties" is a perfect roundup of all the great themes from all three movies. I can't wait to see how this fits with the movie tomorrow...


Polyte May 25th, 2007 06:58 PM

Could somebody give us the lyrics of Hoist the Colours ? I don't understand all what the boy's singing... Soundtrack.net give us the Choir's lyrics but not the Boy's lyrics...

Could somebody do this for me pliiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiz ???

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