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| Album Information |
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Pirates Of The Caribbean: The Curse Of The Black Pearl |
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2003 |
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Soundtrack |
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B0000A1RJI |
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Zack |
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| 292 listener votes for this album. |
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| good panoramics views on the sea¡¡¡ |
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| By: | gustabotronik |
| Date: | 23 Jun 2009 |
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dedicated to all who likes this one
0 of 9 found this review helpful |
| A great score but overly "theme bound" |
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| By: | Othello1 |
| Date: | 13 Oct 2009 |
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One cannot review an album so acclaimed, which’s music is recognized internationally, too harshly. Play “He’s a Pirate”, and most people will recognize its upbeat tempo and frolicking grandeur, but those same people will be hard-pressed to recall any other theme or melody. The “He’s a Pirate” theme is the most prominent melody in nearly half the tracks, and can feel overused. While “He’s a Pirate” is the them at its most raw, it is portrayed with just a bit more shadow in “Underwater March”, “To the Pirates Cave!”, “Blood Ritual”, “Skull and Crossbones” and “Barbossa is Hungry”. Tracks like “Fog Bound” and “Moonlight Serenade” give us a slower pace that is much needed after the gallivanting of their peers. These small respires are few and far between with “Will and Elizabeth” presenting the closes thing the trilogy has for a theme for the prominent pair. A love as beautiful as theirs deserves a quieter theme akin to that of Davy Jones and Tia Dalmas’; neither Badelt nor his ghost composer Hans Zimmer provide this. Two other prominent themes are the “Majestic Jack Sparrow” theme as heard in “The Medallion calls” and the “Cursed Pirate” theme as heard in “Sword’s Crossed”. If it were not for “Walk the Plank” the listener would have no knowledge of witty Jack’s playful side and antics. While the track starts out trying to scare the listener one third in it flips itself on its head to reveal the Jack Sparrow the watcher knows. All of these different tracks mix together a concoction that is cohesive, but as I said before weighted to the dramtic and active side of “He’s a Pirate”. And yet despite these criticisms it is that very tune that redeems the score. “One Last Shot” like a phoenix rising from the ashes the track starts off slow, even melancholy, which soon goes into a playful Jack melodic jaunt. After this brief interlude the song goes quieter, not in regression but as the calm before the storm, a what a perfect storm it is. As if Badelt had dared himself into seeing how much resplendencies out of his work, he unleashes his “love theme” a theme that will be repeated many times in following films and is already familiar. The tracks all pretty short, none being over five minutes, which can be good, but means that there are no epic long tracks like in the two following scores.
2 of 2 found this review helpful
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| Amazing at most... |
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| By: | kngdomheart123 |
| Date: | 2 Jun 2010 |
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Hans Zimmer has done it again. With his in-depth look into detail allows the entire orchestra to get a piece of the "epic" parts of this music. From such thrilling songs such as "He's a Pirate" and "The Medallion Calls" to touching pieces such as "One Last Shot", this composition allows a technique feel of a 6/8 time feel in a 4/4 time signature which gives it that boat rocking feel. I highly recommend this to anyone who needs to listen to something epic.
2 of 2 found this review helpful
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