King Arthur [SOUNDTRACK]

Hans Zimmer (Artist)

Product Details

• Audio CD (July 27, 2004)
• Number of Discs: 1
• Format: Soundtrack
• Label: Hollywood Records
• ASIN: B0002IQIWE
• In-Print Editions: MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (67 customer reviews)
• Amazon.com Sales Rank: #16,191 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com

What are legends if not for reinventing -- and/or hyper-inflating into Hollywood summer fare? In retooling the Arthurian legend for the goth-beguiled video game age, mega-producer Jerry Bruckheimer did away with details small (the lady in the lake, sword in the stone, etc.) and large (this Arthur is actually Eastern European, by way of Rome). Composer Hans Zimmer picks up that gauntlet, producing an orchestral score bristling with massed brass, chorus and percussion -- if little of the indigenous mysticism that made his work on Gladiator/ so rewarding. What there is of that precious commodity is frontloaded via the song "Tell Me Know (What You See)," his evocative opening collaboration with Clannad's Moya Brennan. From there, Zimmer emphasized this version's Eastern conceits with a half-dozen suites of cues that thunder in the Russian classical tradition -- and all the melodic range of "Jingle Bells." Zimmer--not to mention Poledouris--has done it better, but fans of outsized orchestral Gothic moodfests may yet take this one to heart. --Jerry McCulley

Customer Reviews

Most Helpful Customer Reviews

126 of 128 people found the following review helpful:

5.0 out of 5 stars Hans Zimmer's Best Next To Gladiator, July 29, 2004

By	Benjamin Adams (South Jordan, UT United States) - See all my reviews (REAL NAME)

Let me first say that I am a huge Hans Zimmer fan and own 75 of the scores and soundtracks he's been involved with. Hans is at his best when he has the canvas of an epic action/adventure movie such as King Arthur to work with. This score is bold and brash, yet at times can be contemplative and melancholy.

The inclusion of the Metro Voices Choir throughout the score adds magnificently to the prominent themes of humanity's desire for freedom and self-determination addressed in the film.

"Tell Me Now" The CD leads off with this absolutely beautiful song (played during the closing credits of the film) written by Hans Zimmer and Moya Brennan (Irish soloist, lead singer for Clannad and sister of Enya).

"Woad To Ruin" would have to be my favorite track on the CD. It incorporates nearly all the themes from the film into one track and is used in the opening scene. Zimmer incorporates french horns here a little more than in his other work reminding me a little of John Williams' style. The strings used throughout add a very ethereal mood that dominates much of the piece. The middle of the piece is quick-paced and is somewhat similar to "The Battle" from Gladiator. Like many of the tracks on the CD it is quite lengthy (11:31).

"Do You Think I'm Saxon?" is reminiscent of some of Howard Shore's work in The Lord Of The Rings trilogy. Heavy percussion and male choral voices create a dark yet hopeful feeling for this piece. The inclusion of bagpipes adds a nice touch also.

"Hold The Ice" begins with a haunting female voice and turns desperate, chilling, and grandiose, perfectly matching the scene it accompanies in the film.

"Another Brick In Hadrian's Wall" is a very heavy piece used in the film as the Saxons and Britons/Woads prepare for battle.

"Budget Meeting" is another beautiful, bold, dark, and epic piece relying heavily on percussion and male choral voices. The end of the track reminds me a little of some of Don Davis' work from The Matrix Revolutions.

"All Of Them" leads off with Moya Brennan's lush vocals and then turns reflective and sorrowful matching the mood of the film following the great battle scene. The track finishes in a hopeful and grand fashion. This piece beautifully captures the essence of the entire movie.

My only complaint regarding the score is that it doesn't include the aria in the movie by Lisa Gerrard and Patrick Cassidy. This can be found on the Lisa Gerrard/Patrick Cassidy CD Immortal Memory track 3 "Amergin's Invocation". I highly recommend this CD to those who enjoy Lisa Gerrard's work.

If you liked Gladiator, The Last Samurai, Crimson Tide, The Rock, Pearl Harbor, The Peacemaker, Pirates Of The Caribbean, The Time Machine, Armageddon, Children Of Dune, or The Last Of The Mohicans you will thoroughly enjoy this score.

16 of 16 people found the following review helpful:

4.0 out of 5 stars For those searching for the song "We Will Go Home", December 17, 2005

By	Rosa Luxembourg (Melbourne, Australia) - See all my reviews

The unaccompanied song sung by Vanora, girlfriend of Bors (Ray Winstone) in the film is called "Song of the Exile". It was composed and sung by Caitlin Matthews, a writer on all things Celtic and druidic, who along with her husband John was a consultant on the film.

Unfortunately, a problem at Disney resulted in this song remaining unpublished. This is a major omission from the album, which is otherwise excellent.

16 of 18 people found the following review helpful:

4.0 out of 5 stars Zimmer Scores in Camelot, July 28, 2004

By	G M. Stathis (cedar city, utah USA) - See all my reviews (REAL NAME)

For those Arthurian purests that were holding their colective breath regarding the Antoine Fuqua/Jerry Bruckheimer production of "King Arthur" you can relax. The film is an interesting interpretation of the legend (within acceptable parameters) and the score by Hans Zimmer is fine. In truth the film should have been titled "Arturius Rex" given the time frame and the Roman elements, and that put Zimmer into fairly comfortable musical territory given his triumph with "Galdiator." This is more of a true orchestral score that is both action oriented and melodic. Zimmer makes dramatic use of percussion and choral material, and yes there is a nice Celtic vocal sung by Moya Brennan for the early, end credits. The main theme for Arturius and his knights is one of the best that Zimmer has produced. It is Arthurian in nature, if that makes sense, but has a certain Roman gravitas as well. The score seemed a perfect fit for the film and works very well as a soundtrack recording. Nicely produced by Hollywood Records, but the packaging is a little disappointing.