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Megamind by Hans Zimmer and Lorne Balfe

Megamind

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Buy Megamind (Soundtrack) by Hans Zimmer and Lorne Balfe  from Amazon.com
Megamind (Soundtrack)  by Hans Zimmer and Lorne Balfe
Megamind (Poster and Memorabilia)

 

Megamind (Poster and Memorabilia)

 

 

 

 

 

 

 

Megamind (Soundtrack) by Hans Zimmer and Lorne Balfe

Megamind
Composed by Hans Zimmer/ Lorne Balfe
Lakeshore Records (2010)

Rating: 8/10

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Soundclips below from AmazonMP3

 

“To assume that a score that deceives expectations and opts for a scheme different to that of the regular hero vs. villain tale is a failure would be wrong. MEGAMIND may occasionally induce a desire to hear such conventions in full force, but Zimmer and Balfe have weaved a score that is engaging and consistently refreshing to listeners, and is a credit to the film it accompanies.”

Two-Man Group
Review by Richard Buxton
 

In creating Remote Control Productions (formerly known as Media Ventures), HANS ZIMMER intended to give relatively unknown, but clearly talented composers, a shot at their dreams of composing for Hollywood blockbusters. Looking back on his legacy in film music, not even his greatest detractors could deny that he has succeeded. Having mentored successful composers such as Harry Gregson-Williams, John Powell and now LORNE BALFE he has given composers who may otherwise have gone unnoticed, a fighting chance
 
Zimmer previously collaborated with Balfe for the juggernaut that is Call of Duty: Modern Warfare 2 and with MEGAMIND returns to a film genre not unfamiliar to him in the slightest. On hearing that Zimmer is at the helm for another animation, one is reminded of his previous efforts in the likes of MADAGASCAR, THE SIMPSONS MOVIE and THE PRINCE OF EGYPT, the latter being one of the highlights of Zimmer’s career. As is always the case with Zimmer collaborations, identifying just who has composed each track can prove a difficult task, but it can be said with confidence that the ever-maturing Balfe will have had a significant role to play in the score for MEGAMIND.
 
What separates MEGAMIND from the usual superhero tale is the protagonist and the situation he finds himself in. The title character and simultaneously the villain,  MEGAMIND (Will Ferrell) finds himself in the unusual position of having killed his archenemy Metro Man. Such a fresh look at the tale of superhero vs. villain does just enough to suggest MEGAMIND can offer something fresh while still entertaining audiences.
 
With the unexpected events unfolding onscreen, one would assume that Zimmer and Balfe would have been raring to establish a score of similarly invigorating themes, and they have done, to a certain extent.
 
Beginning with the obligatory theme, the duo go some way to defy the conventions heard in previous superhero films, including those set out by Giacchino’s work for THE INCREDIBLES, and simultaneously they display the same enthusiasm you would expect from any Dreamworks animation. The majority of “Giant Blue Head” consists of an upbeat atmosphere, opening with the chimes of a music box before flourishing into a rising and descending three note driven theme. The piece then subdues into strings and woodwinds. What is striking about the opening piece is in the way it differs from the precedent set in films that precede it. Listeners would normally expect the opening credits to be accentuated by the accelerating and evolving hero’s theme, yet here they are greeted with something entirely different.
 
This upbeat, saccharin coated tone continues with “Tightenville”, the theme of the newly created superhero “Tighten”. As with the title character’s theme, “Tightenville” continues to ignore the staple of the superhero genre. Differing from the opening track, “Tightenville” establishes the overarching thematic progression and maintains it throughout, and perhaps also makes for a more pleasant listening experience. Any cravings for a more bombastic tone are satisfied in by the track “Stars and Tights”.  The suspenseful build-up quickly erupts into an ascending theme of heroism and adventure.
 
A large portion of MEGAMIND serves as an indicator in of the different route Zimmer now seems to be taking in his career. MEGAMIND certainly shows the diversity he and LORNE BALFE are evidently capable of and in “Ollo” this is clear. The range of personality in this three-minute piece is impressive, beginning at walking pace before the strings interject and the piece erupts momentarily. The urgent strumming of the guitar drives the second half of the piece, before invigorating strings and brass round out one of the highlights of the score.
 
“Drama Queen” starts off in a manner more at home with the soundings of Zimmer and his understudies before gliding into a sweeping strings arrangement. The opening string patterns return in the track “Drama Queen” and again in “Black Mamba”, the latter piece utilising a menacing bass progression accompanied by the ominous choral repeatings of the words “Black Mamba”.
 
The orchestra finally lets loose in “Game Over” as a cacophony of strings and brass unleashes the theme heard previously in “Ollo”.  “Game Over” again shows the impressive range of themes and tonality that the composers have concocted. The piece sustains a menacing character throughout, largely attributed to the strong dynamic of the strings and brass.
 
The MEGAMIND score concludes with the gradually evolving and subtly heroic “I’m The Bad Guy” before one final flurry in the brash closing moments of “Evil Lair”.
 
Staggered throughout the soundtrack are four licensed tracks, the presumably purposefully clichéd “Bad to the Bone”, “A Little Less Conversation”, "Alone Again Naturally” and “Lovin’ You”. It is often the case that licensed tracks can become a nuisance for score collectors, and while more score tracks would have been preferable, these tracks clearly have their place in the film and are not as out of place as one might expect.
 
To assume that a score that deceives expectations and opts for a scheme different to that of the regular hero vs. villain tale is a failure would be wrong. MEGAMIND may occasionally induce a desire to hear such conventions in full force, but Zimmer and Balfe have weaved a score that is engaging and consistently refreshing to listeners, and is a credit to the film it accompanies.


 

Rating: 8/10

 

 


Track

Track Title Track Time  Rating
1 Giant Blue head 4:29  ****
2 Tightenville 2:16  ****
3 Bad to the Bone 4:49  ***
4 Stars and Tights 1:26  ****
5 Crab Nuggest 2:17  ***
6 A Little Less Conversation (Junkie XL Remix) 3:32  ***
7 Me-On-Cholly 2:33  ***
8 Ollo 3:07  ****
9 Roxanne (Love Theme) 2:36  **
10 Alone Again Naturallly 3:38  ***
11 Drama Queen 1:47  ***
12 Rejection in the Rain 1:45  ***
13 Lovin' You 3:24  **
14 Black Mamba 1:13  ****
15 Game Over 3:22  ****
16 I'm the Bad Guy 2:37  **
17 Evil Lair 3:29  ***
  Total Running Time (approx) 48 minutes  

 

 
   

 

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