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Captain America (OST) CD

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Amazon.com: 74 opiniones
17 de 19 personas piensan que la opinión es útil
Amazing! 3 de junio de 2014
Por studentreviewer - Publicado en Amazon.com
My favorite soundtrack out of all Marvel movies, moreso than Brian Tyler's soundtracks. Since some people still haven't seen the movie (as I hadn't till yesterday), I'll try to review it without spoilers.

In order to gauge this soundtrack, you must know: This is not big orchestra. This is not Alan Silvestri. This is not "The Avengers" or "Captain America: The First Avenger". This is "Captain America: The Winter Soldier" - a political thriller in a comic book context. The soundtrack has to be darker and full of threat. The nostalgic Americana doesn't fit the chaotic and distrusting world that this movie lives in.

Henry Jackman uses a completely different sound than Silvestri to accomplish this. The album alternates between subtle instrumental and pulsating electronic music, representing a thrilling global-scale spy story overlaying a personal "man out of time" drama. Rather than huge orchestral arrangements, he cultivates a minimal theme driven by the urgency of modern synth.

The album opens with "Lemurian Star", providing a pulsating theme to the entry action sequences of the movie. The track sets the tone for a grittier movie -- mildly sweeping orchestral with a driving electronic sound. It segues nicely into "Project Insight" - which I got to admit, is downright pompous, but judging from the scenes it accompanies in the movie, I think that's intentional.

"The Smithsonian" is the most like Silvestri's work, recalling the "Captain America" leitmotif from the first movie. But unlike Silvestri, Jackman uses the brass to call on a meditative tragic quieter sound. This feel is featured in "An Old Friend", "Fallen", "Frozen in Time", and "Alexander Pierce". They are all very subtle, in a listen-once-and-you'll-miss-it way.

"Fury" is excellent chase sequence music. It starts out unfortunately similar to "The Dark Knight", but quickly develops into a paranoid rapid action electronic track, closing as fast as it starts. Not my favorite, but suits the movie.

"The Winter Soldier" is the best track by far on the album. Clocking in at around six minutes, it spends three minutes cultivating the ambiance by presenting each sound -- low howling, metallic whining, grinding machine parts, and finally high pitched shrieking -- and bringing it together with an overlaid strings section and menacing brass. This theme is designed for the character: a single-minded relentless killing machine with hints of humanity. As it recurs in "The Causeway" and "Countdown", progressively the strings start to dominate the focused electronic noise, fitting the emotional state of the Winter Soldier. I positively adore this theme, and think it is absolutely perfect for this cold-but-tortured ruthless assassin.

"Taking a Stand" is an okay track. It started as my favorite, but I grew to favor "The Winter Soldier" as I could identify each layer of sound. "Taking a Stand" is a strong anthem, with a driving orchestral and no electronic sound. It feels more like "The Avengers", while cleaving to the major theme.

"Hydra" is very enjoyable. It takes a similar approach to "The Winter Soldier" by taking an amount of time to develop the ambiance. Before you know it, you've got this slow sinister theme creeping up on you, wrapping up in a nice suspenseful passage preparing you for the incoming action.

"Natasha" is a gentle tune but isn't exactly appropriate for a deceptive spy. In the movie it's used for her sensitive scenes. Within the soundtrack, it's used as a break between "Hydra" and "The Causeway".

"The Causeway" starts out with an explosive rendition of "The Winter Soldier". It launches into a very fast-paced chase/battle theme, much more action-oriented than "Fury" before it, stopping suddenly due to the reveal that occurs at the end.

"Time to Suit Up" is gorgeous. It begins with a mournful variant of Cap's theme and segues into the urgent fanfare of the movie -- well-suited to the dramatic pause between the previous battle and the major climax of the movie.

"Into The Fray" ties together "Hydra" and "The Winter Soldier", bringing the themes from "Time to Suit Up" against the foreboding enemy themes. Probably my favorite action sequence music as it accompanies the climax.

"Countdown" and "End of the Line" are effectively together, as they reach the heights of this soundtrack's minimalism while underlining the sadness of how the story has resolved. The piano in "End of the Line" presents the most poignant moment in the whole soundtrack. With or without seeing the movie, you know that a great catharsis has been reached -- and it completely rips out your heart.

"Captain America" ends the soundtrack, with a fairly uncomplicated theme that keeps building on itself to generate desperation and an almost unwinnable battle. Unlike the delightful pompous joy of Silvestri's theme, Jackman's theme is mournful with lines of chaos. A great battle has been won but at what cost? Secrets have been revealed but maybe it was merciful to keep them? Jackman's theme leaves you wondering "what next?" while having the unfortunate consequence of whetting your appetite for the next movie. Five stars!
13 de 14 personas piensan que la opinión es útil
A subtle, covert, and thoughtful set of music 1 de abril de 2014
Por W. Richardson - Publicado en Amazon.com
Formato: CD de audio
Subtle, nuanced, and pointed, Jackman's score for Captain America: The Winter Soldier pulls Captain America squarely into the twenty-first century with a neat blend of orchestral and electronic instrumentation. Much of the soundtrack is understated, playing a quiet counterpoint to the effective action and relationship of the characters. Most notable is Jackman's choice of time signature for the "Captain America" track. Where many composers would cast a hero in a 4/4 march or more complex uptempo 6/8 time, Jackman embraces the central axis of the film and its characters' struggles, holding the percussive elements as the song's anchor while keeping the meter of its timing shifting. Not necessarily for everyone, but this complete soundtrack is a solid entry for collectors of intrigue and political thriller scores and superhero films alike. 4/5
12 de 13 personas piensan que la opinión es útil
A Score With Edge That Finally Does Something Different In The Marvel Universe 17 de julio de 2014
Por Kaya Savas - Publicado en Amazon.com
Formato: CD de audio Compra verificada
Let’s be quite honest here. Marvel’s musical track record is quite horrendous. There are a few bright spots in the past films where composers where able to shine through these corporate-created money-makers. Unfortunately when the producers are calling shots over the directors that leaves the composers in the dust. And whatever great moments they were able to establish would never be allowed to continue. So all we get is the first chapter of something great only to never hear it live on. Marvel is known as a “one and done” company, and will sacrifice creative freedom in order to maintain their brand. That is why none of their heroes have established themes. So far no single composer has composed a sequel to their original score for a Marvel Studios picture, none! Alan Silvestri followed up Captain America with The Avengers, but it seems he’s out of the picture now and will not be back for Avengers 2. Brian Tyler did Iron Man 3, but was a replacement for the rejected Carter Burwell on Thor 2. Djawadi was unjustly dumped after Iron Man, Patrick Doyle went when Kenneth Branagh quit Thor 2, and Debney was dismissed after he didn’t have Jon Favreau pulling for him. So now comes in Henry Jackman, who is probably one of the smartest composers working today. I can imagine he assumed this would be his only shot, so he dared to be fresh and original. He didn’t abide to the expected and instead delivered an edgy, engaging and momentous score that superbly stands on its own as it takes Captain America into his new modern setting.

What I found so fantastic about The Winter Soldier’s score was that Henry Jackman seemed to be able to get away with a lot of things, in a good way. He was allowed to exercise his craft and utilize his style. Most composers would probably have gone the easy route, the expected route. Jackman instead crafts a precise action thriller that never blankets the images on the screen, but instead supports them from underneath like an excellent score should. While Silvestri’s Captain America theme is referenced in the film, this score has its own central motif. Jackman’s central motif is a simple pulsing rhythm woven with heroism that anchors the whole score. From there we get to experience intricate electronic textures that propel the action and for the first time in Marvel Studios history, real gravitas is added. The Winter Soldier's motif is a chilling electronic scream that announces his presence, and it works so damn well. Every Marvel produced film to this point has seemed to take the Saturday morning cartoon route, but Jackman is not that kind of composer. Even in his animated ventures like Monsters Vs. Aliens, Wreck-It Ralph and Turbo he was able to add organic emotion over just shallow studio-built spectacle. This score embraces the modern setting of the story and Jackman wonderfully builds engaging electronic textures. Beyond the action the music carries a sense of wounded patriotism, and from there the music stems some great emotional moments. This of course builds to the inevitable track “Time To Suit Up” where Jackman carries us to our hero stepping into the spotlight to be the titular savior. The climax and resolution follow, but it all carries a hint of tragedy making it resonate even more.

There’s been a lot of negative reactions to this score, and I think they are coming from people who seem to be put off by the new and unexpected. Also to those who haven't seen it function in the film. A good score supports the film, and in this case Henry Jackman does that and then some. He also pushes his score to do things differently and unexpectedly. He incorporates different flavors of patriotism and heroism that call back to classic political thrillers of the genre, but still embraces the kinetic action of this film. He balances somberness and intensity that help craft the arcs. The music never becomes over the top or hokey. In fact in certain areas it can become unsettling and uncomfortable, which is amazing that music can do that. We don’t get any forced fanfare or bloated emotions. Everything is delivered on a precise edge that cuts sharp and resonates deep. Henry Jackman’s Captain America: The Winter Soldier sets a new bar for the next composer to walk through the constantly revolving door of the Marvel Studios composer hot seat. And more impressively is that his style and approach were on full display showing a creative growth as a composer. If Henry Jackman makes history and isn’t replaced for Captain America 3 it will be interesting to see where he takes it, but if he goes the way like those before him he will still have left a lasting mark.
6 de 6 personas piensan que la opinión es útil
Why the hate? 27 de abril de 2014
Por Dan Votta - Publicado en Amazon.com
Formato: CD de audio Compra verificada
I see a bunch of people needlessly hating on this cd and I feel the need to defend it. I think of a lot of people were expecting the same kinda music as the previous album.. just like they were probably expecting the same kind of movie. This it just as much different from the previous album as the second movie is compared to the first. This Album is all over the place! A unique mixture of heavy electronic and orchestral. And it's beautiful. Starting from the first track it's a great musical journey and like I was saying before it's all over the place. There are times just during the first track alone, that the music wants to go in 5 different directions at once. If you're looking for something completely fresh and very different, then give this a shot. You won't be disappointed.
12 de 15 personas piensan que la opinión es útil
Appropriate incidental score that brings Cap into the dark political corruption of the 21st century. 10 de abril de 2014
Por Dave Cordes - Publicado en Amazon.com
Formato: CD de audio
Yes, I too was disappointed that Alan Silvestri didn't do the score for Captain America: The Winter Soldier . His score for Captain America: The First Avenger was not only one of my personal favorites but also one of the most memorable orchestral film scores in recent years and his theme for Cap equally as unforgettable. It is heard once briefly at the beginning of this film when Cap is running laps around Sam Wilson (a.k.a. The Falcon) in D.C. but Cap's theme does not appear anywhere on this soundtrack. However, Captain America: The Winter Soldier is a very different film from The First Avenger and therefore, almost by necessity, requires a much darker and incidental score accompanying its intense and suspenseful action sequences in contrast to the traditional orchestral period style approach of First Avenger to bring Cap into the politically more complex modern world of the 21st century.

Those that quickly dismiss this score simply as electronic "noise" or "cliche" are overlooking the brilliance of the film's colder atmosphere and political suspense as exemplified by the foreboding ambiance of "The Winter Soldier" theme. The cold electronic "noise" is intentionally unsettling by design, that characterizes The Winter Soldier like a dark ominous shadow when he appears onscreen and its electronic machinations are befitting this haunting Cold War-era cybernetic assassin.

Other tracks like "The Causeway," "Fury" and "The Lemurian Star" are obviously keeping tempo to the film's brisk and intense action and suspense onscreen. There's no upbeat heroic Cap fanfare heard here nor is it needed. Henry Jackman's score is dark, serious, straightforward and you can just picture Cap running along on the deck of the ship and taking out enemies with his shield and engaging them in hand-to-hand melee. The score accomplishes exactly what it needs to do and in that regard Henry Jackman's score for The Winter Soldier is successful.

I would love to have Alan Silvestri return for the third film to bookend what is shaping up to be a great comic book trilogy, but it also depends on the themes and the plot of the film which will determine exactly what kind of score and composer will be needed for the job. We'll just have to wait and see what Captain America 3 will bring. Even if another composer is chosen, it will bring an even different style and perspective to the film to keep it fresh, interesting and unique. Just because it is a different composer or style does not necessarily make it any less of a film. I would say Jackman's score sufficiently does the job it is needed to do. It would get boring to have the same music and themes recycled again and again. Even Batman has had several different composers and several different themes and Captain America is equally as deserving of different artistic styles and approaches where it is appropriate.

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