Pirates of The Caribbean: The Curse of The Black Pearl

Favorite Soundtracks (329 items)
list by Agent Kermit D. Fonz

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list by My raimBow

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Favourite Film Soundtracks 00’s: Part 1 (94 items)
list by Agent Kermit D. Fonz

1. Fog Bound
2. The Medallion Calls
3. The Black Pearl
4. Will and Elizabeth
5. Swords Crossed
6. Walk the Plank
7. Barbossa Is Hungry
8. Blood Ritual
9. Moonlight Serenade
10. To the Pirates' Cave!
11. Skull and Crossbones
12. Bootstrap's Bootstraps
13. Underwater March
14. One Las... read more

Excellent tracks. My most beloved track was "He's a Pirate". Perfect mixes.
As seen in the movie, all the tracks in the CD are included in the movie.
I'm so music-hungry on some songs that I can't temper a day without them, that's because for my mind, they are good. For others they might be crap, but for me not.
10/10 Guys! Keep it up Captain Badelt and Captain Sparrow!

Description: O O 0 0 Loosely based on the popular Disney theme park audio-animatronic ride, one might expect a modicum of good-natured "Yo-ho-ho-ing"--or maybe a little rousing Korngold/Errol Flynn/Captain Blood orchestral romanticism--here. Instead composer Klaus Badelt initially entices us with some sparing Celtic folk charm, then unleashes a furious broadside of symphonic and choral thunder to rival his ominous score for K-19. The composer's fellow German mentor is an obvious influence throughout (the album is credited with a wink as "Score overproduced by Hans 'Long John' Zimmer") but Badelt brings his own muscular O
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Loosely based on the popular Disney theme park audio-animatronic ride, one might expect a modicum of good-natured "Yo-ho-ho-ing"--or maybe a little rousing Korngold/Errol Flynn/Captain Blood orchestral romanticism--here. Instead composer Klaus Badelt initially entices us with some sparing Celtic folk charm, then unleashes a furious broadside of symphonic and choral thunder to rival his ominous score for K-19. The composer's fellow German mentor is an obvious influence throughout (the album is credited with a wink as "Score overproduced by Hans 'Long John' Zimmer") but Badelt brings his own muscular instincts to bear throughout. Perhaps shrewdly realizing that genre cliches are nothing if not for reinventing, Badelt delivers his rhythmically nervous Eurocentric sensibilities--sort of Holst duels Shostakovich on the Spanish Main--with the subtlety of a scorching cannonball. It's seasoned with a little romantic respite in the final act, if a bit gingerly, and could no doubt profit by some of Korngold's sparkling melodic verve. But it's a loud, unabashed Summer Blockbuster score at heart; alert the neighbors. --Jerry McCulley

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