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Black Hawk Down Soundtrack

4.4 out of 5 stars 66 customer reviews

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Product Details

  • Audio CD (Jan. 22 2002)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Universal Music Canada
  • Run Time: 144 minutes
  • ASIN: B00005UWHH
  • Other Editions: Audio CD
  • Average Customer Review: 4.4 out of 5 stars 66 customer reviews
  • Amazon Bestsellers Rank: #21,141 in Music (See Top 100 in Music)
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1. Hunger
2. Barra Barra - Rachid Taha
3. Vale Of Plenty
4. Chant
5. Still
6. Mogadishu Blues
7. Synchrotone
8. Bakara
9. Of The Earth
10. Ashes To Ashes
11. Gortoz A Ran-J'Attends - Danez Prigent & Lisa Gerrard
12. Tribal War
13. Leave No Man Behind
14. Minstrel Boy (film version) - Joe Strummer & The Mescaleros
15. Still Reprise

Product Description

Black Hawk Down is the fifth collaboration between composer Hans Zimmer and director Ridley Scott, and following Gladiator (2000) and Hannibal (2001), their third in fewer than two years. Though set two millennia after Gladiator, Black Hawk Down's unrelenting African warfare has much in common with the former blockbuster. Zimmer opens with comparable Arabic flavoured atmospherics leading to his trademark pulsating percussion and razor-sharp digital production values. The Andalusian colours of his Mission: Impossible 2 inflect the catchy world music/dance ballad "Barra Barra" before the score diversifies through textures that blend moody American (blues) and African folk elements with passages of programmed suspense underscore and electronic, sequenced fury. With so many elements fused into polished, perfectly organised musical landscapes, the result is occasionally like a compilation of elements from all Zimmer's recent hit scores. In battle cues such as "Tribal War", relentless rhythm takes over, but it is for the hymnal "Gortoz a ran", the haunted pure beauty of "Still", and the lament of "Mogadishu Blues" that this release is more likely to be remembered. As with Pearl Harbor, Zimmer concentrates on emotion over action, though here his work is influenced by the real folk music of the people involved, and hence the more moving for it.--Gary S Dalkin

Customer Reviews

Top Customer Reviews

Format: Audio CD
I've been a fan of Hans Zimmer since day one; in fact, his score for Crimson Tide back when I was a small youngin' was the first soundtrack I ever purchased.
His score for Black Hawk Down is, yes, ecclectic. Yet, I find myself dismissing much of the album, in fact, ALL of the album -- despite it being fresh, original, and exciting -- because track 11, "Gortoz a Ran", performed by Danez Prigent and Lisa Gerrard, is one of THE most haunting pieces of music I have ever heard...
I'm a music lover and have a wide variety of tastes. Hell, I'm a film music fantatic (or at least at one point). That being said, few pieces of music, individually, evoke so much emotion out of me. I'm a very analytical person. One rendition of "Gortoz" and I'm near in tears. It just brings out whatever grief or sorrow I have in myself, unlike any other piece of music. It makes me grieve on a small, personal scale, and for Humanity as a whole, and the suffering and injustices we endure. And yet, the lyrics are anonymous. It doesn't matter. It's pure tone, pure mood... It is a Religious piece of music. It can put one immediately into a state of compassionate meditation. It melts the heart.
The saddest thing is the track stands out as being so spectacular -- above the rest, really -- and the rest of the album is still of the utmost quality. It's Zimmer experimenting and creating a clever and intriguing musical landscape, with a longing, mournful theme, and as other reviewers have stated, several other stylings. All in all, it's very, very good, one of Zimmer's best, in fact (right behind his best effort, The Thin Red Line, another war effort)....
And yet, I always come back to "Gortoz"..........
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Format: Audio CD
The soundtrack to "Black Hawk Down" (a good movie in it's own right) offers up a change from the usual soundtrack, although fans of Hans Zimmer may find nothing new.
The booklet for the CD describes that the intention in the soundtrack was to combine "traditional" and "modern" instruments. The traditional instruments represented the Somalis, while the modern instruments represented the Americans. What you get is perhaps best heard in "Barra Barra" - which I can only describe as Arab rock. The track "Tribal War" reminds me of a time in music when composers looked to ancient tribal drums to add a flavor of primitive culture in their music. There are also some stringed instrument sections mixed in with Middle East vocals. It's all very "Gladiator"-like, but with a contemporary touch. That makes the soundtrack unique in it's own right.
I also have to compliment the rendition of "Minstral Boy." I love it, and it's probably my favorite version of it next to John McDermott's rendition.
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Format: Audio CD
Above and beyond being an outstanding film score (made even moreso when the constraints under which it was created areconsidered; reminiscent of the conditions under which Ennio Morricone used to work when scoring Sergio Leone's brilliant Spaghetti Westerns in the '60's), this terrific conglomeration of cultural musical gumbo makes a perfect introduction to "World Music" for people who wouldn't normally give the genre a shot.
There is a suitable combination of conventional music composed and recorded in "song" format to match the atmospheric pieces which are obviously created exclusively to score the film; the talent used is widely varying (World Music mainstay and collaborator with the late great Nusrat Fateh Ali Khan Michael Brook places his signature "infinite guitar" on display to great effect, and the vocals of Baaba Maal, Lisa Gerrard, and Denez Prigent are truly awe-inspiring; the weight of generations of starvation and clan warfare are achingly apparent).
But for me the soundtrack revolves around two compositions near the beginning and conclusion of the CD. "Barra Barra" is possibly the contemporary pop song statement that sums up the soundtrack's soul and the conflict as protrayed in the film and book "Black Hawk Down"; instrumentally the traditional percussion and oud-like instruments favored in the North African desert accompany a very menacing vocal provided by Rachid Taha, coupled with robotic and distorted electric guitars over a techno/hip-hop beat. It will be instantly recognizable from the movie scene and will no doubt bring images of using a high-powered and highly modified M-16 to hunt wild boar from the deck of a Black Hawk helicopter on "another taxpayer-sponsored DELTA safari".
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By A Customer on Nov. 18 2003
Format: Audio CD
I got this album last year and it was the first Hans Zimmer score I had ever gotten, ever since then I have been furiously buying more Hans Zimmer cds. He is one of, if not the, best film composers. The first track starts off with chilling vocals by Babba Maal. It then fades away into a small part by strings which is soon taken over by some radical african stringed instrument. After this it's stunning, hard fight music which comes out and tells how incredible this music is. From there on out it has everything any movie score buff would want. Heroic in "Leave no man behing", rough action in "Chant" restfully beautiful in Gortoz A Ran-J'Attends, relentless techno in "Synchrotone" and HZ even managed to fit some spanish guitar into it all in "Mogadishu Blues".
Electric guitars do play a big part in this, but for all you John Williams/James Horner fans do not let this scare you off! Hans Zimmer weaves it in perfectly.
So if you like movie scores as much as I do I suggest that you BUY THIS ALBUM!!!!!
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