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X-Men: First Class Import


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X-Men: First Class + X-Men Last Stand
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Product Details

  • Audio CD (June 28 2011)
  • Number of Discs: 1
  • Format: Import
  • Label: Sme
  • ASIN: B00501JHRQ
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)

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By fel al on March 13 2012
Format: Audio CD Verified Purchase
I loved the movie and I love the soundtrack. A bit repetitive as most of the tracks have a recurring theme based off the main title or Magneto's theme, but the die hard fan will not care. Arrived well packaged with care not to crack the case.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 31 reviews
27 of 28 people found the following review helpful
Doesn't contain everything, but still worth purchasing June 23 2011
By W. Owens - Published on Amazon.com
Verified Purchase
The previous reviews describe this album pretty well, so I won't rehash what has been said. I am listening to it right now, as I write this.

This album contains only Henry Jackman's original material; it does not contain other music used in the film. So if you're looking for the Edith Piaf classic "La Vie en Rose" (played on Sebastian Shaw's turntable twice), "Run (Instrumental)" by Gnarls Barkley (Charles and Erik recruiting the mutants), "Green Onions" by Booker T and the MG's (the young mutants showing off their powers), or "Hippy Hippy Shake" by Chan Romero (the young mutants partying), you'll need to find them elsewhere and supplement this album with them.

Having said that, this album is still well worth buying.
14 of 15 people found the following review helpful
solid June 6 2011
By trustfundbaby - Published on Amazon.com
I started off not really caring about this soundtrack that much ...
Usually the scores I like will jump out at me during the movie and then I'll go and get them right afterwards (TRON, The dark Knight, Battle Los Angeles), but this never quite got there (almost but not quite). But after a friend recommended Magneto's theme on the track listing ... I went off to rdio to listen to it and have had it on repeat all day.

The thing I really love about this soundtrack is that ... it has a really strong central theme (most recognizable in "X-Men") and a secondary one (First Class) that the rest of the arrangement is built around. Both of them are interwoven through out the score and it is done quite brilliantly. Sometimes it subtle ... just the outline of the theme to start with, like in the beginning of "Frankensteins monster" or "Cerebro" and other times its balls-to-the-wall ... all-adrenalin like in X-Men and Magneto.

Its strong suit (the themes) is also its weak point and, I realize now, the reason I didn't immediately jump all over this after seeing the movie.
The themes are used so much in the score ... that if you don't immediately like them, then you won't really like/love the Soundtrack, but what I will say is that it can grow on you ... especially if you've seen the movie.

Doesn't knock my socks off, but still very good ... more like 3.5 out of 5 (can't give half ratings though, and it definitely better than 3 out of 5)
I'd suggest trying it out on rdio.com or grooveshark before buying.
enjoy
9 of 11 people found the following review helpful
First Class effort June 20 2011
By shoutsma - Published on Amazon.com
Not only is this a pleasant surprise, it's also one of the most enjoyable stand-alone listens this summer.
X-Men: First Class' score is done by Henry Jackman, a relatively new face on the scene (his biggest movies being Monsters vs. Aliens and Kick-Ass). For only having done a few blockbusters and the added pressure of writing something for an X-Men movie, this is pretty great.
The real core strength of the album is Magneto's motif, which is featured in several tracks. It's simple, yet incredibly effective. Consisting of about five different notes over two phrases, it's very pliable to different situations. Throughout the album we get it in basic long tones with string accents underneath, lower instrument accents with flowing upper strings, guitar w/ reverb, and a cool magnetic wave effect added in later. In the final track "Magneto" (easily the best on the album), it's featured in full force. Jackman's history with club music comes out here with added digital snare hits, and some of that wave-like techno background. It honestly works really well.
If the Magneto aspect of the album is great, I'd say everything else is good and solid. The theme for the X-Men favors secondary strings more than an outright melody, but the tone is absolutely right for that. The score takes a more emotional turn when dealing with Mystique and her relationship with Beast. "X-Training" is your training montage piece that features electronics more than one might think, but works well with how the movie is edited around it. Action tracks like "Rise Up to Rule" and "Let Battle Commence" are exciting, while the tracks "Cold War" and "To Beast or Not To Beast" help build suspense. And everything in between is just dandy.
Some have been upset by the use of electronics in a period piece, but it works here given the movie is clearly inspired by and paying homage to James Bond. What makes this score work and stand out from others is its reliance on themes like Magneto's or the X-Men's, over just chord changes or percussion hits. It's really the one X-Men soundtrack you can listen to repeatedly without the movie to guide you. I would highly recommend it.
3 of 3 people found the following review helpful
One Of The Best Summer Scores Of The Year Sept. 19 2011
By Kaya Savas - Published on Amazon.com
Format: Audio CD Verified Purchase
The X-Men franchise along with maybe Mission Impossible has probably been the most inconsistent franchise musically speaking. Every other franchise whether they're able to keep the same composer all the way through (Pirates Of The Caribbean/The Pink Panther) or not (Harry Potter/James Bond) is usually able to find a unified voice and every composer who jumps on board tends to stay in the style of that franchise. For X-Men we started with Michael Kamen and from then on saw John Ottman, John Powell, Harry Gregson-Williams and now Henry Jackman. Each of those brilliant composers did their own thing with no regard to what the previous composer did before them. The end result is each film feels disconnected. I'm happy to say that Henry Jackman does indeed provide this scattered franchise with its best score yet and what ended up being a damn great score overall.

Jackman has just started getting his solo career underway with such films like Monsters Vs. Aliens and Gulliver's Travels. He's also done some collaborative work with Hans Zimmer on a few of Zimmer's scores and worked with Hans for the score to Henri IV. Jackman was also part of the musical effort of Kick-Ass where his collaboration with director Matthew Vaughn began. For X-Men: First Class the music takes a very different stylistic approach than anything we've heard. While I would call this an orchestral score it definitely has plenty of electronics and hard electric guitar. Some people may compare the score to Inception as it borrows a few of Hans' elements here and there. The heart and soul of the score though is Jackman's unique voice and much of it reminded me of Kick-Ass. I think the big thing that Henry brought to the table here is an emotional wallop. I was surprised at how big the score was and how much of the characters' inner struggles were reflected within the music. Towards the final act of the film my eyes were watering in the theatre because the music became so overwhelming that it took hold of me. The X-Men have never really had a theme (not talking about the TV show), and while Jackman has one here it's not a superhero theme that maybe we all are accustomed to. This is a good thing because we are meeting these characters before they become "heroes". This lets us connect to them on a human level and become emotionally invested in their struggles. Magneto is the main focus of the film and it's his inner struggle that gets the bulk of the story so the music plays heavily on his character. The final act of the score is an intense, stunning and grand experience. Jackman meshes his central theme with the darker Magneto theme to great effect. That central motif comes into full fruition and we are left with a quiet and touching conclusion in the track "Mutant And Proud".

Henry Jackman knocks it out of the park with this score and lays the strongest musical foundation down that this franchise has ever seen. Not only is it an intense summer action score but a brilliantly structured and executed score, period. With the CD release finally hitting the states we can now enjoy what is without a doubt Henry Jackman's best work to date. I really hope Fox keeps Vaughn as director and that will allow Henry to come back and build off his magnificent effort here.
4 of 5 people found the following review helpful
This Works July 23 2011
By Andres - Published on Amazon.com
Format: Audio CD
The grand opportunity of being able to compose something for a Symphony Orchestra to play is an immense and very rare opportunity few musicians have. This is because nobody, except Hollywood, can afford a Symphony Orchestra to record live. Soundtrack lovers, like me and many others, have become incredibly attached to film music because of the exquisite sounds, melodies, textures rhythms and imposing energy a symphony orchestra can deliver to any listener.

However, there are some cases in which the composer doesn't take advantage of the whole potential of a Symphony Orchestra... this is the case with remote-control composers that prefer to use synthezisers above real instrumentation. This album is one of those cases.

If you listen to this you will find that it does have some catchy rhythms and melodies, but they are repetitive and mostly interpreted by synthesizers. Yet, I dare you to listen to these five tracks only once: "X-Training", "Rage and Serenity", "Mutant and Proud", "First Class" and "Cerebro". It's impossible not wanting to listen to them again. The first main melody is heard in "First Class" and the second strong theme is heard in "Magneto" (yet, I'm not very fond of this last one). There is a third, more hidden, melody played on piano that is first heard on "Would You Date Me?" and then on "True Colors" and "To Beast or Not to Beast". However, out of the two main themes emerges a lot of variations; the energetic "X-training" comes from the theme used in "First Class" and "Frankestein's Monster", "Pain and Anger" come from the "Magneto" theme just to name a few.

The music sounds a bit flat at times because of the heavy use of electronics. X-Men First Class does offer, however, some very nice themes and this is a very decent album, despite the heavy role of synthesizers.

The contrast between the whole orchestra playing and a guitar, piano, cello, violin, flute or harp solo is part of the wide emotional palette a symphony orchestra can handle. But if you don't wanna use the whole orchestra, then at least use real instruments. Synthesizers, like visual effects in a movie, can help the final presentation, but they are not meant to tell the story on their own. I loved the piano solo moments, although short, on this album.

At the end this album works as an enjoyable standalone listening experience.

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