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Rush CD, Import

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Détails sur le produit

  • CD (24 septembre 2013)
  • Nombre de disques: 1
  • Format : CD, Import
  • Label: Mis
  • ASIN : B00E7NIMZ6
  • Autres versions : CD  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 3 commentaires client
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Par Nicolas le 30 septembre 2013
Format: Téléchargement MP3 Achat vérifié
As always with great films, there is a great music. This OST is a prefect mix of intense emotions and an incredible immersion into the seventies. As this incredible movie is. Hans Zimmer at his best.
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Format: Téléchargement MP3 Achat vérifié
Comme d'habitude Hans Zimmer est toujours aussi créatif, je passe en boucle le disque dans ma voiture mais bon, attention je suis un inconditionnel de Monsieur Zimmer!
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Par Carbon le 16 octobre 2013
Format: CD Achat vérifié
Toujour un plaisir de écouter une nouvelle BO du grand Hans Zimmer, il nous régale encore avec ses compositions. On reconnait son style avec ses guitares et synthés !
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Amazon.com: HASH(0x9234f30c) étoiles sur 5 34 commentaires
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x903ebe64) étoiles sur 5 Rush - Original Soundtrack 10 septembre 2013
Par JMM - Publié sur Amazon.com
Achat vérifié
"Rush" continues Hans Zimmer's recent trend of percussion and electronics. The music is full of thrills and has a certain intensity throughout, which can get tedious at times but feels very appropriate for a racing film. While I see the score working extremely well within the film, it's not quite as interesting as an isolated listening experience.

There are a number of really great tracks on the album. "1976" [Track 1] and "Stopwatch" [Track 4] are two of my favorites. Several songs are also included (like "Fame" by David Bowie), which is great because it gives the album some much needed diversity.

One thing I enjoy about many of Zimmer's albums is that one track often flows into the next without pause. Keep in mind that if you like to just buy 1-2 of your favorite tracks in MP3 format, they might start/end abruptly. This is because most of the tracks for "Rush" start off exactly where the last track ended, with absolutely no silence in between.

"Rush" is the third of Zimmer's major works of 2013 - he also scored "Man of Steel" and "The Longer Ranger". He's had a great year overall; although of the three I consider "The Lone Ranger" to be his best work (and that score has the most replay value). Still, if you like Zimmer's style and want some cool music to drive to, then the "Rush" soundtrack gets my recommendation.

FAVORITE TRACKS
[1] 1976
[4] Stopwatch
[15] Car Trouble
[20] For Love
[24] My Best Enemy
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x903ed0a8) étoiles sur 5 A Classic Zimmer Thrill Ride 30 septembre 2013
Par Eric Marcy - Publié sur Amazon.com
Format: CD Achat vérifié
2013 has been a good year for Hans Zimmer fans like myself. The renowned German composer has scored the music for four major films this year, three of them already released, with one more still to come. His score for Man of Steel was met with a storm of both positive and negative press, dividing listeners between those that hailed it as a bold and modern reimagining of Superman's musical identity and those who lampooned it as yet another minimalistic, over-synthesized formulaic soundtrack in the vein of The Dark Knight's famous two-note motif (I have found myself occupying somewhat of a middle ground). Next came The Lone Ranger, which elicited a far more positive response, overcoming the same tonal inconsistencies the film suffered from with some individual moments of musical ingenuity, a few tributes to Ennio Morricone, and a fantastic adaptation of the William Tell Overture. And now we have Zimmer's rock soundtrack for Rush, the Ron Howard F1 racing film, and I am happy to report that not only is it Zimmer's strongest album of the year, but it may provide some of the best music the we have heard from the composer so far this decade.

One of the critiques often leveled against Zimmer is the fact that his thoroughly modern style of scoring (electronically driven, structured similar to rock music, simple progressions relying more on powerful and sonically deep performances rather than technical nuance) is applied too often to contexts it is not suited for. This is most certainly not the case with Rush. It is hard to imagine that another composer in Hollywood today would be more suited to score a 70's racing drama, as the source material plays right into Zimmer's strengths. A product of late 70's/early 80's rock himself, in which he started his musical career, Zimmer's compositional style has always been rooted in guitar based chords and structure. Classic guitar riffs, pounding percussion, and a dash of synth-powered orchestra is exactly what this film needed, and Zimmer delivers.

The album opens with the muted whoosh of racecars in "1976", which broods for a minute or so with eerie atmospherics and synthesized strings interspersed with delicate piano. Eventually a guitar joins the mix, building a sense of anticipation with a simple repeating pattern (what will become a racing theme of sorts) before a majestic cello piece surfaces, heralding the main theme's arrival on brass along with a sudden and energetic blast of guitar and percussion. These elements make up the backbone of the rest of the score. The racing theme supplies a pleasantly simple and uplifting sense of excitement and eagerness, getting its best performance on "Stopwatch", one of the finer pieces of music to come out of Remote Control Productions in recent memory and easily the highlight of the album. The sense of hope and passion on that track flows almost seamlessly into the heavily percussive and guitar driven "Into the Red", capturing perfectly both the adrenaline-pumping intensity of such a competition as well as the natural swagger and arrogance of the racers themselves.

"Into the Red" is but one of several action cues that prove to be standout tracks, racing forward with a propulsive energy driven by both guitar riffs and excellent percussion. The drums in Rush prove far more effective than the much hyped 12 piece drum orchestra Zimmer assembled for Man of Steel, for here they do not simply hammer the listener into submission, but rather utilize interesting rock techniques in "Watkins Glen" or accompany a powerful discordant guitar wail prominent in "1976", the transition between "Stopwatch" and "Into the Red", as well as the beginning of "Car Trouble". Guitars chug menacingly under synthesizers during "Nürburgring", before sharp, rapid percussion joins in. "Car Trouble" proves to be the most engaging piece of Zimmer action music since "160 BPM" from his 2009 Angels & Demons score, racing forward with perfectly blended drums and guitar, and becoming particularly poignant thanks to the guitar riff from 0:57-1:23 and reprised on strings later in the cue. Never does Zimmer fall prey to the minimalist droning and pounding he has become known for recently. His action music for Rush is instead nuanced, weaving the racing theme in and out of these and other tracks, as well as incorporating the main brass theme on "Reign" and prominently throughout the majestic "Lost but Won".

This brass theme is a fairly simple and standard construct for the composer, but it effectively communicates the self-perceived importance and significance of victory for these F1 rivals, and it is weaved beautifully and subtly throughout the score, twisted and contorted throughout the disturbing "Inferno", and reprised triumphantly on "My Best Enemy". It does not hurt that Martin Tillman's cello performances of the theme on "1976" and "Lost but Won" are chilling in their gravity and nobility. Zimmer is not afraid to let rip with the period rock vibe either, and "I Could Show You If You'd Like", "Oysters in the Pits" and "20%" will all be standouts for those who enjoy that era, along with the several rock songs from the time that are seamlessly included on the record. It is a credit to Zimmer and his production team that their original music is mixed and composed so authentically to the period that it is easy to lose track of which songs belong to Zimmer and which belong to the likes of Thin Lizzy, David Bowie and others.

In short, Rush showcases Zimmer at his best, adapting his style sonically for an era it is perfectly suited for. Rush is a must-have for fans of the composer, showcasing a truly hopeful and uplifting guitar motif, some of Zimmer's best action music in recent memory, and a noble brass theme all presented in a classic and accurate period context. Rush will thrill and excite every bit as much as the F1 race cars it is intended to represent.
***
See more reviews like this on my blog, "Pulling On The Push Door".
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x903ed378) étoiles sur 5 Ecstasy, pure ecstasy.. 11 septembre 2013
Par Luke Richards - Publié sur Amazon.com
Achat vérifié
I am major F1 fan, particularly in the 80s. When I heard Ron Howard was on board to direct a film using and racing authentic F1 cars from 1976 (Year I was born)and consult , I mean really consult and research with guys from the era I was hooked and have been following production on the film for about two years.

I was one of many who knew of the talent of Niki Lauda and was introduced to James Hunt as a commentator for the BBC on F1 so this movie is special to me on so many levels.

Fast forward a few months and I find out one of music heroes Hans Zimmer is doing the score, and you can be sure you wont be disappointed. Like the making of the film Ron didn't skip on the score. He surrounds himself with the best people.

Hans captures the era perfectly and also the aspect of driving with these tracks. So far my favorite is 'Oysters in the Pits' I only wish it was a little longer. The ambient guitars, heavy bass and rock guitars and drums really are something to savor on this album, and I cannot wait to drive my Porsche 944 with this soundtrack playing. :)

You will also notice there are nods to the signatures of 'Mombasa' from Han's brilliant 'Inception' score.

Overall a brilliant work of music that I truly recommend.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x903ed648) étoiles sur 5 High-Octane Zimmer 11 septembre 2013
Par Movie Music Mania - Publié sur Amazon.com
The deafening roar of forty-three engines at full force, the smell of burnt rubber, the rush: what's not to love about the races? I grew up an ardent fan of stock car racing, hopping amongst New England's speedways in pursuit of the incomparable exhilaration that watching greats like Dale Earnhardt, Rusty Wallace, and Jeff Gordon brought. These men were deft tacticians, athletes, celebrities harkening back to the golden age of racing.

In that golden age, Formula 1 ruled the European raceways. Ron Howard's latest film, Rush, explores that 1970's racing culture and tells one of its most harrowing stories, that of the relationship between Formula 1 racers James Hunt and Niki Lauda. It was one of the sport's great rivalries: the dashing, English playboy against the methodical, brilliant Austrian. Exploring in particular depth the culmination of that rivalry at the 1976 World Championship following Niki Lauda's infamous, catastrophic crash, Howard returns to the screen with a sleek, exciting and engaging film that's sure to garner significant Oscar consideration.

Having scored all of Ron Howard's films since The Da Vinci Code, it's no surprise that Hans Zimmer is back in the driver's seat for this one. He's had a prolific year thus far, creating the controversial new sound for the Man of Steel and helming the so-so Disney flop The Lone Ranger, and he'll finish it off with another assured Oscar lock, Steve McQueen's unflinching 12 Years A Slave. Before that much-anticipated endeavor, though, Rush will hit theaters. His score for Rush is expectedly high-octane, fast-paced, and even exciting, though avid fans of the composer may find it often a little too familiar.

The score begins with a flurry of F1 car effects and then introduces its main theme in "1976", a solemn cello piece over plucking guitar and thumping bass and percussion. Devotees of Game of Thrones will immediately notice the similarities to Ramin Djawadi's "A Lannister Always Pays His Debts", one of the more prominent themes of season three, but the cue also incites comparison to some of Steve Jablonsky's work on the Transformers series, particularly "The All Spark". When the brass kicks in, the theme reveals its full majesty; a fitting, albeit typical, display of forceful gravitas from Zimmer. The theme recurs in choice instances throughout the score, as at the midpoint of "Mount Fuji" amidst an ethereal flurry of guitars and in the magnificently dramatic and fantastically built cue "Lost but Won" (though its impact falters slightly when the brass reveals just how synthetic it really is). "My Best Enemy" continues in the vein of "Lost but Won", albeit in a higher register and more cathartic tone than its predecessor.

The dominating material on album is the racing music. This material is appropriately high-octane and intense, dwelling in a similar realm to the sound Zimmer created for Inception's action sequences, with a heavy emphasis on period-appropriate rock influences. The tense "Into the Red" is distinguished by a notable burst of the main theme at 1:00 that will no doubt distinguish a harrowing moment onscreen, as well as some similarities to Inception's "Dream is Collapsing". The electric guitar is nearly a constant in cues like this, though some sport a much more forwardly Rock and Roll vibe than others (see "20%", "Oysters in the Pits", "I Could Show You If You'd Like"). "Watkins Glen", one of the standout racing cues, admittedly rips unabashedly right from Inception's "Mombasa" but ends with a memorable burst at 1:10 of an exhilarating, underutilized theme over some impressive, percussive elements. This brief theme can also be heard in "Stopwatch", a motivating, inspiring piece (as an aside, if the string motif caught your ear, check out "Re-Entry" from Philip Sheppard's score for In the Shadow of the Moon; it uses it to moving effect). The alternatingly understated and bombastic "Nürburgring" draws from The Dark Knight (as does "Reign") but also features an incredibly abrupt employment of the rattling "Mombasa" percussion at 4:16 that takes you completely by surprise and highlights some of the album's mixing and editing issues. But more about that later.

Of all the fast-paced, racing-oriented cues, the pounding and thumping "Car Trouble" stands out to me as a clear front-runner. Though by no means the most complex, it is easily one of the most satisfying due to the electric guitar and string motif that runs throughout it. It's simple yet speaks to the rush of adrenaline and thirst for glory inherent in the climactic moments of every great race.

A handful of dramatic cues round out the original material on album. The chilling and weighty "Inferno" lends gravity to Niki Lauda's infamous second lap crash at the German Grand Prix and employs some intimations of the main theme. Audiophiles may cringe at some of the distortion and reverberation on the track when the strings are at their heaviest, but it's still a sobering piece of work. "Budgie" also dwells in this tone, but cues like "Glück", a warm and atmospheric piece for twangy guitar, and "Scuderia", which uses the "Mombasa" motif, are more affirmative in their own ways.

Interspersed with Zimmer's original score for Rush are a few period-appropriate rock/pop songs such as Dave Edmunds' "I Hear You Knocking", Steve Winwood's "Gimme Some Lovin'", Mud's "Dyna-Mite", Thin Lizzy's "The Rocker", and David Bowie's "Fame". It's a nice collection of source music and especially fitting given racing culture and the celebrity, rock-star status of racers like James Hunt.

As mentioned before, there are a few problems with the mixing and presentation that warrant addressing. As has been his controversial method of late, Zimmer employs a partially synthetic orchestra here. Much like in The Dark Knight Rises and occasionally in Man of Steel, this often leads to distortion of the music and "warping" effects that once in a while disrupt the listening experience. Audiophiles, take note. The other more frustrating attribute of the album is the editing of tracks. Each cue is cut off just a smidge too early, leaving the listener with the impression that the beginning of each new track contains a sliver of the end of the previous (evident right from the outset with the disrupted transition between "1976" and "I Could Show You If You'd Like"). Such grievances, though, do not entirely diminish the effect of Hans Zimmer's Rush. While too often drawing from previous works of the composer (and, possibly, from that of his protégés), Rush is mostly the score I expected it would be. It's an exercise in combining adrenaline-pumping action with weighty drama and, in spite of its numerous faults, it mostly succeeds and entertains.

A Few Recommended Tracks: "1976", "Stopwatch", "Into the Red", "Watkins Glen", "Car Trouble", "Lost but Won"

Head to moviemusicmania . com for more film score reviews! Happy listening!
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x903ed09c) étoiles sur 5 A Score That Reflects A Period In Time & The Psyche Of The Characters. A Thrilling Score That Is As Emotionally Riveting 18 octobre 2013
Par Kaya Savas - Publié sur Amazon.com
Format: CD Achat vérifié
Hans Zimmer is having an incredibly busy year churning out some amazing scores with no signs that he's spreading himself too thin. He reunited with directors he has worked with many times before and even started new collaborations. Rush sees Hans reuniting with director Ron Howard. The pair have turned out amazing work on films like Backdraft, The Da Vinci Code, Frost/Nixon, Angels & Demons and The Dilemma. It's amazing how different directors push a composer into new creative territory. For Rush we see Hans departing the dark broody sound we've heard from his scores to Nolan's films. We see him depart big orchestral thematic romps like he did for The Lone Ranger. Here we get a high energy score steeped in a deep character story. Last time we heard Hans in this territory was for Tony Scott's Days Of Thunder, but here we get a more character driven score. It's fast, energetic, aggressive and it'll give you chills within the first minute.

This score starts off with a wonderful establishing track. It gives us the main theme in its full glory, and then we depart from it for a while. We then spend the first half of this score setting up the characters of James and bringing in his rival with Niki. Zimmer goes for an almost rock band approach really giving the rockstar attitude to the characters and the sport. The music immerses us in the culture and lifestyle. The musical style also subtly establishes our time period of the late 70's. And even though it has a rock band feel it never feels like a performance. The narrative is being pushed every step of the way. The soundtrack has some iconic songs peppered in to really ground the time period so the score doesn't have to dip too much into that style. As the story progresses the music goes a bit deeper into the psyche of the men, their testosterone fueled rivalry and what really drives them. That "on top of the world" feeling disappears and we the listener are placed between the midst of the complex rivalry that centers the film. That achingly beautiful theme we heard in the first track reappears in the final act. The deep cello notes penetrate the chirping synths and rhythmic percussion like a knife. The theme sends chills down your spine, and the wonderful part is how beautifully simple it is. Hard propulsive percussion is immediately followed by quieter shifting tones and textures. The score never has a predictable trajectory, but the flow takes you exactly where you want to go. I always state that Hans knows how to build a track better than anyone I've ever heard. I always find myself holding my breath at moments, goosebumps slowly raising and eyes watering. He is the ultimate dramatist and knows exactly how to build the story and scene musically. Everything builds to the ultimate climax in "Lost But Won" a track that is nothing but pure Zimmer. We find our resolution in the final track as the story closes.

Rush is a tremendous score that strives in its simplicity. Hans pinpoints the focus of the two central characters' relationship to really push this score in fantastic directions. The music starts off merely to set the stage for the tremendous second half. Hans lets loose with some rock stylings that perfectly echo the world these characters live in. The characters' competitive desires are reflected in the score and really lets the music soar emotionally. The final few tracks are pure Zimmer and end the journey in a grand emotionally riveting fashion. This is a score that stands out for its distinctive soundscape yet undeniable Zimmer style, and shouldn't be missed.
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