Rush

Hans Zimmer

 
" The closer you are to RUSH, the more ALIVE you FEEL! "

Written by Thomas Glorieux - Review of the regular release

Ron Howard continues to deliver biographical films, this time it's the true story of the near fatal accident of Niki Lauda during the 1976 German Grand Prix at Nürburgring, and the return that very same year in Fuij Japan to battle his rival James Hunt for the championship. Coming out this September and October all around the world, Ron Howard continues his renewed collaboration with composer Hans Zimmer. After a hiatus that led Ron Howard to James Horner (and being inevitably responsible for giving James the opportunity to write some of his best scores of his career), Ron Howard returned to Hans for his Robert Langdon tellings, as the other biographical film after that Frost / Nixon.

Before Rush, Hans Zimmer already composed music for the mega hit (but ultimately disappointing soundtrack) Man of Steel and the disappointment (but enjoyable soundtrack) The Lone Ranger. For Rush, people already came in contact with the music of the film if they ever saw the first 2 trailers of the film. And it was this small selection that made me realize Hans finally re established himself as a man who knows what the film requires. I mean, for me Hans was alway able to deliver a specific sound for a film, a sound that we never expected, but eventually started to love. Think of the unexpected sounds for POTC, The Dark Knight trilogy, the masterful Inception or the surprising delicacies of The Da Vinci Code and The Prince of Egypt. Hans always reinvented himself, but always reacquired our faith in him as well. For Man of Steel he made a mistake (perhaps under pressure), but The Lone Ranger and now Rush gets us back on track with what is essentially the right sound for the film.

As said, the trailers already used some of the best moments of the score. And it's the 2nd trailer that delivered us that amazing main theme on cello (performed by Martin Tillman and being a very close cousin to the All Spark theme of Jablonsky's Transformers). This main theme (that opens the score in style in "1976") doesn't return that often, but when it does its effect is undeniably amazing. The soft dramatic sound that fuels the horror in "Inferno", the amazing use of it during the combo of Inception meets The Dark Knight in "Reign" or during the crowning achievement of "Lost but Won", the main theme is a winner and will remain a winner of this soundtrack.

Another instrumental choice that fuels the rivalry between Lauda and Hunt is the electric guitar, and perhaps this instrument is most of all responsible for the never ending fight between 2 legends, but also their driving passion to be the best. It's use is effective, entertaining and rocking. Hear the rocking Inception influence in "Into the Red" when it puts the main theme through a delightful heroic variation, and hear Hans unleashing electric guitar mayhem during "20%". However the best use of this particular instrument is the one that grabbed my attention in the first trailer, namely when electric guitar meets determination and rhythm. And this trio makes "Car Trouble" one of those guilty pleasures of mine. Trust me, for those that heard and loved this particular piece at the end of the first trailer, be ready to experience a couple of minutes of it (sadly only a couple of minutes, though a variation of this piece turns up in "For Love").

This will perhaps be the most enjoyable part for most listeners. The rhythm and pace of these pieces, and the way how Hans let's you be a participant between the 2 drivers' never ending desire for speed.

The most important scene in the picture will undoubtedly be "Nürburgring", and it goes without saying Hans shifts his tone specifically for this cue. In one way eerie, in another totally riveting (through the never ending power of The Dark Knight's tempo), to end with a cacophony of drums, electronic samples and electric guitar mayhem (ultimately leading us back to the Inception sound) for the crash that changes everything. But when everything changes, nothing is the same anymore. And Hans makes it feelable in "Lost but Won", a track that opens exactly as the "1976" cue, but ultimately expanding through the pace and rhythmic beat of that undeniable guilty pleasure "Car Trouble", resulting in every Hans Zimmer fan's wet dream.

It's a gift to understand what a picture needs. And it's a gift to realize it by making it fresh and captivating at the same time. In times Rush is just that. I'm not saying everthing's brilliant about Rush, but I'm telling you that each specific cue holds something that inevitably leads to that amazing culmination "Lost but Won". And it's in this puzzle laying that Hans Zimmer reinvents himself again. Because I love how he uses the strength of those 2 trailer pieces and makes one final big cue of it. Already available as digital download, or soon available for just 13 dollars on a physical CD, Rush is a wonderful way to listen, and it's the only way to experience it.

Favorite Moment - Car Trouble (0.57 - 2.08)
I just love the sound of this specific piece, and wished it returned in full in the final race

Track Listing

1. 1976 (3.00)
2. I Could Show You if You'd Like (0.44)
3. I Hear You Knocking: Dave Edmunds (2.46)
4. Stopwatch (1.29)
5. Into the Red (3.15) Excellent track
6. Budgie (1.28)
7. Scuderia (0.53)
8. Gimme Some Lovin: Steve Winwood (2.52)
9. Oysters in the Pits (1.05)
10. 20% (1.01)
11. Dyna-Mite: Mud (2.56)
12. Watkins Glen (1.49)
13. Loose Cannon (0.36)
14. The Rocker: Thin Lizzy (5.09)
15. Car Trouble (2.37) Excellent track
16. Glück (1.14)
17. Nürburgring (5.33)
18. Inferno (3.30)
19. Mount Fuji (3.44)
20. For Love (2.48)
21. Reign (3.05)
22. Fame: David Bowie (4.11)
23. Lost but Won (6.16) Excellent track
24. My Best Enemy (2.34)

Total Length: 64.41
(click to rate this score)  
 
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(total of 40 votes - average 3.5/5)

Released by

WaterTower NLIN39470 (regular release 2013)