Iron Man 3 Soundtrack

[Griselda Hamiter]

Djawadijoined the film after John Debney, who previously collaborated with director Jon Favreau, was unavailable. The score focuses heavily on electric guitar, as requested by Favreau, and was recorded with a rock band as well a traditional orchestra. The soundtrack also includes the classic 1966 Iron Man theme song, and a big band-style arrangement of it by John O'Brien and Rick Boston, who also frequently collaborate with Favreau.

The soundtrack was negatively received by critics, especially the score's use of electric guitar and Remote Control influences. However, the inclusion of the classic theme, in its original and modern cover forms, was received positively, and the soundtrack was ultimately nominated at the 51st Grammy Awards.

After Iron Man director Jon Favreau's previous collaborator John Debney was unavailable to score the film,[1] Iron Man fan Ramin Djawadi sought out the role.[2] Filming on Iron Man had already been completed by the time Djawadi joined the production,[3] and rather than wait until he could see the completed film, as he usually would, Djawadi began "playing with ideas" as soon as he saw the first trailer.[2] Due to time constraints and the final cut of the film changing until "the last possible minute", Djawadi had help with arrangements and additional cues from Hans Zimmer and Remote Control Productions.[2]

Favreau requested Djawadi's score be more guitar and rock focused, with Djawadi's history playing guitar helping with this. Guitarist Aaron Kaplan performed most of the guitar for the score,[4] with Rage Against the Machine guitarist Tom Morello, who makes a cameo appearance in the film, also contributing guitar performances.[5] The rock band Djawadi used was recorded at Remote Control, while recording of a full orchestra took place at AIR Studios. The final score was mixed at Remote Control.[4]

Musicians John O'Brien and Rick Boston, frequent collaborators with Favreau, provided a big band-style arrangement of the Iron Man theme song from the 1966 cartoon The Marvel Super Heroes.[6] "Institutionalized", a song from band Suicidal Tendencies whose lead vocalist Mike Muir went to school with Iron Man star Robert Downey Jr., is also included on the soundtrack. Djawadi performed a piano rendition of Antonio Salieri's "Concerto in Do Maggiroe Per Pianoforte eo Orchestra: Larghetto" which was used exclusively for the film, and as such was not included in the soundtrack.[7]

Movie Wave's James Southall gave the soundtrack no stars, calling it "yet another phoned-in score" from Remote Control, "completely puerile garbage, as bad as film music gets".[12] Conversely, Christopher Coleman, writing for Tracksounds, gave the score a six out of ten, saying, "as much as I had prepared myself to dislike this score...as much as I thought I'd be among the throngs of haters...and as much as I long for classically-styled scores for superhero films, Iron Man has won me over." He felt that fans of the Remote Control style would find the score an "industrially-clever diversion", but for others it would only give "more fuel for your personal, [Remote Control]-bond-fires". He felt that the release "captures the most of the significant cues", but suffers from the inclusion of Suicidal Tendencies' "Institutionalized". Coleman concluded by saying that "a traditional, all-symphonic score would not have worked better for this film".[13] Allmusic gave the release three stars out of five, with reviewer James Christopher Monger saying that Djawadi "treats the superhero with a predictably heavy hand", and imbues the film with "enough bombast to fuel two sequels".[14]

Many critics praised the inclusion of both the Urbont's classic 1966 Iron Man theme song and the modern cover of it, with Coleman calling it "one of the best surprises of the movie and score",[13] and Broxton highlighting the cover as "a wonderful piece of feelgood jazz".[11] Clemmenson lamented the theme not being integrated into Djawadi's music, feeling that it is "so diametrically opposed to the Remote Control handbook for simplistic progressions that it's disappointing that Djawadi didn't take a stab at coherently interpolating it into the new work."[10]

Destiny: Rise of Iron Original Soundtrack is the official soundtrack for the Rise of Iron expansion, composed by and produced by Michael Salvatori, Skye Lewin, C. Paul Johnson, and Rotem Moav.[1]

Remarks: Please note that HBO hasn't released a soundtrack album of "IronJawed Angels" up to now.

1) German actress and musician JasminTabatabai and her ex-husband, the US musician Tico Zamora, have written andcomposed several songs for "Iron Jawed Angels" and, over and abovethat, performed a cover version of "Will the Circle be unbroken"(written by A. P. Carter) which is played during the credits. Note: This titlewas also sung by the suffragettes in the prison, see herefor the lyrics.

The song "Picket in Bad Weather" by Jasmin Tabatabai can notonly be heard in the movie during several scenes when the suffragettes arepicketing in bad weather, but also in one of the trailers of "Iron JawedAngels".

However, these songs by Jasmin Tabatabai and Tico Zamora were never releasedbefore. One song from the soundtrack of "Iron Jawed Angels", "Picketin Bad Weather", was released as "I'm on my way"on Jasmin Tabatabai's album "IRan" in September 2007.

By the way: In 1997, Jasmin Tabatabai has not only played the leading role inKatja von Garnier's musicial road movie "bandits",but she has written and composed nearly the complete soundtrackfor "bandits" which, with more than 700,000 sold albums, is the best selling soundtrack of an Europeanfeature film.

2) ChristophGracian-Schubert is a German soundtrack composer. His music "SexualDistortion" is only ten seconds long and serves as introduction for theparade.

3) JimJacobsen is a soundtrack composer from Los Angeles. He prolonged and alteredLauryn Hill's "Everything is Everything" during the parade fora kind of military marches.

4) Erik Satie's "Gymnopedie No. 1" can be heard in acover version by soundtrack composer JeffLass.

5) Titiyo's "Come Along With Me" can only be heard inone of the trailers of "Iron Jawed Angels".

See the links page for homepages andfanpages of other artists. Please write remarks and additions for this page orproblems with the MP3 player in the Iron JawedAngels forum. Thanks :-)

RZA's directorial debut, The Man With the Iron Fists, may not be a great movie. But I don't think making a great movie was his goal. It seems more likely RZA wanted to make an awesome movie, and the difference lies in a willingness to embrace the absurdity of the medium. RZA skirts the line between clich and homage, conflating eye-popping violence with gut-busting laughter. Most critics have referred to The Man With the Iron Fists as a "spectacle" and rightfully so: A spectacle allows you to gawk at its audacious showmanship. There will be time for chin-stroking and nodding later.

The accompanying soundtrack boasts several things the movie lacks: continuity, professional editing, intelligible dialogue. The Man With the Iron Fists OST is a strong album and certainly the best Wu-affiliated product since Only Built 4 Cuban Linx... Pt. II, but it never strives to be awesome. And for a RZA project, that means it can't be great either.

The conservative streak of Iron Fists is understandable on two levels: For one, it's RZA's first of what may be many big-money Hollywood projects. And he's recently gone on record saying the Wu could achieve one final triumph, provided he takes full command. Whether the Wu's recent failures are more attributable to a lack of leadership or the decline of their MCing is up for debate, but the latter was the issue on 8 Diagrams. While not as overt about siphoning prior goodwill as Cuban Linx Pt. II, Iron Fists does recall the last truly great Wu-Tang group project helmed by RZA, the Ghost Dog OST. This makes sense, since the format is both an advert for Wu's internal vitality and a display of what outsiders can legitimately be housed under their imprint. Though RZA produces only four tracks, his influence is obvious: Iron Fists is unified by a grainy, blaxploitation sonic blueprint that runs parallel to the movie's grindhouse aesthetic and allows for simmering soul pieces from Corinne Bailey Rae and the Revelations as well an appositely chipper Japanese pop song to sit alongside M.O.P. and Freddie Gibbs.

Still, the vast majority of the music here has an anti-heroism to run counter to its cinematic influences. RZA's character in Iron Fists is a blacksmith that channels an esoteric, cosmic energy to become a human weapon, but most of the songs here seem to identify with the Blacksmith's day job. "Black Out" features M.O.P., Ghostface, and Pharoahe Monch in a grouping that surely excites on name alone as does the Raekwon, Ghost, and Kool G Rap showcase "Rivers of Blood". But the stakes feel a little low: the songs are perfunctory and workmanlike, and given the context of The Man With the Iron Fists, you wish they'd provide something more animated and celebratory.

Opener "Baddest Man Alive" aims for that territory, exhuming the BlakRoc project, which is still a fairly simple concept: rap over a slower Black Keys song. It's enjoyable hearing RZA using his serious voice while not taking himself so seriously, something akin to Bobby Digital rebranding himself as a Saturday morning cartoon (though he'd have to do away with lyrics like "I date rape Beauty right in front of the Beast.") Otherwise, RZA looks outside his Clan to channel the film's base desires. Kanye West's "White Dress" is an outlier; though co-produced by RZA, its narrative conceit of European shopping sprees and club-hopping recalls Graduation and its cyber-Asian artwork as opposed to the kung fu kitsch of Iron Fists. Unfortunately, Talib Kweli takes a vaguely similar approach on "Get Your Way (Sex Is a Weapon)", nicking a stray line from Jay-Z's "Ain't No Nigga" for a lame bout of puns.

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