This fact is made even worse when we realize that nearly half of the stuff on the score itself is picked up almost identically from the three earlier scores. In fact, it is plain unacceptable, especially given the large musical offerings of the previous three scores in the series. The remainder of the soundtrack is seven tracks of Zimmer’s actual music that appears in the film, with a run-time of something approximating twenty-five minutes, a hopelessly meager offering to film score fans the world over. These tracks aren’t bad (a few are downright enjoyable), they’re just not film music. Of the remaining eleven tracks of instrumental music, four are solo guitar performances by Rodrigo y Gabriela, occasionally throwing flairs from Zimmer’s themes into the mix.
Of that, the final seven tracks are trance/techno remixes of Zimmer’s music and – being totally intolerable – have no place even being considered in this review. The album is eighteen tracks long, totaling a run time of over 77 minutes. The crux of the problem with the music, despite its occasionally uninspiring familiarity, is the fact that there simply isn’t enough of it. It does nothing but progress down the note scale in the deep, rumbling brass, and is not particularly exciting material to talk about. There is also a third theme for Blackbeard (featured in the also aptly named “Blackbeard”), but this is more of a motif than a straight theme. There are two new Zimmer themes in this score, one for the Spanish (featured in “On Stranger Tides”) and one for the mermaids (featured in the aptly named “Mermaids”). Gabriela also ostensibly composed the film’s central love theme (featured at great length on guitar in “Angelica”), while Zimmer did not make much effort to create anything particularly original himself. A frequent collaborator with other musicians, for On Stranger Tides Zimmer teamed up with Spanish guitarist Rodrigo y Gabriela to add a South American flair appropriate for a film about the quest for the Fountain of Youth. Many collectors have criticized the album release of Zimmer’s score, in some cases rightly so, because the legendary composer’s heart just didn’t seem engaged in the composition or album release process.
After repeatedly saying he was officially done with the franchise after At World’s End, Zimmer was apparently unable to resist the allure of a very sweet contract to return for the fourth (and likely last) film. Hans Zimmer, who also composed the second and third Pirates film, along with the bulk of the first, is back one more time. Pirates of the Caribbean: On Stranger Tides
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