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Frost / Nixon [Soundtrack]

Hans Zimmer Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)
Price: 19.40
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German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents‚ having first enjoyed success in the world of pop music as a member of The Buggles. The group’s single Video Killed the Radio Star became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV.

Zimmer entered the ... Read more in Amazon's Hans Zimmer Store

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Product details

  • Audio CD (1 Jan 2009)
  • Number of Discs: 1
  • Format: Soundtrack
  • Label: Colosseum Music
  • ASIN: B001LHMVD0
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 263,492 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Watergate 4:260.79  Buy MP3 
Listen  2. The Numbers 1:560.79  Buy MP3 
Listen  3. Hello, Good Evening And Welcome 1:320.79  Buy MP3 
Listen  4. Pardon The Phlebitis 1:410.79  Buy MP3 
Listen  5. Status 4:040.79  Buy MP3 
Listen  6. Beverly Hilton 2:260.79  Buy MP3 
Listen  7. Money 2:490.79  Buy MP3 
Listen  8. Frost Despondent 2:300.79  Buy MP3 
Listen  9. Insanely Risky 2:490.79  Buy MP3 
Listen10. Cambodia 1:000.79  Buy MP3 
Listen11. Research Montage 3:050.79  Buy MP3 
Listen12. The Final Interview 2:190.79  Buy MP3 
Listen13. Nixon Defeated 2:390.79  Buy MP3 
Listen14. First Ideas 9:550.79  Buy MP3 

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

Customer Reviews

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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Zimmer's Hidden Gem 25 Mar 2011
By L. Hubbard TOP 500 REVIEWER
Format:Audio CD|Verified Purchase
Given the popularity of Hans Zimmer's scores, it is a real shame that this appears to have been overlooked by the masses. Unlike many of his other scores which are bombastic and largely action orientated, Frost/Nixon is more more restrained. This is largely dominated by the piano and cello, with a variety of percussive instruments to adding to the sense of rhythm perfectly. The main theme is fantastic and visited frequently on the album.

The tracks "Insanely Risky" and "Research Montage" are particularly note worthy in their quality, and contain some of the best orchestrations of the main theme on the album. It is approximately 43 minutes, and given the type of score this is, that is perfect. I found it to be a bit of a slow burner and was impressed after the first listen, but it did grow on me more and more after subsequent run throughs.

Overall, if you are looking for a epic Zimmer action score this is not for you. However, if you wish to hear a well crafted score which contains plenty of character and rhythm then this is definitely worth checking out. Zimmer is not well known for scores like this, however it does show what a brilliant and versatile composer he is. I loved the score within Frost/Nixon [DVD] [2008] (which is definitely worth checking out), and it really does sound fantastic on CD.
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0 of 1 people found the following review helpful
5.0 out of 5 stars Fantastic!!! 26 Jun 2010
Format:Audio CD|Verified Purchase
This is a fantastic soundtrack, if you like the music to Sherlock Holmes, The Ghost or anything by Zimmer, Desplat, Marianelli et all you will probably love this. Do have a listen to the samples above, you will not regret it.
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Amazon.com: 4.4 out of 5 stars  5 reviews
2 of 3 people found the following review helpful
4.0 out of 5 stars Dramatic Zimmer, at his best 5 Aug 2009
By Jon Broxton - Published on Amazon.com
Format:Audio CD
From a modern vantage point it's remarkably easy to look back at the events of 1974, to the presidency of Richard Nixon and the Watergate scandal and forget just what a momentous moment in American political history it was. The aftermath of scandal - which included incidences of campaign fraud, political espionage and sabotage, illegal break-ins, tax fraud and illegal wiretapping - were far-reaching, and changed the political landscape of the nation forever. Three years after Nixon's resignation he was interviewed by the British TV journalist and satirist David Frost for the show `Frost on America', and the resulting encounter between the men became one of the most notorious moments in television history when, during the interviews, Nixon made a tacit admission of guilt regarding his role in Watergate, despite having been officially absolved of responsibility and pardoned by President Gerald Ford. This fascinating series of encounters between these two remarkably intelligent and astute men was turned into a play by screenwriter Peter Morgan starring Frank Langella as Nixon and Michael Sheen as Frost. The play was hugely successful, and was nominated for several Tony Awards, and has now been turned into a feature film by acclaimed director Ron Howard, with Langella and Sheen reprising their roles on the big screen.

Having gone through composers as varied as Lee Holdridge, James Horner, Thomas Newman, John Williams, Howard Shore and Randy Newman, director Ron Howard seems to have settled on Hans Zimmer as his composer du jour. Frost/Nixon is Zimmer's third collaboration with the Oscar-winning director after Backdraft and The Da Vinci Code, and it is arguably the most accomplished work the pair have done together. I have always been of the opinion that Hans Zimmer is at his best when he is scoring smaller, more intimate movies that require a touch of understatement and restraint. While Zimmer's legions of followers generally tend to go ga-ga over his big screen action adventure movies and their accompanying scores, and while there is often much to enjoy in those types of scores, my personal favorites of his are his interpersonal dramas: scores like Beyond Rangoon, The House of the Spirits, Regarding Henry.

One of the main problems Zimmer undoubtedly faced in scoring Frost/Nixon was that of how to bring it to life. The film, like the stage play that precedes it, is basically about two people talking to each other, a game of intellectual chess, as one player attempts to uncover the truth, while the other struggles to continue to conceal it. As such, the music has no exotic locales, car chases or action sequences on which to build, and so Zimmer was forced to internalize the music to a great extent. Ultimately, Zimmer chose to write music which contains a great deal of energy and movement, reflecting not physical movement, but the mental maneuvers the two protagonists carry out on each other as the film progresses.

The score is heavy on strings, percussion and piano, with special emphasis on cellos and basses, but light on theme and melody; at times it recalls the churning underbelly of scores like The Da Vinci Code, while at others it has the sinister, moody overtones of scores like The Ring. The opening cue, "Watergate", is wonderful, a masterful exercise in atmospheric tension building, as cellos and pianos dance and bubble around each other, underpinned by an incessant wooden percussion ticking and increasingly urgent string writing.

Stark, lonely piano chords and humming string pedal tones characterize "The Numbers", although these are tempered with a touch of Thomas Newman's American Beauty stylings in the sprightly, metallic, percussion-heavy dances in "Hello, Good Evening and Welcome" (a cue named after Frost's famous catchphrase) and "Beverly Hilton", which are superbly upbeat and showcase the same instrumental ensemble in a completely different way. Elsewhere, there's a definite hint of tragedy in Martin Tillmann's cello performance in "Status", and an introspective, reflective mood to the appropriately downbeat "Frost Despondent".

The eerie, ethereal (but short) "Cambodia" contains an unusual, effective processing effect on the strings which makes the cue a very interesting experience. The modern "Research Montage" is another upbeat, energetic exercise in texture and rhythm, again underpinned by Tillmann's mewling cellos. "The Final Interview" contains a lush, rolling piano element which is, by turns, beautiful and slightly ominous, while the conclusive 9-minute piece "First Ideas" has a real element of darkness to it, and really showcases Tillmann's cello performances, before descending into a quite downbeat, very atmospheric finale.

When I say that a score is `atmospheric', a reader can usually take that as film music reviewer shorthand for `dull', but that is categorically not the case on Frost/Nixon. While it's true that there is no real thematic element to latch onto, Zimmer's textures and his use of certain instruments mean that the listener's interest is never lost. I love it when Zimmer writes like this - for the most part leaving his synths at home and instead showing us his simple orchestral prowess, and reminding us why he remains one of the most sought-after composers in Hollywood.

What I like most about Frost/Nixon is the way in which Zimmer's score is essentially the backbone on which the encounters between Frost and Nixon are hung. Listening to this score, one can easily envisage how Zimmer's music drives the narrative, giving the film enhanced internal dimensions. A regular criticism of Zimmer is that his music is essentially wallpaper, offering minimal commentary on the subtext of the film it accompanies. This is patently NOT the case here; in fact, one could easily make the argument that, without Zimmer's management of the film's overarching tone, the end product could be little more than a filmed stage play, lacking any kind of cinematic scope. This success Zimmer has in this respect is testament to his skill as a dramatist; I only wish he would use it more often. Scores which accompany films like this are often recognized by awards bodies at the end of the year, and taking into account the current trends in Oscar voting, I would not be at all surprised to see Zimmer pick up his eighth Academy Award nomination for his work here.
2 of 3 people found the following review helpful
5.0 out of 5 stars A Minimalist Score From Hans Closes Another Great Year 26 Feb 2009
By Kaya Savas - Published on Amazon.com
Format:Audio CD|Verified Purchase
I know this is a little late, but for some reason I never got around to reviewing it. Hans Zimmer closes out another stellar year with his minimalist score to Frost/Nixon. The score finds a pulse and goes on it. It's very unique and definitely completes the wide array of genres we've seen Zimmer attempt in 2008 like The Dark Knight to Kung Fu Panda.

The main motif is a cello based cue that dips in and out throughout the score. It's a score that works incredibly well with the image. I also applaud the restraint shown yet still managing to incorporate thematic material. I mean, scoring a dialogue based film fueled mainly by the performances is no easy task. While watching the film I kept feeling like I wanted the score more upfront and I can tell it was pushed back in the mix, but there were definitely a couple scenes that relied heavily on the score. You really notice the score come front and center in the third act of the film and it basically carries you right to the final image on screen.

It's another amazing score from Hans and it closes another fantastic year for him.
5.0 out of 5 stars Amazing 4 April 2013
By Carlos G. Perez-garcia - Published on Amazon.com
Format:Audio CD|Verified Purchase
This is an amazing score by the greatest Hans Zimmer, is absolutely stunning and fit perfectly the story, I am so happy i got it!
4.0 out of 5 stars Excellent Sound! Riveting and Compelling like the Film Itself! 28 Aug 2012
By Sylviastel - Published on Amazon.com
Format:Audio CD
If you haven't seen the "Frost/Nixon" film, you should see it somehow. This film would have definitely won the Best Actor Academy Award for Frank Langella who is chilling, brilliant, and multi-faceted as the disgraced former President Richard M. Nixon in a tour-de-force performance. In any year, he would have been the winner but Sean Penn won the Oscar for "Milk" and Mickey Rourke won the Golden Globe for "The Wrestler." Sadly, he didn't win awards but he definitely earned our attention. Frank Langella has played Nixon onstage on Broadway and in the West End of London opposite his co-star Michael Sheen who played Sir David Frost. Ron Howard did a magnificent job in bringing this story to life.

The film is brilliant piece of cinema. The story about Frost interviewing Nixon is far more complicated than it sounds. Even if you never saw the play or the original broadcasts, the sound or original score captures the tension, drama, complexity, and performances of two dynamic actors who brought the characters from the stage to the screen successfully. Even if Michael Sheen didn't get nominated, it would have been difficult to pick Langella or Sheen for Best Actor. This film is an ensemble piece. For those who are fans, they will appreciate the original score.

First, there is no singing or vocals on this soundtrack or is necessary. I still think the cost is a bit steep for an original score soundtrack. Hans Zimmer should have been nominated if he wasn't for Original Score. Still, this was one of the best films of 2007 that was shadowed by other films that year.
4 of 10 people found the following review helpful
4.0 out of 5 stars Great soundtrack to a possibly great movie 30 Dec 2008
By Alfonso Dupont - Published on Amazon.com
Format:Audio CD
I picked up the soundtrack to Frost/Nixon before seeing the movie so I would have something to listen to while in the long theater lines on opening day. As it turns out this was fortuitous as an argument with the ticket taker resulted in my having to see a later showing at a different theater, and I was able to spend the time driving around the theater parking lot listening to this awesome soundtrack.

While the movie itself was pretty boring and I found the ending confusing, this soundtrack more than made up for it. The composer's delightful use of the oboe throughout lent fun and whimsy to the overarching theme. But my favorite part was the dance mix at the end, an energentic and synth-laden whirligig of sound that Frost and Nixon find themselves shaking it to during one of the movie's few good parts.

Definitely a must have for those who saw this movie (whether you liked the movie or not), and highly recommended to those who appreciate a pumping beat and lush disco production. This soundtrack has it all, and then some!
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