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While the score may seem on the surface to be mono-thematic, the dominant title theme is joined several other ideas that Zimmer returns to regularly. That title theme is a hymn that respectfully builds momentum in its two fullest statements, combining the deep choral performances with an extremely powerful electronic bass rhythm of chopping string effects and (likely) synthetic brass sampling. It is featured prominently three times in the film, carrying two of those three scenes by itself. Listeners are introduced to the theme, representing the ship and, more interestingly, the bravado of Hackman's captain, during the boarding sequence when the captain rallies his men. Every good submarine film needs its heroic "sailing from port" scene to feature an outstanding thematic statement, and the use of the title theme during the ship's sunrise departure is equal to Michel Legrand's early sailing scene music in Ice Station Zebra (though worlds apart in style, of course). Later in the film, the theme receives a victorious burst as the ship avoids crush depth and the crew celebrates (heard on album at the end of "1SQ"). A final concert arrangement of the theme accompanies the last scene of the film (as the captain departs with his ridiculous little dog) and the opening of the end titles. Of the secondary themes, the most attractive is a noble idea likely meant to represent Washington's executive officer and his sense of morality. Heard on acoustic guitar as the officer leaves his family (before the first main theme performance on the album in "Mutiny"), this theme is usually the domain of Malcolm McNab's trumpet solos. A short, lonely statement is heard at 18:00 into "Alabama" and, with far more class, the theme gracefully segues into the film's epilogue at the outset of "Roll Tide." A motif for the act of the mutiny itself is a recurring idea that opens with a simplistic, alternating minor key rhythm at 15:15 in "Alabama" (with almost a touch of Toys to it), and is featured more fully at 17:00 and 19:00 into the same cue. A singular "decision" motif in the form of a menacing choral crescendo is heard in both "Alabama" and "Roll Tide," highlighting a scene when Mortensen's character chooses sides in the mutiny.

All of these themes, interestingly, are arranged by Zimmer to appear in the last cue of the film and album. From the trumpet solo for the executive officer at the outset of "Roll Tide," Zimmer proceeds with the obligatory main theme performance but then follows it with variations on the decision-making motif and the mutiny theme (though this last one is considerably softer in tone here). Finally, he closes out the credits with the standard choral performance of "Eternal Father Strong to Save," which serves as another theme --one of hope-- throughout the score. As far as listenability is concerned, Zimmer doesn't allow much time to transpire at any moment in the score without referencing one of these aforementioned themes and lesser motifs. There are a few minutes of grinding electronic ambience that is difficult to enjoy album, mainly from the first half of "1SQ," but a cue like "Alabama," despite its 24-minute length, manages to maintain your interest in its less spectacular moments. The variety of sound effects used to create rhythms or simply as individual accent pieces is another point of interest. In their softer rhythmic incarnations, a companion to the tense conversational moments in the film, the effects are typically driven by a throaty performance by either a shakuhachi flute or pan pipes. There is some speculation as to which it is; the performances suggest the shakuhachi, though Zimmer had just made great use of pan pipes in The Lion King and Beyond Rangoon. There's also speculation that they may be completely synthesized. The array of tingling, swooshing, and zapping sound effects is a highlight of the score. They foreshadow the kinds of sounds that Graeme Revell and Craig Armstrong would utilize in coming years, and they're often mixed in an echoing effect to much the same degree that Basil Poledouris accomplished with The Hunt for Red October. In an underwater setting with reverberating sounds, the echoing seems like a natural and logical use. A balance between drum pads and live percussion (led by lengthy progressions of deliberate snare rips) usually enhances the bass realm of the soundscape. A clanging chime is a somber accent to several weightier scenes.

Overall, Crimson Tide is a remarkably effective and obviously influential score. On album, however, there are several issues to contend with. The mix is a bizarre combination of extremely dry synthetic blasts in the forefront and the meandering choir at a wet distance. A good example of this sound discrepancy exists at 14:30 into "Alabama," where the choral performance of the decision motif is accompanied beautifully by echoing sound effects, only to yield to a stubbornly mixed, bass-heavy presentation of the mutiny theme. The two primary title theme performances do benefit from the addition of a little reverb back into the mix, if you're equipped to do so at home. As with most Zimmer scores, don't expect what you heard on the album to match the mix you heard in the film. The most problematic aspect of the album is Zimmer's preference to have his music heard in lengthy suite-like formats. In this case, Media Ventures regular and composer Jeff Rona rearranged the score into four lengthy cues (with one choral presentation of "Eternal Father Strong to Save" occupying the whole of the only short cue), one of which is 18 minutes in length while another is 24 minutes. Luckily, Crimson Tide is a score that tends to play well in extended sequences. But with thematic highlights spread throughout both of the two longer cues, you really need --if you're a fan of this score-- to do some editing of your own. The "Alabama" cue alone has several changes in direction and important performances littered throughout its length, and "1SQ" has the pivotal title theme performance near its end. For the most part, however, the major ideas of the score are seemingly presented in chronological order. Historically, many fans have hoped that Zimmer and his pupils would return to the sophisticated simplicity (how about that for an oxymoron?) of Crimson Tide, only to be thwarted by the crashing electric guitars and the intolerably relentless pounding of synthetic percussion in scores like The Rock. The score for Crimson Tide, conversely, never resorts to simple volume to accomplish its goal, and the admirable result would go on to play a prominent role in the trailers for Independence Day early in 1996. Regardless of where the style has gone wrong (or tired) in recent years, Crimson Tide sails on victoriously.  *****   @Amazon.com: CD or Download

Bias Check:

For Hans Zimmer reviews at Filmtracks, the average editorial rating is 2.93 (in 97 reviews) and the average viewer rating is 2.97 (in 275,554 votes). The maximum rating is 5 stars.

Total Time: 60:17