You can hear pieces of music in the contents of this work that remind of a few of the individual composers credited, but without detailed cue sheets for the score, then how is anybody to know who is responsible for the very few bright spots of the composition? Of greater importance is the debate that The Curse of the Black Pearl stirred about the electronic accompaniment and manipulation of orchestral players. In the mid-2000's, Zimmer was still actually writing scores to be performed primarily by live players, but their sound was so heavily mixed in the bass region that the brass and string players ended up sounding like their sampled counterparts. So when you mix the live players to sound like electronics and put a layer of synth elements into that mix to boost the bass (or some other aspect of the recording), then can you blame anybody for simply dismissing the entire result as synthetic crap? The Hollywood Studio Orchestra, whose involvement on the project is advertised, is drowned out (or simply doesn't perform) in every single cue, leaving the abrasive programming of the Media Ventures synthesizers to accomplish the scoring task by volume rather than class. Woodwinds are intentionally devalued (a standard Bruckheimer demand that endured into the following decade), meaning that the composers had no incentive to write with any sense of style or delicacy. What few solo fiddle or other elements there are in this score are mixed so far in the background that their contribution is useless. Outside of purely orchestral string performances in "Walk the Plank" and "Moonlight Serenade," the score is a pounding array of the usual staccato rhythms and synthesized orchestra hits that we have come to expect from these people. If you hear synthesized cellos in your nightmares, then be aware that they are relentless in Pirates of the Caribbean, chopping ceaselessly through extremely overused rhythms by the Media Ventures artists. Brief respites of thirty seconds or so in length break up these non-descript action explosions, leaving a person scratching his head and wondering if this music really does make Gladiator sound like a masterpiece. The underlying structures are ideas that expired years ago, a time capsule of The Rock that has been repackaged with a variation of its theme and combined with less than a minute of swashbuckling-oriented music heard only at the start in "Fog Bound."

The most disgraceful part of the pounding and shouting score for The Curse of the Black Pearl is that there is really nothing swashbuckling about it. If you remove the tepid little thirty-second jig from the start of the opening cue, then this score could easily accompany a movie about alien attacks, police force raids, chases for nuclear weapons, or any other militaristic setting. It immediately begged the question: Did none of these two dozen men at Media Ventures actually walk across town and get on the ride at Disneyland? Certainly, Zimmer and Badelt had both made America their residence long enough prior to this assignment to spare a few moments on the classic ride in Anaheim. Do your research, composers! If they had, they would have heard the kind of jolly bayou swing that the real tale of the "Pirates of the Caribbean" combined with its action music, courtesy of George Bruns' original "Yo Ho" composition. The entire concept of the jig, and the jolly rhythms that accompany the free spirited nature of these pirates, was lost on Zimmer and Bruckheimer, and therefore you get this ridiculously out of place, harshly modernized interpretation of the genre that has nothing to do with the original concept. The mark could not have been missed to any greater extent. As such, the lack of soul, spirit, and spit in Pirates of the Caribbean is a matter of a massive failure in conceptualization rather than instrumentation alone. A decent pirate score can be produced from this Media Ventures crowd and their electronics, and we know this because Zimmer himself wrote the more appropriate Muppet Treasure Island for Disney in the mid-1990's. While that score was able to benefit from the silliness of its characters, it still exhibited the "Yo Ho" spirit that is necessary in the genre. It is possible, perhaps, that a change in instrumentation would have saved this music, for every score collector knows that John Debney's Cutthroat Island stands as a classic because of the mere scope of orchestral power behind its swashbuckling rhythms. Concurrently in 2003, Harry Gregson-Williams' score to the animated film Sinbad: Legend of the Seven Seas used a real orchestra and combined it with snazzy, though stereotypical pirate rhythms to a very effective end. Some proponents of the first Pirates of the Caribbean score will argue that time did not allow Zimmer and his crew the luxury of exploring such avenues, but the franchise's sequel scores clearly indicate that unwillingness, not inability due to deadlines, is the villain here.

In the end, however, Zimmer and his associates completely failed to take inspiration from appropriate places for The Curse of the Black Pearl. Instead, they took a cue (or two or three or twenty) from non-pirate related Media Ventures stock material. The themes that do appear in this score are not strong enough for the genre, nor do they exhibit any swing in rhythm themselves. The jaunty Jack Sparrow idea has some minimal spirit and the primary theme, constantly repeated and summed up with bravado in "He's a Pirate," has become a staple of college band performances. Both ideas would figure strongly in Zimmer's own sequel scores, the latter among the most famous film score themes of the 2000's. Still, these themes are all reminiscent of prior Zimmer and Media Ventures identities. The third minute of "One Last Shot" is particularly shameless, an example of poor engineering because its volume is so great that it causes high range distortion. Minimal distortion can also be heard in the atrocious "Swords Crossed" cue, an insufferable piece of music complete with electric guitars, which may indicate that the distortion is due to simply a bad combination of sounds rather than faulty mixing. The album, as a listening experience, suffers from badly rearranged tracks, though it also fails to include some of the more derivative cues from the film (indeed, the product could have quoted even more Zimmer themes from the past had a lengthier album been pressed). In 2007, Disney released the "Soundtrack Treasures Collection" containing the first three scores' original albums, a bonus music CD, and an interview DVD for $60 or more. The only addition to The Curse of the Black Pearl on this set is an early 4-minute demo from Zimmer (the endless remixes of "He's a Pirate" were all previously released on their own pitiful product), a tremendous disappointment for concept fans. On either the original or 2007 albums, this score is definitely to be avoided by the vast majority of film score collectors, for it will frustrate you with its total lack of respect for the genre. Zimmer would be able to take credit for the arguably better sequels, though they're all relatively simplistic and juvenile works. Fortunately, there exist plenty of accomplished swashbuckling scores that are 20,000 leagues ahead of what Zimmer, Badelt and his several associates produced for this franchise. The arguments of these Media Ventures (and later Remote Control) artists, as well as anyone who might defend this work, mean nothing if they haven't compared this piece of trash to the music of the "Pirates of the Caribbean" ride at Disneyland. This music is a socio-political disaster for the film music community equivalent to what Wal-Mart is to the world at large.  *   @Amazon.com: CD or Download