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The Ring/The Ring Two
Album Cover Art
2002 "Promo"
Bootleg #1
Album 2 Cover Art
Bootleg #2
Album 3 Cover Art
2005 Decca
Album 4 Cover Art
Co-Composed and Produced by:
Hans Zimmer
Trevor Morris

Co-Composed by:
Jim Dooley
Henning Lohner
Martin Tillmann

Conducted by:
Fiachra Trench
Gavin Greenaway

Orchestrated by:
Bruce Fowler
Labels Icon
TIL Music Group (Promotional/Bootleg)
(November, 2002)


(March 15th, 2005)
Availability Icon
The "promotional bootleg" of The Ring was a limited pressing by the TIL Music Group in late 2002. Essentially, it was a bootleg made from promotionally released MP3 samples of the score as heard on a composer web site. The following bootlegs have often included extra material and have no label or number, and all versions regularly circulate around the secondary market. The 2005 Decca compilation is a regular commercial release.
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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... on the 2005 commercial album even if you already own one of the bootlegs because you wish to hear the largely ambient ideas from The Ring in far superior sound quality.

Avoid it... if the rather mundane music for the original film didn't float your boat and you have no need to hear a modern band, led by electric guitar, define the new material written for the sequel score.
Review Icon
WRITTEN 10/16/03, REVISED 9/9/11
The Ring/The Ring Two: (Hans Zimmer/Various) The hysteria revolving around the mid-2000's franchise of The Ring all began with Koji Suzuki's popular novel in Japan, featuring a metaphorical horror story that warns of a cursed video tape that, upon being viewed, begins a seven-day countdown to that viewer's death. It's one of those classic, ridiculous urban legend concepts that has cinematic legs, and one that builds upon a foundation of supernatural menace rather than the usual slasher-related horror tales. In Japan, the story was translated to the big screen in the 1998 hit film Ringu, and its popularity led to a subsequent series of novels, three subsequent movies, and a TV series. An interpretation of the legend in American cinema was inevitable, and Fear Dot Com somewhat borrowed from the same concept while The Ring finally adapted the original idea in 2002. Followers of the Japanese originals criticized director Gore Verbinski's American version immediately, stating that its plot had been made incoherent because of the filmmakers' attempts to condense the best ideas from the growing legend into one film. For susceptible American viewers, however, the fresh urban legend and a well-performed and executed product launched it to box office success. Three years later, and with a new director at the helm, the inevitable sequel moves the surviving primary characters from the original setting of Seattle to Astoria, Oregon, where a fresh new curse predictably begins another round of killings all over again. With his career never establishing the horror genre to any great extent during its earlier half, composer Hans Zimmer saw The Ring as an opportunity to branch out into the realm of musical horror master Christopher Young. It was a project that would share a basic genre with Hannibal, for which Zimmer co-wrote a very popular, classically-inclined score, but these two genre entries for the composer could not be further from each other in style. Whereas Hannibal is a horror score based on beauty, intelligence, and elegance, The Ring clearly required nothing so thoughtful.

Both The Ring and The Ring Two prey upon primordial emotions, like any good urban legend flick, and thus the scores required a very simple, atmospheric approach in their tone and structures. With additional material written by Jim Dooley, Henning Lohner, and Martin Tillman, a small orchestral ensemble and a few soloists comprise the performers in both works. The bulk of music in The Ring is constructed from a base ensemble of a piano, a violin, and two cellos. The piano and violin offer the plain, (purposely) underdeveloped sensibilities of the story's primary character, her care for her family, and her investigative instincts. There are significant cues, including the lengthy "Floating Minds," consisting of contemplative underscore that borders on the realm of troubled dissonance, with the two highlighted instruments performing subtle, meandering motifs alongside a harp. Zimmer very slowly introduces and develops his thematic material in The Ring, and between elusive statements on mainly the piano and violin, it takes nearly the entire length of the score to realize where that rather unceremonious theme is leading. A small, accompanying ensemble of strings, perhaps a synthetic library or two, and various percussion accents present an adequately tense, though occasionally uninteresting base environment for the score. The synthesizers employ a fair amount of unsettling distortion in their samples, and the string section often reacts much the same way, raising tension by simply using themselves as one combined sound effect (whether by screeching, whining, or striking). Most listeners will recognize the two cellos, performed by Martin Tillmann and Anthony Pleeth, to be the heart and soul of the score, their typically disjointed performances representing the true horror element in The Ring. Almost never stating the same motif or theme in unison, the two cellos play well off of each other in order to create a unique method of confusing and frightening the audience. Consider it a twisted form of instrumental taunting with subtle jabs at the listener that never coalesce into a full expression of dread, guilt, or outright fright in the ways you'd expect for an entry in this genre.

Ratings Icon
Average: 2.59 Stars
***** 174 5 Stars
**** 198 4 Stars
*** 400 3 Stars
** 395 2 Stars
* 390 1 Stars
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Read All Start New Thread Search Comments
Offensive and snobbish review
JoelC - April 7, 2013, at 5:23 a.m.
1 comment  (1174 views)
Zimmer hate ruins your credibility
Jason soundtrack fan - May 23, 2012, at 10:19 a.m.
1 comment  (1256 views)
Sheet Music is up   Expand >>
Matt - June 6, 2007, at 8:17 a.m.
2 comments  (4860 views)
Newest: June 27, 2007, at 3:26 p.m. by
Samara Morgan
Apparent Recording Sessions CD for The Ring...   Expand >>
Samara Morgan - April 15, 2007, at 4:16 p.m.
5 comments  (6399 views)
Newest: June 27, 2007, at 3:17 p.m. by
Samara Morgan
sounds like
mark sporleder - April 10, 2007, at 9:47 a.m.
1 comment  (2056 views)
Excellent string and piano work
Sheridan - August 19, 2006, at 9:12 a.m.
1 comment  (2300 views)

Track Listings Icon
Audio Samples   ▼
TIL "Promotional" Album Tracks   ▼Total Time: 25:06
• 1. Seven Days to Die (1:57)
• 2. Aidan (0:45)
• 3. Drawing/Investigation (2:33)
• 4. The Lighthouse (2:32)
• 5. Floating Minds (6:09)
• 6. Overboard (1:54)
• 7. Under the Rug (1:23)
• 8. End Credits (7:44)
Bootleg #1 Tracks   ▼Total Time: 33:08
Bootleg #2 Tracks   ▼Total Time: 37:44
2005 Decca/Universal Tracks   ▼Total Time: 63:11

Notes Icon
None of the albums (promotional, bootleg, or commercial) includes any extra information about the score or film.
Copyright © 2003-2021, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Ring/The Ring Two are Copyright © 2002, 2003, 2005, TIL Music Group (Promotional/Bootleg), Bootlegs, Decca/Universal and cannot be redistributed without the label's expressed written consent. Page created 10/16/03 and last updated 9/9/11.
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