Gladiator: More Music From the Motion Picture

1	Duduk of the North 5:33
2	Now We Are Free Juba's Mix 4:47
3	The Protector of Rome / Russell Crowe 1:25
4	Homecoming / Joaquin Phoenix 3:35
5	The General Who Became a Slave 3:03
6	The Slave Who Became a Gladiator / Russell Crowe 6:11
7	Secrets 1:59
8	Rome Is the Light 2:43
9	All That Remains 0:54
10	Maximus 1:09
11	Marrakesh Marketplace 0:42
12	The Gladiator Waltz / Russell Crowe Original Synth Demo Version by Hans Zimmer 8:25
13	Figurines 1:01
14	The Mob 2:22
15	Busy Little Bee / Russell Crowe 3:47
16	Death Smiles at Us All / Joaquin Phoenix 2:29
17	Not Yet 1:32
18	Now We Are Free Maximus Mix 6:21

Barnes & Noble

Sometimes more is more. It's rare that a movie score merits a sequel, but then again, not every film has accompanying music as riveting as the Academy Award-nominated Gladiator. Cowritten by Oscar-winning composer Hans Zimmer and Aussie musician and composer Lisa Gerrard (The Insider), Gladiator: More Music from the Motion Picture radiates both genuine grandeur and lyrical beauty. A worthy companion to the previous release, Gladiator, this companion release is enhanced by the use of the an ancient Armenian reed instrument called the duduk on several tracks. The opening passage, "Duduk of the North," resonates with a richly haunting and lonely sound fitting for this Roman epic. Other selections, such as "Now We Are Free" and Zimmer's original synthesizer demo of "The Gladiator Waltz," didn't make it into the film's final score and are heard here for the first time. Many of the tracks are enhanced by snippets of dialogue from the film spoken by 2001 Academy Award nominees Russell Crowe and Joaquin Phoenix as well as fellow cast members Oliver Reed and Richard Harris, injecting an element of drama into the score's varied musical textures. Throughout Gladiator: More Music from the Motion Picture, echoes of Stravinsky and Mussorgsky are interwoven with fresh melodies, tribal-sounding chanting, and exotic instrumentation. Once again, musical wizards Zimmer and Gerrard have waved their wands and recaptured the pride and passion of the ancient Roman Empire. Andrew Velez

All Music Guide

This second soundtrack compilation for Ridley Scott's sword and toga epic, Gladiator, hit stores nine months after the movie's initial release. It was timed to capitalize on the film's front-runner status in the 2000 Oscar horse race, but it would be shortsighted to dismiss the disc as a wholly mercenary attempt to milk the Gladiator cash cow. Perhaps such claims would be warranted if Gladiator: More Music From the Motion Picture were what its title implies: a collection of excerpts from the film's original soundtrack that were left off of the first album. The initial album, Gladiator: Music From the Motion Picture, remains more than adequate as a summary of a highly eclectic and effective score which is not only Hans Zimmer's finest composition (thanks in large part to contributions by former Dead Can Dance vocalist Lisa Gerrard) but also one of the most original facets of an otherwise overblown and overrated blockbuster action flick. Thankfully, the second Gladiator CD is not merely an accumulation of leftover scraps of music. Rather, it is a fascinating audio diary, an inside look at the process of composing a film score. Zimmer's liner notes provide detailed accounts of the stories behind each discarded outtake and incomplete draft. One track is a fabulous vodka-inspired late-night jam between Zimmer's synthesizers and strings, Djivan Gasparyan's duduk, and Heitor Periera's Spanish guitar. Another is a faster, African-influenced version of Gerrard's stirring end credit theme, "Now We Are Free," that was abandoned for being too cheerful. It is clear from listening to the CD that these recordings were not rejected because the music was of an inferior quality to the final versions. In fact, some of these pieces are more inventive and listenable than anything on the soundtrack. They were cut simply because they did not meet the requirements of the narrative. Gladiator: More Music From the Motion Picture demonstrates strikingly not only how creative but also how exacting, meticulous, practical, and utilitarian a film composer must be. Evan Cater