One did a whole animated series as well as animated feature. The other did just two feature movies. However, their style differed in the time periods the media they scored. So, I give kudos to both of their awesome music score.
Vince DiCola all the way!!! Jablonsky's music from the 2007 movie was just one giant form od meh for me....
I'll take Jablonsky. Yeah, all his stuff sounds the same, but I'll be damned if it doesn't sound good.
I think Vince DiCola & Stan Bush just need to start their own band called "1985" so that they can re-work their 15 minutes of cartoony TF pseudo 'fame' til the cows come home. If nothing else, at least they'll always get after dinner gigs at the BotCon's. Jablonksy is so many light years beyond DiCola that it's almost criminal even mentioning their names together in the same sentence.
Regardless of whatever is left of DiCola as a composer.... Imo, Jablonsky's just another Hollywood bombastic orchestra composer, which adheres a style of which I am sick n tired of already since Lord of the Rings. It doesn't have to be 80's synth rock cheese, but I'd rather hear some experimental tech stuff... But oh well... I can't change the fact Jablonsky's doing the ROTF score.
Since...huh? Lord of the Rings' musical style was a old-fashioned symphonic orchestra sound that's miles apart from the Zimmer/Jablonsky synth-heavy pounding; I really can't see how you can compare the two? I mean, heck, I'm all in favour of looking for something new, but if you're working by the principle that "all orchestra music sounds the same", then I think you're going to find your range of enjoyment fairly limited...
It's a movie score. Those are called "themes". They reoccur for characters, moments, nouns in general, for the sake of familiarity. Hell, even DiCola has them. It's not uncommon. I like DiCola, but everything he does sounds near the same to me. There's variations, sure, but it's all 80's synth and guitar, and that can only extend so far in a music score. If I didn't know the '86 movie as well as I do, I would easily confuse his Transformers score for his Rocky scores. There's actual emotion in Jablonsky's work. It might rely on reusing the themes more often, but Bumblebee Captured got more of an emotional response from me than The Death Of Optimus Prime, even when I first watched it back as a kid. The last 30 seconds or so of You're A Soldier Now are probably the most heroic sounding half-minute I've ever heard from any movie score, ever. And I am in possession of a LOT of movie scores.
