I thought the score this time around was pretty good. Not great, not amazing. But Debney is capable of writing GREAT music, whereas Djawadi has never written anything of substance in his entire short career (IMO of course). His scores mostly consist of regurgitating the stock action music/Zimmer style that most of you have become accustomed to over the past decade of blockbuster films as many of them have been scored by Zimmer or one of his cohorts.
I was one who really disliked the first score, and thought it actually took away from the movie. It was annoying, and the "theme" was a joke IMO. That's not a theme. It may have been memorable, but that doesn't make it of any substance. Anyways I don't want to make this an anti-Zimmer rant, so I'll get onto what I thought about Debney's score (or whatever I could hear of it in the film).
The opening cue, of whiplash building his suit, was far better than anything in Djawadi's score. Debney apparently had the choir (real choir mind you, not synth choir like the first score) singing in Russian, which is pretty darn cool. So right off the bat, he beats the first score in my book. Then there are certain scenes that I clearly recalled the score (opening titles scene, black widow in Hammer's facility, the entire Monaco scene, Tony "redecorating" with that badass guitar riff which I assume was Tom Morello, when Tony discovers what he's looking for, and certain sections of the final fight sequence) that were memorable to me. The problem was ultimately the sound mix, and perhaps the constant re-edits on this film, which could clearly be seen by the off-pacing throughout the entire second act. Like I read somewhere, it felt like a 3 hour movie edited down to just over 2. A 74 minute CD actually shocks me because I don't remember hearing near close to 74 minutes of original score in the movie, which is a darn shame as Debney probably wrote A LOT of music that wasn't used for whatever reason, or was muddled under the ridiculously loud sound fx, especially in the Drones sequence. The sound mix just didn't help AT ALL. And like I said, that's an indication of constant re-edits. Apparently the score was recorded in Feb. which means that the main sequences and editing SHOULD have been put together in time for the composer to tailor their music to the scene, but when it seems you're frantically trying to piece together the picture for the film, and when tracks are written that no longer tailor any scene, they are either chopped into bits to make it work, or just not used altogether. The music definitely takes a back seat in these situations.
I think Debney was put in a tough spot. Try to keep some of the elements of the first score, electric guitar, drums when necessary, but expand on that into a more orchestral realm. And he probably had to follow Favreau's instructions to the t. There's not much freedom for composers on these big blockbuster movies.
This post by Maestro Z on Film Score Monthly pretty much sums up how I feel about the score (not the film, but the score):
The 4th post down. Favreau basically told Debney to tone it down, which is not what Debney is really known for. I think he did a fine job, it was definitely an upgrade, but no masterpiece. And not to mention the fact that while Djawadi's score was released to coincide with the first film's release, Debney's score get pushed back until July in favor of a "Best of.." AC/DC & Iron Man marketing scheme. A shame really, as big bombast IS Debney's specialty, and that should have been present here all over the movie, but sadly it wasn't.