| VIP |
|---|
Subscribe to become a VIP member of SST!
· Request More Often
· Unshared Requests
· Request Countdown Timer
· Request Ready Indicator
· Your Request History
· Access To The VIP Forum
· Add More Favorites
:: Click Here To Upgrade ::
:: Give VIP as a Gift ::
|
|
|
|
View previous topic ::
View next topic
|
| Author |
Message |
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
   
|
 Posted:
Wed Aug 24, 2005 2:11 pm Post subject: My Personal Playlist |
 
|
I've heard a lot of people say I generally pick good requests. I certainly think I do, or else I would change the way I request. But spurred by this senseless praise, my arrogance has grown to epic proportions.
I thought this might be of some interest. If it’s not, you don’t have to read it. See, I actually have a very concrete schedule of soundtracks that I slowly work through. And when I reach the end, I start over. So I thought I’d just post it here. There are a few albums that I request from more than once to a rotation and I’ll note those as I come to them. In keeping with my schizophrenic nature, my rotation begins in alphabetical order and then slowly breaks into a patternless mode.
These are the albums I request from, in the order that I request from them. The rotation is absolutely massive, probably a couple hundred albums, so I’ll just post them ten at a time to keep things manageable. At the end, I’ll take a look and we’ll see what composer gets requested the most by me and also what CD gets requested the most often, so that’ll be interesting since I’m actually not sure myself.
A.I. Artificial Intelligence (2001) – John Williams (low key for Williams and less respected than it should be)
The Adventures of Robin Hood (1938) – Erich Wolfgang Korngold (rousing and groundbreaking score from an icon)
The Age of Innocence (1993) – Elmer Bernstein (a brilliant composer begins to wind his career down with consummate skill and talent)
The Alamo (1960) – Dimitri Tiomkin (not a favorite, but last I checked, the only Tiomkin available on this site, so . . . )
American Beauty (1999) – Thomas Newman (a modern master, and the best composer of his family, knocks another one out of the park)
The American President (1995) – Marc Shaiman (ludicrously cheated out of an Oscar, this lush score is a true masterpiece)
Anatomy of a Murder (1959) – Duke Ellington (groundbreaking jazz score from an icon of American music)
Apollo 13 (1995) – James Horner (one of Horner’s finest moments, a stirring and emotional tribute, that succeeds on a level of pure emotion)
As Good as It Gets (1997) – Hans Zimmer (the perfect score to burst all those “Zimmer always sounds the same” critics, a warm and witty entry)
Avalon (1990) – Randy Newman (a forgotten score by the second best of his family)
So far, everyone’s tied.  |
|
 |
 Bruiser 
Lieutenant
Joined: Sep 10, 2003
Member#: 3050
Posts: 135
 
|
|
Posted:
Wed Aug 24, 2005 2:37 pm Post subject: |
|
I like all those! My requests lately have been from Harry Potter (all 3). I LOVE Harry Potter (books and movies)!!!
I mostly like everything everyone picks. I hear new stuff from ppl who know some composers I'm not familiar with, so it's always an adventure!
_________________
You see, madness, as you know, is like gravity. All it takes is a little push! |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Thu Aug 25, 2005 9:42 am Post subject: |
|
Here's some more:
Bambi (1940) – Frank Churchill/Larry Morey (this is my Buffy/Forbidden Zone . . . I find this score to be ridiculously syrupy, but it’s so ridiculous that I have to request from it every once in while)
Batman (1989) – Danny Elfman (far preferable to the Zimmer/Newton Howard score to the new movie, this is one of Elfman’s masterpieces)
Ben-Hur (1959) – Miklos Rozsa (epic score for an epic film)
The Big Country (1958) – Jerome Moross (often forgotten Western score that stands beside the great ones)
The Black Stallion/The Black Stallion Returns (compilation released 2001) – Carmine Coppola/Georges Delerue (a rare instance of a sequel score being better than the original, but both are worth hearing)
Blade Runner (1982) – Vangelis (Vangelis’ finest score, a triumph)
Body Heat (1981) – John Barry (Chinatown knockoff, but fun)
Born Free (1966) – John Barry (wonderful movie and a sweeping early Barry to go with it)
Braveheart/More Music from Braveheart (1995) – James Horner (yes, yes, he’s controversial, but when he hits, man, he really hits)
Breakfast at Tiffany’s (1961) – Henry Mancini (contains what is surely the single most beautiful song ever written for film and the incidental music is stunning as always)
Well, at the moment, looks like we have a two way tie for the lead with both John Barry and James Horner showing up twice so far. |
|
|
|
Johnny_Cage
Commander
Joined: Apr 27, 2005
Member#: 9964
Posts: 589
Location: Michigan, USA
|
|
Posted:
Thu Aug 25, 2005 10:33 am Post subject: |
|
Very interesting thread, Rogue.
I honestly don't have a set pattern for my requests. I just ring up whatever my ears feel like hearing for that particular day.
_________________
"You have been chosen to represent Earth in Mortal Kombat. Be warned. Although your souls are protected from Shao Kahn's evil: your lives are not. I cannot interfere any longer as your Earth is now ruled by the Outworld gods." |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Fri Aug 26, 2005 9:48 am Post subject: |
|
Yeah, I think most people just flow with their mood. But I tend to be more, um, well, the term is not polite, so let’s say obsessive. 
The Bridge on the River Kwai (1957) – Malcolm Arnold (Arnold’s finest effort, in my opinion)
Captain Blood (compilation released 1995) – Miklos Rozsa/Erich Wolfgang Korngold/Victor Young (a fabulous compilation of swashbuckling tunes, Scaramouche and the title suite the standouts)
The Cardinal (compilation released 2000) – Jerome Moross (got turned on to this one after I fell in love with Moross’ Big Country)
Chariots of Fire (1981) – Vangelis (slightly overrated score that didn’t deserve the Oscar, but still a solid effort)
Chinatown (1974) – Jerry Goldsmith (one of my all time favorites, a truly amazing score, haunting and beautiful)
Chocolat (2000) – Rachel Portman (the always interesting Portman goes even more offbeat than usual)
El Cid (1961) – Miklos Rozsa (another epic score from Rozsa)
The Cider House Rules (1999) – Rachel Portman (Portman knocks another one out of the park)
Citizen Kane: The Classic Film Scores of Bernard Hermann (compilation released 1974) – Bernard Hermann (what can you say . . . a stellar compilation from one of the finest composers ever)
Cleopatra (1963) – Alex North (not North’s best work, but a solid score)
And Miklos Rozsa comes from behind to take the lead with three appearances. In second place, we’ve got a six way tie: John Barry, James Horner, Erich Wolfgang Korngold, Jerome Moross, Rachel Portman and Vangelis have all appeared twice so far.
I don’t know about you, but I’m having fun.  |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Mon Aug 29, 2005 12:13 pm Post subject: |
|
Here’s my next ten:
Close Encounters of the Third Kind (1977) – John Williams (stunning, pure music)
Conan the Barbarian (1982) – Basil Poledouris (rousing and unique, sets a grand template for fantasy scores)
The Cowboys (1972) – John Williams (early Williams, but the genius is already there)
Dances With Wolves (1990) – John Barry (Barry’s most expansive score to date, a sweeping score that the listener can truly get lost in)
The Day the Earth Stood Still (1951) – Bernard Hermann (Hermann’s particular genius fits this visually striking film like a glove)
Doctor Zhivago (1965) – Maurice Jarre (Lara’s Theme is the standout, but the rest is fittingly solid as well)
E.T. The Extra-Terrestrial (1982) – John Williams (amazing score, emotional without being maudlin, stirring without being bombastic)
Edward Scissorhands (1990) – Danny Elfman (Elfman’s finest score, a beautiful and haunting elegy to the magic of fairy tales)
The English Patient (1996) – Gabriel Yared (the score that put Yared on the map)
Far From Heaven (2002) – Elmer Bernstein (a fitting capstone to a brilliant career)
And John Williams comes from way behind to take the lead with four scores on the list so far. Back of that, we’ve got a two way tie for second place: Miklos Rozsa is joined by John Barry, both with three scores so far.
I’m lovin’ this. :p |
|
|
|
workervr
Lieutenant Commander
Joined: Jul 19, 2005
Member#: 10921
Posts: 261
Location: NW Arkansas
 |
|
Posted:
Mon Aug 29, 2005 5:52 pm Post subject: |
|
this is so very helpful..
myself in my limited capacity:
favorite composers.
john barry
john williams
catching up is Basil Poledouris especially lonesome dove weirdly enough. I am a newbie I will try some of this list thanks so much!
_________________
"Well behaved women seldom make history"-Laurel Ulrich 1976 |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Tue Aug 30, 2005 8:50 am Post subject: |
|
Yeah, Lonesome Dove is pretty good. Haven't heard it in enough detail for it to get on my rotation, but it sounds very promising.
Ten more:
Fargo (1996) – Carter Burwell (Burwell’s finest score, a gorgeous and haunting elegy for . . . something)
Field of Dreams (1989) – James Horner (a mystical and magical effort)
Forrest Gump (1994) – Alan Silvestri (a slightly overrated score, but a solid enjoyable effort)
Frida (2002) – Elliot Goldenthal (a simple and stripped down Goldenthal, far from his best work, but interesting and unique)
The Fugitive (1993) – James Newton-Howard (a dense, dark and murky score from N-H)
The Ghost and Mrs. Muir (1947) – Bernard Hermann (one of Hermann’s most incredibly gorgeous and emotional works, a masterpiece by any standards)
Gladiator/More Music from Gladiator (2000) – Hans Zimmer (by turns stirring, rousing, spiritual, tragic, but always brilliant)
Glory (1989) – James Horner (maybe his finest work)
The Godfather (1972) – Nino Rota (simply put, a classic and rightfully so)
Goldfinger (1964) – John Barry (a musical icon takes shape in the best of the Connery Bond scores)
And we have a three way tie for the lead: John Williams maintains his status, but James Horner and John Barry both join him in the top slot, all three with four scores each on the list thus far.
Second place is a two way tie with both Bernard Hermann and Miklos Rozsa contributing three scores so far. |
|
|
|
JERIC
Fleet Admiral (Proprietor)
Joined: Feb 12, 2002
Member#: 1
Posts: 4939
Location: Richmond, VA
     |
|
Posted:
Tue Aug 30, 2005 11:11 am Post subject: |
|
| WORKERVR wrote: |
this is so very helpful..
myself in my limited capacity:
favorite composers.
john barry
john williams
catching up is Basil Poledouris especially lonesome dove weirdly enough. I am a newbie I will try some of this list thanks so much! |
Don't forget to check out the Top 100 Rated too!
_________________
"Are you not entertained? Are you not entertained? Is this not why you are here?." -Maximus
Please do not PM me. Use email, Feedback or Contact Us links. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Wed Aug 31, 2005 8:50 am Post subject: |
|
Ten more:
The Great Escape (1963) – Elmer Bernstein (rousing, memorable, infinitely catchy)
Harry Potter and the Sorcerer’s Stone (2001) – John Williams (have only a passing familiarity and I want to get to know this one a bit better)
Hoffa (1992) – David Newman (the forgotten Newman’s finest score)
The Hours (2002) – Philip Glass (I generally find Glass to be boring and overly repetitive, but this score is not that bad)
Jaws (1975) – John Williams (fabulous score, just fabulous)
King Kong (1933) – Max Steiner (Steiner, perhaps the first great film composer, contributes perhaps the first truly great film score)
King’s Row (1942) – Erich Wolfgang Korngold (quieter than usual and perhaps Korngold’s most emotionally effective score)
Lawrence of Arabia (1962) – Maurice Jarre (a deep, epic and mythic score)
The Lion in Winter (1968) – John Barry (one of those wonderful scores that sounds like nothing else the composer has ever written)
The Lord of the Rings: The Fellowship of the Ring (2001) – Howard Shore (a score that manages to be groundbreaking by simple virtue of getting back to thematic basics, probably the best of the decade so far)
All right, John Williams sprints back into the lead with six scores so far. Just back of him, John Barry hovers in second place, five scores to his name. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Thu Sep 01, 2005 9:08 am Post subject: |
|
Next ten and it is at this point that the alphabetical system begins to break down.
Love Story (1970) – Francis Lai (a bit dated, but the theme is undeniably beautiful)
The Magnificent Seven (1960) – Elmer Bernstein (probably the finest Western score ever)
The Man with the Golden Arm (1955) – Elmer Bernstein (often overlooked Bernstein, great jazz score, proves that Bernstein can write in any genre he wants)
Midnight Express (1978) – Giorgio Morodor (offbeat, somewhat dated, but interesting score)
The Mission (1986) – Ennio Morricone (the always fantastic Morricone contributes his finest score, and one of my personal top ten, a haunting, spiritual and tragic elegy for faith and hope)
The Lord of the Rings: The Fellowship of the Ring (2001) – Howard Shore (the first score to have a repeat appearance on my list and the one that begins to slowly wreck my alphabetical system)
Much Ado About Nothing (1993) – Patrick Doyle (unusually light hearted romp for Doyle and the two songs he composes for Shakespeare’s lyrics may just be his best work to date)
Titus (2001) – Elliot Goldenthal (Goldenthal’s finest work to date and second best score of the decade so far, tragic and gothic, jazz and swing, atmospheric mood rock, menacing and dark, and there are even moments of pure bizarro Elfman joie de vivre)
Casper (1995) – James Horner (barely edges out Glory, in my opinion, to be Horner’s finest work, a surprisingly dark, tragic and dense work, one of those scores that completely outstrips the film it’s written for)
Blue Velvet (1986) – Angelo Badalamenti (fine, emotional score and, for once, the preexisting musical pieces included on the soundtrack, especially Orbison’s In Dreams, actually elevate the album, rather than detracting from it)
Williams maintains the lead with six scores on the list. Back of that, second place is a three way tie: John Barry is joined by Elmer Bernstein and James Horner, all with five scores on the list. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Fri Sep 02, 2005 8:52 am Post subject: |
|
Ten More:
Black Rain (1989) – Hans Zimmer (the score that, for better and for worse, solidified the Media Ventures sound and signaled Zimmer as a voice worth hearing)
A River Runs Through It (1992) – Mark Isham (Isham’s finest work, in my opinion, a low key, but moving masterpiece with a few jazz pieces thrown in for good measure)
The Natural (1984) – Randy Newman (Newman’s first great score and still one of his best, a powerful, spiritual masterpiece)
Beetlejuice (1988) – Danny Elfman (the quintessential “gonzo Elfman” score, still loads of fun)
North by Northwest (1959) – Bernard Hermann (not Hermann’s finest score by a stretch, but a rousing and worthwhile one just the same)
Agnes of God (1985) – Georges Delerue (I seem to be using the word “spiritual” a lot, but it can be applied to this score, perhaps better than any other; Delerue’s great joke was to create a devout and faithful score for a film that was essentially anti-faith)
Howard’s End (1992) – Richard Robbins (fantastic score, occasionally overwrought, but highly emotional in all the right ways)
Edward Scissorhands (1990) – Danny Elfman (the second time this score shows up on my rotation)
Pleasantville (1998) – Randy Newman (a warm hearted slice of Americana, with just a touch of that trademark Randy cynicism, and a smidgen of heartfelt romaniticism)
Good Will Hunting (1997) – Danny Elfman (low key Elfman, with surprising warmth and quiet thoughtfulness)
Williams maintains his lead, all alone in first place, with six scores so far. Behind him, second place becomes a four way tie as as Danny Elfman joins John Barry, Elmer Bernstein and James Horner, all of them with five appearances on the list so far. |
|
|
|
Tomi
Ensign
Joined: May 10, 2005
Member#: 10143
Posts: 26
Location: Somewhere near Hannover, Germany
|
|
Posted:
Sun Sep 04, 2005 6:29 am Post subject: |
|
Hi Rogue!
VERY impressive list, yes!
Just as a footnote: I noticed that you´re seemingly not very fond of the works of Jerry Goldsmith. How comes that?
Cheers,
Tomi |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Tue Sep 06, 2005 9:03 am Post subject: |
|
You know, I was just noticing that myself . . . and I’ve always thought I was. He does have some scores on here . . . I guess he just hasn’t shown up yet. Strange . . .
Ten More:
The Nun’s Story (1959) – Franz Waxman (probably the finest score of its year, a beautiful and moving tribute to faith and compassion)
Planet of the Apes (1968) – Jerry Goldsmith (Hey! There he is! A groundbreaking, experimental score)
The Omen (1976) – Jerry Goldsmith (I swear, I didn’t do this on purpose! Probably his best and one of the most frightening scores of all time)
Hellbound: Hellraiser II (1988) – Christopher Young (a stunning exercise in gothic horror, a masterpiece)
The Adventures of Baron Munchauson (1998) – Michael Kamen (bizarre score, bizarre soundtrack, but fun)
The Piano (1993) – Michael Nyman (almost unbearably gorgeous, heartbreaking)
Independence Day (1996) – David Arnold (Arnold proves himself better than his predecessor Malcolm with this towering score, full of mind blowing action queues and also quietly heroic moments of real emotion)
Alien 3 (1992) – Eliot Goldenthal (a dark, murky and brilliant walk on the wild side)
Krull (1983) – James Horner (would it be pretentious of me to call this score ‘iconoclastic?’ Because I think it is. And brilliant too)
Cutthroat Island (1995) – John Debney (Pirates of the Caribbean should have had a score this great . . .)
Okay, looks like a tie for first place: James Horner moves up to join John Williams, each with six appearances so far. In second place, a three way tie: each with five appearances so far, it’s John Barry, Elmer Bernstein and Danny Elfman. |
|
|
|
Francel
Ensign
Joined: Sep 02, 2004
Member#: 7814
Posts: 40
Location: Mexico City, MX / Wellington, NZ
|
|
Posted:
Tue Sep 06, 2005 12:03 pm Post subject: |
|
Just a little footnote.
David is in no way related to the late Malcolm Arnold.
Interesting list, though I could do without the reviewing tone and how about digging into the more unacknowledged composers whose works lie buried within the playlist? I'm sure you'll find many jewels worth of keeping in your schedule.
_________________
The good people sleep much better at night than the bad people. Of course, the bad people enjoy the waking hours much more. |
|
|
|
|
|
|
|
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum
|
|
|
|
|
|
|
