| 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 Sep 07, 2005 8:56 am Post subject: |
 
|
I think I've got a smattering of underappreciated scores, but then that's a thing of perspective, I think. For instance, I think there are two scores in my next ten that I don't recall seeing anyone besides myself request from.
Not saying they don't, just that I haven't seen anyone do it. In case you're wondering, those two would be Merry Christmas, Mr. Lawrence and Patch of Blue.
And feel free to skip the reviews. 
Okay, ten more:
To Kill a Mockingbird (1962) – Elmer Bernstein (probably Bernstein’s finest work, a score of infinite beauty and grace)
Once Upon a Time in America (1984) – Ennio Morricone (the always interesting Morricone creates yet another truly great musical experience)
Once Upon a Time in the West (1968) – Ennio Morricone (the great Morricone’s finest score, a haunting elegy for love and innocence)
Out of Africa (1985) – John Barry (beautiful Barry)
The Deer Hunter (1979) – Stanley Myers (the gorgeous Cavatina is the standout, but there are other worthy moments)
Dragonheart (1996) – Randy Edelman (not only Edelman’s finest, but one of the best of the decade, a magnificent and majestic composition that lives on in trailers galore)
Papillon (1973) – Jerry Goldsmith (another Goldsmith . . . guess I just didn’t front load him)
Superman (1978) – John Williams (memorable, bombastic, majestic, a score that truly embodies the heroic myth)
Merry Christmas, Mr. Lawrence (1984) – Ryuichi Sakamoto (fine score from the occasionally brilliant Sakamoto)
A Patch of Blue (1965) – Jerry Goldsmith (man, the avalanche started . . .)
In first place, John Williams finally decides to put a little distance between himself and his competitors. He is once again alone in first place, seven appearances thus far leaving him in front.
Back of that, the same old crew is in second place, James Horner, John Barry and Elmer Bernstein, all with six appearances so far. |
|
 |
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Thu Sep 08, 2005 9:06 am Post subject: |
|
Ten more:
The Color Purple (1985) – Quincy Jones (Spielberg ditches Williams for once and it works out surprisingly well)
Crimson Tide (1995) – Hans Zimmer (Zimmer’s masterwork, in my opinion, though only by a hair)
Patton (1970) – Jerry Goldsmith (one of Goldsmith’s finest scores, a masterpiece of effective minimalism)
Poltergeist (1982) – Jerry Goldsmith (a terrifying and gorgeous score)
Hoffa (1992) – David Newman (this fine score makes a second appearance)
Crouching Tiger, Hidden Dragon (2000) – Tan Dun (one of the newest scores to make my rotation, a fantastic emotional beauty)
Petyton Place (1957) – Franz Waxman (simply put, a classic and rightly so)
Jaws 2 (1978) – John Williams (mediocre film, but a solid score, evoking memories of the original work while also paving its own way)
The American President (1995) – Marc Shaiman (this gorgeous score makes a second appearance)
Hellraiser (1987) – Christopher Young (a great horror score)
John Williams jumps up to maintain his lead with eight appearances so far.
Just back of him, Jerry Goldsmith comes from way behind to take second place with seven appearances so far.
The tension mounts.  |
|
|
|
 workervr
Lieutenant Commander
Joined: Jul 19, 2005
Member#: 10921
Posts: 261
Location: NW Arkansas
 |
|
Posted:
Thu Sep 08, 2005 11:03 am Post subject: |
|
ROGUE.. I have played some of these.. thanks so much for this list.. I have learned so much in the last week or so just trying some out..
_________________
"Well behaved women seldom make history"-Laurel Ulrich 1976 |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Fri Sep 09, 2005 9:20 am Post subject: |
|
I am beyond flattered. Thanks. 
Ten more:
Beauty and the Beast (1991) – Howard Ashman/Alan Menken (great, great score and equally great songs . . . the title song is one of the finest love songs ever written)
The Pink Panther (1964) – Henry Mancini (simply one of the finest and most entertaining scores ever written)
Dangerous Beauty (1998) – George Fenton (Fenton’s finest, a gorgeous atmospheric score that also boasts his finest theme)
Out of Africa (1985) – John Barry (fantastic score makes its second appearance)
Planet of the Apes (1968) – Jerry Goldsmith (groundbreaking score makes its second appearance)
Return to Oz (1991) – David Shire (bizarre offbeat score that gets very little play)
The Shawshank Redemption (1994) – Thomas Newman (Newman indulges his romantic side completely)
A Clockwork Orange (1971) – Various (fantastic compilation of classical pieces, sadly only partially represented on this website)
Psycho (1960) – Bernard Hermann (stark, brooding and hauntingly beautiful)
Quo Vadis? (1951) – Miklos Rozsa (the answer to the question is ‘yes’)
The lead is a dead heat between John Williams and Jerry Goldsmith with eight appearances each. Second place is all wrapped up by John Barry with seven appearances. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Mon Sep 12, 2005 9:23 am Post subject: |
|
Well, here’s some more, but first we have a little business to attend too. I see some soundtracks were added since I was here last and there are a few that I want to slip into my rotation as of right now. There were four albums added over the weekend that I’m very excited about having here, so many thanks to those of you who donated these classics:
First of all, and I think I’ll just slip this one into my rotation six times (once for each great score on the album, I think ):
The Alamo: The Essential Film Music Collection (2004) – Dimitri Tiomkin (great, great, great compilation)
Next up, I’ll put it between Captain Blood and The Cardinal, is:
Captain from Castile (1947) – Alfred Newman (fantastic swashbuckler)
There are two others that were added in the most recent update that I’ll be putting on my rotation immediately, but I think I’ll just put them in a little later on the rotation, so I’ll list them, when I come to them.
The Moderns (1988) – Mark Isham (Isham contributes another great score to the canon)
Raiders of the Lost Ark (1981) – John Williams (Williams updates the swashbuckling score for the eighties, creating a complex and rousing masterpiece)
Fargo/Barton Fink (1996) – Carter Burwell (the former stands as Burwell’s masterpiece, the second appearance of this soundtrack on my rotation)
Dead Again (1991) – Patrick Doyle (the Doyle/Branagh collaboration creates another masterpiece)
Rebecca (1940) – Franz Waxman (Hermann gets all the press, but Hitchcock’s other composers were often great as well)
Spartacus (1960) – Alex North (rousing, beautiful, melancholy)
Magnolia (1999) – Jon Brion (haunting, melancholy and affecting)
The Right Stuff/The North and the South (1986) – Bill Conti (great compilation)
Okay, the stats are as follows:
First place is still all sewed up by John Williams with nine appearances so far.
And just back of him, second place is occupied by Jerry Goldsmith with eight appearances so far. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Tue Sep 13, 2005 12:13 pm Post subject: |
|
Ten more:
Silverado (1985) – Bruce Broughton (years after most critics thought the Western score was a closed book, Broughton contributes a rousing and stirring post script)
A River Runs Through It (1992) – Mark Isham (Isham’s finest score makes its second appearance on this list)
First Knight (1995) – Jerry Goldsmith (somewhat lesser Goldsmith, but still solid)
The Robe (1953) – Alfred Newman (got to get another one to represent the patriarch of the family)
Robin Hood: Prince of Thieves (1991) – Michael Kamen (surprisingly good movie all around, surprisingly good score from Kamen)
Far From the Madding Crowd (1967) – Richard Rodney Bennett (hardly subtle, probably not even great, but entertaining)
Rocky (1976) – Bill Conti (a bit overwrought, but worth requesting from)
Portrait of a Lady (1996) – Wojciech Kilar (the always masterful Kilar writes one of the most hauntingly gorgeous scores of all time)
Taxi Driver (1976) – Bernard Hermann (one of the finest composers of all time closes his career with a brooding, dark and tragic masterpiece)
The Dark Crystal (1982) – Trevor Jones (grand score, often overlooked)
Sabrina (1995) – John Williams (horrible remake, but Williams’ score is great on its own terms)
First place is the property of John Williams, kicking it up into the double digits with 10 appearances so far. But Jerry Goldsmith also leaps up a notch, breathing down John’s neck with 9 appearances so far. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Wed Sep 14, 2005 9:17 am Post subject: |
|
Ten More:
Jane Eyre (1970) – John Williams (one of Williams’ forgotten scores, but a solid effort)
The Mission (1986) – Ennio Morricone (staggering, one of my personal top ten makes its second appearance on this list)
The Man with the Golden Arm (1955) – Elmer Bernstein (landmark jazz score makes its second appearance on my list)
The Sand Pebbles (1966) – Jerry Goldsmith (not one of his best, but interesting enough)
The Omen (1976) – Jerry Goldsmith (terrifying horror score makes its second appearance here)
Amadeus (1984) – Wolfgang Amadeus Mozart (the finest classical soundtrack of all time, brilliant portrait of one of the greatest composers to ever live)
Schindler’s List (1993) – John Williams (a tragic elegy for all things lost, perhaps the finest score of the decade)
Out of Africa (1985) – John Barry (gorgeous Barry makes its third appearance here)
O Brother, Where Art Thou? (2000) – Various (fantastic album of real country, showing up the ridiculous pop most people think is country for the sham it is)
Schindler’s List (1993) – John Williams (got to have more of it, the second appearance)
First place is still all sewed up by John Williams with 13 appearances so far. Jerry Goldsmith continues to breath down his neck with 11 appearances so far. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Thu Sep 15, 2005 8:46 am Post subject: |
|
Ten more:
The Music Man (1962) – Meredith Wilson (Wilson introduces syncopation to the film musical and the world has never been the same)
Sense and Sensibility (1995) – Patrick Doyle (nothing overpowering, not Doyle’s best, but a great score)
Jaws (1975) – John Williams (this fantastic score makes its second appearance on my list)
Shakespeare in Love (1998) – Stephen Warbeck (I’m honestly not tremendously familiar with this score and I want to become more so)
The Lion in Winter (1968) – John Barry (this unique score makes its second appearance here)
Chinatown (1974) – Jerry Goldsmith (this amazing score, one of my personal top ten, makes its second appearance here)
The Sting (1973) – Marvin Hamlisch/Scott Joplin (Hamlisch brings the great music of Joplin to a wider audience with his accessible arrangements)
The Shawshank Redemption (1994) – Thomas Newman (the best of the Newman dynasty contributes his finest score, its second appearance)
Blade Runner (1982) – Vangelis (brooding score makes its second appearance)
The Adventures of Robin Hood (1939) – Erich Wolfgang Korngold (rousing swashbuckler makes its second appearance)
This has more or less finally evolved into a two man race.
John Williams still holds the lead with fourteen appearances so far with Jerry Goldsmith at second with twelve appearances. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Fri Sep 16, 2005 9:16 am Post subject: |
|
Ten more:
The Silence of the Lambs (1991) – Howard Shore (before he was famous, a brooding and dark score from Shore)
Emma (1996) – Rachel Portman (warm, witty score, the one that turned me on to Portman)
Silverado (1985) – Bruce Broughton (rousing score makes its second appearance here)
The Magnificent Seven (1960) – Elmer Bernstein (second appearance)
49th Parallel/Story of a Flemish Farm/Coastal Command/Three Portraits from the England of Elizabeth (1993) – Ralph Vaughan Williams (great compilation album from a great classical composer)
Fantasia (1940) – Various (a great compilation of great classical pieces)
Somewhere in Time (1980) – John Barry (slightly overrated score, but undeniably gorgeous in places)
Halloween (1976) – John Carpenter (Scorelogue called this ‘nerve-shredding music’ and I agree wholeheartedly)
Anatomy of a Murder (1959) – Duke Ellington (landmark jazz score makes its second appearance)
Sophie’s Choice (1982) – Marvin Hamlisch (want to get more familiar with this one)
At this point, nothing of any import has changed in our settings: John Williams in the lead with fourteen appearances, Jerry Goldsmith in second with twelve appearances. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Mon Sep 19, 2005 9:01 am Post subject: |
|
All right, ten more:
Close Encounters of the Third Kind (1977) – John Williams (amazing score makes its second appearance on my list)
The Pink Panther (1963) – Henry Mancini (great jazz score makes its second appearance here)
Spartacus (1960) – Alex North (second appearance on my list)
The Man with the Golden Arm (1955) – Elmer Bernstein (another great, great jazz score makes its second appearance here)
Spellbound (1976) – Miklos Rozsa (wonderful compilation album of some of Rozsa’s great talent)
Edward Scissorhands (1990) – Danny Elfman (Elfman’s finest score makes its third appearance here)
Lawrence of Arabia (1962) – Maurice Jarre (rousing and iconic score makes its second appearance here)
Patton (1970) – Jerry Goldsmith (low key, but affecting, score makes its second appearance here)
Star Trek – The Motion Picture (1979) – Jerry Goldsmith (landmark science fiction score, haunting and strange)
The Big Country (1958) – Jerome Moross (towering Western score makes its second appearance here)
Well, Williams is still in the lead with fifteen appearances, but Jerry Goldsmith is breathing down his neck with fourteen so far. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Tue Sep 20, 2005 9:13 am Post subject: |
|
Ten more:
King Kong (1933) – Max Steiner (perhaps the first truly great score)
Star Wars (1977) – John Williams (another fabulous Williams score, one of his finest)
The Bridge on the River Kwai (1956) – Malcolm Arnold (solid score, Arnold’s best, probably)
A Streetcar Named Desire (1951) – Alex North (brilliant jazz score, mixing classical styles, jazz ideas and modern dissonance)
The Piano (1993) – Michael Nyman (one of the most gorgeous scores of the nineties makes its second appearance here)
Chinatown (1974) – Jerry Goldsmith (one of my personal top ten makes its third appearance here)
Enter the Dragon (1973) – Lalo Schifrin (incredibly entertaining and loads of fun)
Beauty and the Beast (1991) – Howard Ashman/Alan Menken (the second appearance of this fabulous album)
Alexander Nevsky (1938) – Sergei Prokofiev (a rousing, stunning and brilliant score from a great classical composer)
The Nun’s Story (1959) – Franz Waxman (second appearance of this great Waxman score)
Well, the tension is effectively gone here, it seems . . .
John Williams is in the lead with 16 appearances. Jerry Goldsmith breathes down his neck with 15 appearances. |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Wed Sep 21, 2005 8:56 am Post subject: |
|
Ten more:
Superman (1978) – John Williams (second appearance of this magnificent score)
Krull (1983) – James Horner (fantastic score makes its second appearance)
Ben-Hur (1959) – Miklos Rozsa (epic score makes its second appearance)
Dressed to Kill (1980) – Pino Donaggio (haunting score, often forgotten)
The Pink Panther (1963) – Henry Mancini (second appearance of this fantastically fun score)
The Rocky Horror Picture Show (1975) – Richard O’Brian (incredibly fun with great energy and joie de vivre)
The Mission (1986) – Ennio Morricone (one of my top personal top ten makes its third appearance here)
Doctor Zhivago (1965) – Maurice Jarre (slightly overrated score, but still great)
Taxi Driver (1976) – Bernard Hermann (Hermann’s magnificent and brooding career closer makes its second appearance)
The Ten Commandments (1959) – Elmer Bernstein (another towering Bernstein score, and the best thing about this overrated movie)
John Williams solidifies his lead with 17 appearances. Jerry Goldsmith is still behind him at 15 appearances. |
|
|
|
 molossus 
Admiral (Administrator)
Joined: Aug 09, 2005
Member#: 11167
Posts: 3308
Location: Warsaw & once in a blue moon Szczecin (Poland)
|
|
Posted:
Wed Sep 21, 2005 12:13 pm Post subject: |
|
Very interesting thread. Especially for newbies (like me). Thanks Rogue! And carry on please! |
|
|
|
 genericdragon
Commander
Joined: Jul 29, 2004
Member#: 7493
Posts: 706
Location: Over Hill and Under Wood
    |
|
Posted:
Wed Sep 21, 2005 2:50 pm Post subject: |
|
quite a list Rogue! All good for my ears
just curious... are you going to post the entire SST catalog? ;D
_________________
"It does not do to leave a live dragon out of your calculations, if you live near him." ~ J.R.R. Tolkien
"The thing that impresses me the most about America is the way parents obey their children." ~ King Edward VIII (1894 - 1972) |
|
|
|
Rogue
Lieutenant Junior Grade
Joined: Feb 01, 2005
Member#: 9061
Posts: 57
|
|
Posted:
Thu Sep 22, 2005 9:00 am Post subject: |
|
dragon, all except Fiddler on the Roof.
Ten more:
Conan the Barbarian (1982) – Basil Poledouris (brilliant score makes its second appearance)
Grease (1978) – Various (great rock and roll soundtrack)
Spellbound (1976) – Miklos Rozsa (great compilation makes another appearance here; I've gone back and inserted this at several places in my rotation . . . it's that good . . . I think this is its eighth appearance on my rotation, though not all of those are reflected in this thread since I just redid that recently)
Psycho (1960) – Bernard Hermann (stark and beautiful score makes its second appearance)
Star Wars (1977) – John Williams (incredible score makes its second appearance here)
Superman (1978) – John Williams (brilliant score makes its second appearance here)
Planet of the Apes (1968) – Jerry Goldsmith (groundbreaking and iconic score makes its third appearance here)
Goldfinger (1964) – John Barry (rousing Bond score makes its second appearance here)
Titanic (1997) – James Horner (magnificent, sweeping and gorgeous score from Horner)
To Kill a Mockingbird (1962) – Elmer Bernstein (magnificent score makes its second appearance here)
Williams in the lead with 19, Goldsmith in second place with 16. |
|
|
|
|
|
|
|
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
|
|
|
|
|
|
|
