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Now we REALLY want to know what it was. 
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Which one? I gottsta know!
MV
I'll email you separately... it's kind of, uhm, embarassing.
Regardless of what it is I'll send you a free copy out of my own collection. 
MV
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I actually enjoy Presumed Innocent, it is kind of repetitive, but theme is beautiful. I wouldn't have bought Accidental Tourist if FSM didn't release it again.
Accidental Tourist is one of the most blatant "variations on a theme" scores Williams ever wrote. It is lovely and I do like it. I don't play it or enjoy it as much as I do the Butch Bombast of his adventure scores.
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I can't be a completist of any composer (I tried). Every one of them, no matter how awesome, will deliver a few albums I just don't enjoy. Then, much like TJ above, I wind up with a bunch of CDs I never listen to...
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...but that's all there is...just the one theme, stated over and over and OVER...
Just to save you the time and money, let me warn you against purchasing any Italian scores from the 70s. Those guys could stretch a theme for a mile, with a thousand different variations in style, tempo, and instrumentation. As for me, I can't get enough of the stuff.
Ditto. More, more, more.
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I like Stepmom as well, soft and gentle, very pretty.
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I've never tried to get a composer's whole career on disc. I can more readily imagine myself becoming a franchise completist. For instance, I bought every release of JW's SUPERMAN score from the double LP to the blue box, and I can't bring myself to part with any of the redundant things or the Varese rerecording. I don't play the old versions, it's pure collecting. I have everything released for LOST IN SPACE.
I also wound up with all six STAR WARS scores, although I have no passion for them.
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Posted: |
Mar 19, 2009 - 2:39 AM
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By: |
MusicMad
(Member)
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Out of interest, those of you who say you're completists (or near-so, or want-to-be's) of JW's works, does this cover his film (& TV works) only or his extensive career away from such recordings, too?
Reading the thread I see a reference or two to concert works but that leaves me wondering. Do such references mean JW's own concert works? What about his numerous recordings with the Boston Pops Orchestra?
Or his performances with other musicians, such as Henry Mancini (JW is the pianist on the Peter Gunn score album and I think he is included in the line-up (I no longer own the album) on HM's non-score jazz album "The Blues And The Beat").
Or what about his arranging and conducting duties for such artists as Frankie Laine (album: "Hell Bent For Leather")?
[Edit. having looked at the sleeve notes whilst listening to some of SW IV, disc 1]: Or what about his talent as arranger and musical director re: Fiddler On The Roof - would this feature in the collection of a completist?
Personally, I find his work overvalued. I am grateful to him (as much as it is due to him) for re-introducing the symphonic film-work to counter the ever-growing pop-song score in the mid-70's but struggle to place him in the top ten composers. In our household there is a standing joke that whenever I put a JW score on everyone can guess the composer by the second track ... it's just which score is it? That takes a lot longer ...
When I played Minority Report a while ago, a score my son likes (my daughter complains that the bass through the sub-woofer shakes the house!) he suddenly said: "Didn't it ever occur to him that this sounds just like Star Wars?"
I have the Star Wars' and Indiana Jones' collections - I sold the Superman 2CD set (I found it just too boring) - and 15 - 20 other scores of his. I'm always willing to try another JW's score but I'm not willing to pay much. Hence I picked up both The Patriot and Far And Away very cheaply a few years ago ... and sold them cheaply on eBay later.
My favourite JW's score (for some time) is Jane Eyre but I do really love his loving, longing theme "The Return Home" (not sure what track it is on the 2CD RCA set I have) from the first SW film.
Perhaps it's time for Star Wars IV ... I haven't played it for quite a while.
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