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 Posted:   Apr 9, 2015 - 7:08 AM   
 By:   The Thing   (Member)

Trying to own everything just created a shelf space problem, where I had stuff on the shelves I didn't listen to, and new stuff in boxes that I hadn't even opened yet (for a couple of years!!). Some of it I didn't even know what it was until listening to it during this downsizing activity.

That's what changed my mindset.

Anything on my shelves that I think I'll never listen to in preference to something else, is now going into boxes, and ultimately disc wallets/folders to cut down on space. It'll probably just stay in those, and never come out again.

It's not like the rock or metal that I also listen to, where I know a band's style and they usually stick with it with minor variations or gradual maturity. Film composers will be commissioned to write for all sorts of film genres. So just because Batman / Wolfman / Real Steel / Oz The Great And Powerful etc. are enjoyable to listen to, I'm not going to be so interested in (for example) a light-hearted, frolicsome, playful whimisical comedy score just because it's by the same composer.

I'm currently cataloguing my collection, and finding I have so many great scores that there' no point in having the less noteworthy stuff.

 
 
 Posted:   Apr 9, 2015 - 2:03 PM   
 By:   Smaug   (Member)

I can't imagine discarding works by my favorite composers that aren't necessarily top shelf material. Especially film composers we see how one thing leads to another from each score to the next. In Elfman's case we can hear asian wind instruments in "Instinct," then we hear Asian winds and electronic samples in "Proof of Life." Then we hear those elements at their best in Spider-Man.

Inasmuch, anyone I'm interested in as an artist, I want to do my best to know all their work. The thing about this Elfman/Burton box is that 80% of it is "top shelf" scores. Not every score, but most. And we also get a range of different genres over a 25 year period.

 
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