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So what are some of your film score releases where you can start at track one and rarely have to hit skip? You listen the whole way through most of the time. Here are some of mine.
Speed,
Mark Mancina - La-La Land Records
Days of Thunder,
Hans Zimmer - La La Land Records
Star Trek: Generations,
Dennis McCarthy - Crescendo Records
The Rock,
Hans Zimmer, Nick Glennie-Smith
Thief,
Tangerine Dream - Perseverance Records
Twister,
Mark Mancina - La La Land Records
Back to the Future I-III,
Alan Silverstri - Intrada and Varese
Bad Boys,
Mark Mancina - La Land Records
Broken Arrow,
Hans Zimmer - La La Land Records
Drop Zone,
Hans Zimmer - Quartet Records
Tomorrow Never Dies,
David Arnold.
Independence Day,
David Arnold - La La Land Records
Bloodsport,
Paul Hertzog - Perseverance and Waxworks Records
And most of all over the last few months -
Black Rain,
Hans Zimmer - La La Land Records
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All good selections Peter!
For me it’s stuff that has clear storytelling or progression with a satisfying wrap up. SPEED was a great choice as well as BACK TO THE FUTURE.
But my most listened to sequentially are:
THE EMPIRE STRIKES BACK
FELLOWSHIP OF THE RING
A NEW HOPE
E.T. THE EXTRATERRESTRIAL
THE PHANTOM MENACE
RAIDERS OF THE LOST ARK
THE LAST CRUSADE
JURASSIC PARK
PRISONER OF AZKABAN
APOLLO 13
AIR FORCE ONE
THE MATRIX
NORTH BY NORTHWEST
THE DAY THE EARTH STOOD STILL
TOY STORY
THE LITTLE MERMAID
PRINCESS MONONOKE
YOU ONLY LIVE TWICE
CORALINE
EDWARD SCISSORHANDS
METROPOLITAN
BEVERLY HILLS COP
PURPLE RAIN
The original Star Wars, Lord of the Rings, and Indiana Jones are just so musically satisfying and really capture imagery extremely well.
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When I was a novice it was rare. Now that I'm older I listen to more right through.
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This is the norm for me.
That's also the norm for me as well, I usually listen to a score from beginning to end. That means sometimes I do not listen to an entire CD, sometimes I listen to more than one.
For example, yesterday, I was listening to some Bartók (Concerto For Orchestra), Vaughan Williams (Pastoral Symphony) and Jerry Goldsmith (Basic Instinct) the other day. In each case I listened to the entire score, but not to the entire album. (On the Bartók was more Bartók, on the Vaughan Williams more Vaughan Williams, and Quartet's Basic Instinct has alternates and the album presentation.)
But usually, I don't "skip". There are some exceptions, though. I always "skip" the dialog on some albums, like, say, THE HATEFUL EIGHT, I just don't like it. On some albums, I skip the source or pop cues. Sometimes. On Prometheus BASIC INSTINCT, for example, I always skipped "That's real music", as that music, though composed by Goldsmith, does not belong to the score "proper" and was completely out of place there. It's cool as a bonus track (as on the Quartet) but ludicrous within "chronological" order.
If a score is very long (like some Wagner operas, for example), I might listen to it in parts.
Sometimes, I skip all the source cues in scores like CHINATOWN or CRY, THE BELOVED COUNTRY, at other times, I leave them in.
Some albums are so badly sequenced, I had to re-program the CD player each time I played them (like the original THE UNTOUCHABLES album, for example), but I was not really "skipping" tracks, just re-arranging them for a more coherent musical flow.
But generally, I just listen to the music as presented, I don't want to "fiddle" with the music, I just want to listen to it.
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I think it's an interesting difference in how you approach music generally and film scores in particular. I approach them as a whole work, my reference frame clearly being "classical" music (I would argue, depending on the used definition obviously, that a sizable portion, though by no means all, film scores are "classical" music). It's a written composition with an architecture, it's not about "tracks" (though it can be).
Classically trained composers like Goldsmith, Williams, Bernstein, Rosenman, Rózsa, etc. often have real musical architecture, a "construct", behind their scores, so it's not about "liking" or "disliking" a particular track, but about the musical journey. It's like a symphony, tone poem, opera, or even a book. You may like some chapters better than others, but removing the chapters you dislike might destroy or rupture the whole book. (As it can rupture the experience if the chapters/tracks are moved around arbitrarily.)
That's of course not true for all film music, not even for all film music composed by classically trained composers. And there is a lot of film music that follows different rules, not all is the same.
Vangelis' BLADE RUNNER, for example, is one of my all time favorite film scores, but it is not a "classical" score, and it is not one that is constructed with a musical/narrative architecture, it is atmospheric and moody, ambient. Which is why the tracks work well individually, or have great flow the way Vangelis' put them together for his original soundtrack album, as well as on BSX version, where the order is changed. That does not mean that it would work well if you just jumbled them onto an album in any order at random, rather it means that there is not a musical structure that already more or less dictates what goes where.
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So because I use film scores so often for story brainstorming or writing I will listen to specific tracks on repeat. Especially if I am in the middle of writing a scene. If I am writing an action scene I’ll listen to an action piece on repeat.
I work a manual labor job in the grocery business. When I select a soundtrack or film score in that environment I like it to be one where I can just hit play and let the music go. I don’t want to have to keep hitting the skip button. These scores are the main ones where I happen to like every track enough or at least it flows well enough that I never think to hit skip. Before I realize it, I’ve played through the entire presentation.
I should have included Lethal Weapon scores to my list but using LLL’s release I listen to a “Best of” playlist compilation I created with my favorite tracks from all four movies. That includes the film score and regular songs. I listen to that all the way through while at work but it’s a compilation of the scores. Not full on individual listenings.
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The majority of the time I have to trim, edit or rearrange a score to my liking.
Though there are some expansions I play from beginning to end
Caspter
Is that the deluxe edition
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