FSCT Playlist #1 – In the Beginning…

As I mentioned last week, I love lists. So beginning this week, I’m instituting a weekly run-through of my playlist. Each Monday or Tuesday I’ll share the film scores I’ve listened to over the past week. The list with consist of:

  • New scores that I need to hear for this site and other projects, taken from the stacks of CDs and downloads sitting on my desk and my desktop
  • And a journey through my entire score collection from A to Z, choosing the first score from each composer, then starting all over again with the second score, and so on and so on… (Yes, it’s more than a little OCD. But it’s the only way I’ll be able to move from composer to composer without getting stuck on one.)

The list below contains every score I listened to this past week, and, yes, I listened to them in their entirety. Some of them—such as potential review scores and “lost in the shuffle” discoveries—more than once. I’ve written a few words when the spirit moved me and have included a bunch of YouTube clips and some audio samples as well. Feel free to share your lists from last week below. And if not, start keeping a list today and share in next week’s post.

  • THE BIBLE (1966, Toshiro Mayuzumi)—It’s appropriate that I begin this series (and title this post) with the new release of the expanded Oscar-nominated score.
  • REQUIEM FOR A HEAVYWEIGHT (1962)/A RAISIN IN THE SUN (1961) (Laurence Rosenthal)—Two excellent scores from Rosenthal and still available from Intrada.
  • THE FILM MUSIC OF RICHARD ADDINSELL—Including the ever-popular Warsaw Concerto, a typically excellent Chandos compilation featuring some other classics like GOODBYE, MR. CHIPS and BLITHE SPIRIT, and little-known titles, like THE ADMIRABLE CRICHTON and LOVE ON THE DOLE (audio clip attached).
  • CRYSIS 2 (2011, Hans Zimmer, Borislav Slavov, Tilman Silescu and Lorne Balfe)
  • A BRIDGE TOO FAR (1977, John Addison)
  • SLEUTH (1972, John Addison)—So glad this delightful Oscar-nominated score is finally available from Intrada.
  • SOCOM 4 (2011, Bear McCreary)—Gamelan, pan flute, drums, drums and more drums. Yawn.
  • ALAN WAKE (2010, Petri Alanko)—Not your typical video game score.
  • DIRTY DINGUS MAGEE (1970, Jeff Alexander)—Charming Western score that deserves some proper restoration.
  • RICH AND FAMOUS (1981, Georges Delerue) and ONE IS A LONELY NUMBER (1972, Michel Legrand)

  • I SPY, VOL. 2 – THE LP’S (Earle Hagen)
  • LA VIRGEN NEGRA (2010, Elik Alvarez)
  • THE FILM MUSIC OF WILLIAM ALWYN—Yet another fine Chandos compilation of Alwyn’s work on such noir thrillers as ODD MAN OUT (audio clip attached) and THE FALLEN IDOL.
  • TELEFON (1977, Lalo Schifrin) and HIDE IN PLAIN SIGHT (1980, Leonard Rosenman)—The highlight of the disc is a brief, but typically effective, thriller score from Rosenman with a lush love theme.
  • BIRD OF PARADISE (1951, Daniele Amfitheatrof)—A Golden Age gem from the ever-talented Amfitheatrof with a lush, tropical main theme.
  • THE PROMISE (2011, Debbie Wiseman)
  • THE CHRONICLES OF NARNIA: THE VOYAGE OF THE DAWN TREADER (2010, David Arnold)—Far better than I remembered.
  • X-MEN: FIRST CLASS (2011, Henry Jackman)—Review coming soon.
  • MOULIN ROUGE (2001, Craig Armstrong)—No matter what you think of the film (I happen to love it), you have to admit that Armstrong and Marius de Vries did an exceptional job with the music.
  • THE BIG BUS (1976, David Shire)

TOTAL—39 scores (Compilation discs count as one. But where multiple full scores are on a disc, each is counted separately.)

What film scores did you listen to last week?


  1. Last week I listened to, in no particular order; First Blood – Jerry Goldsmith, Flash Gordon – Queen, The Four Musketeers – Lalo Schifrin, Indiana Jones and the Last Crusade – John Williams, Magnum Force – Lalo Schifrin, Judge Dredd – Alan Silvestri, Patton/Tora! Tora! Tora! – Jerry Goldsmith, Punisher Warzone – Michael Wandmacher, Solomon Kane – Klaus Badelt, X-Men Last Stand – John Powell, and UFO – Barry Gray. Wish I could afford Masada, or that Intrada would release downloads so it would be easier to get hold of.

  2. Children of Dune – Bryan Tyler
    Masada (LP) – Jerry Goldsmith — The new set should be on my doorstep any day now!
    Star Trek V – Jerry Goldsmith
    Lost Season One – Michael Giacchino
    Starship Troopers – Basil Poledouris
    The Fountain – Clint Mansell
    Lost Season Two – Michael Giacchino
    Quigley Down Under – Basil Poledouris — I love this one; it’s never far from my player.
    Sherlock Holmes – Hans Zimmer

    This isn’t including mix CDs of mine and several made by one of my e-buddies, nor individual pieces I often listen to out of context.

  3. Last week I listened to the following…

    – Indiana Jones and the Temple of Doom (John Williams) – Some one at MainTitles mentioned they were listening to this so I was inspired and had to listen to one of the greatest scores ever composed!

    I love Daft Punk’s score to Tron: Legacy so I returned to two scores that inspired that score. Zimmer and Howard’s The Dark Knight (which is much better then I remembered) and Inception (which is a fantastic album but a crumby film score)

    – These Amazing Shadows (Peter Golub) – The complete album is a beast to get through highlighted by a superb finale cue called “Final Montage: The Power of Movies”

    – Memoirs of a Geisha (John Williams) one of the finest scores Williams has written in the past ten years!

    – The Tree of Life (Alexandre Desplat) The day I got this score I listened to it on a loop for my entire 8-hour workday. One of the very best film music albums you will hear this year! This coming from a person who usually doesn’t like Desplat’s output!

    And finally…

    During the week, usually when I’m in the car dropping off and picking up my son from school and my daughter from daycare, I’m spinning a playlist on my iPod called “My Favorites.” There are roughly 600 tracks in that playlist and I’ve been listening to them in a “least listened to” to “most listened to” order. Just this morning I spun “Tetsujin” from The Matrix Revolutions (Davis), “Jerusalem of Gold (Finale)” from In Search of Peace (Holdridge), “Wednesday’s Revolt” from The Addams Family Values (Shaiman), “Camel Race” from The Mummy (Goldsmith) and a series of five epic cue from James Newton Howard’s underrated score to The Water Horse: Legend of the Deep. He hasn’t written a finer set of action cues since.

    That’s all for now… see ya next week!


  4. Oh yeah… I also suffered through Henry Jackmen’s X-Men: First Class. The album opens up with a promising main theme but quickly dies a horrible death afterwards.


  5. This past week I was in the mood for some Indiana Jones. I don’t think I put the Indy scores on since the expanded box set came out a few years ago. Temple of Doom has so much detail. Such an outstanding score!

    Star Trek III – I knew I owned it but it wasn’t on my shelf. After I found it I decided to listen to it. Really good score. Not sure if I like it better than Wrath of Kahn. I should listen to those back to back.

    Testament – I didn’t know what to expect from this. I spun it three times in a row it was that good.

    Masada – It’s nice to ‘discover’ music from a score you’re familiar with. I spun my Varese version to death – literally. So I was happy to get a new edition with more music. Although I think I prefer Jerry’s rerecording. The track ‘Move On’ has so much more weight and power in the rerecording.

    Sorry for my narrow listening choices this week, Jim. I’ll throw some Al Newman in there soon. ;)

  6. Interesting list you have there Jim. Glad to see you are reviewing X-Men: First Class. I am curious about your view on that one. What did you think of Alan Wake? I thought the score was excellent.

    I am choosing a different approach than you (although yours sounds more fun). I am listening to composer by composer and change it when I am done with all his or her scores. Last week it was Trevor Rabin and James Horner. This week I am continuing on James Horner and his endless list of scores seems massive. I will stay there for a while then we’ll see who is next.

  7. I forgot to mention Killing Me Softly by Patrick Doyle. This was a blind buy for me the other week and I was so delighted to hear that mid-90’s Doyle sound I love so much. If only thrillers were as intelligently composed today…

  8. Great idea this! I’ll only list the scores I listened to in their entirety. A practice of mine is to play the accompanying score CD before screening films in my home theater.

    THE BIG COUNTRY – before a screening of the film in high definition – arguably the definite American Western score. The movie is just now available on blu-ray in a restored version exclusively from – of all places – Wal-Mart!

    CASINO ROYALE – The newly remastered Burt Bacharach CD from Kritzerland with a screening of the original 1967 film just released on blu-ray (available only as a Best Buy exclusive).

    THE COMEDIANS – It was surprising and exciting to get the original tracks to this Laurence Rosenthal gem, one of my all-time favorite scores, and an underrated film. It contains some remarkably evocative percussion.

    HOTEL PARADISO – This was the bonus score included on the Comedians two-disc set, offsetting the cost of the package quite nicely.

    BECKET – Pulled this rare Rosenthal CD out as an encore and decided to watch the blu-ray version of the movie after playing it. Great!

    AIRPORT – Lucky me – I just obtained a mint copy of this CD treasure on eBay at a fair price! Newman’s superb, final film music – now I don’t have to put in the movie to get the best part of it.

Leave a Reply

Your email address will not be published. Required fields are marked *