FSCT Playlist #2 – First Class, My Ass!
Week two of the FSCT Playlist was a bit lightweight in terms of numbers and heavy on Howard Shore for this month’s “9 on the 9th” post. There are certainly worse companions in film music than Shore. The week closed with a celebration of the 30th anniversary of RAIDERS OF THE LOST ARK with a nostalgic tour through the Indiana Jones scores. (Check out Erik Woods’ audio tribute to the franchise at Cinematic Sound.)
If you haven’t begun to play yet, start keeping track of the film scores you listen to throughout the week and submit them in the comments of next week’s post. Thanks to everyone who submitted their comments and shared their score listening practices so far. Keep ’em coming…
- X-MEN: FIRST CLASS (2011, Henry Jackman)
- X-MEN: THE LAST STAND (2006, John Powell)—The best of a rather lackluster set of scores from the franchise.
- HOTEL PARADISO (1966, Laurence Rosenthal)—Charming score from a new FSM two-fer that also includes THE COMEDIANS, which I haven’t gotten around to yet.
- THE BELLE OF NEW YORK (1952, Harry Warren)
- PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (2003, Klaus Badelt)
- A KISS BEFORE DYING (1991, Howard Shore)
- BEFORE AND AFTER (1996, Howard Shore)
- COP LAND (1997, Howard Shore)
- CRASH (1996, Howard Shore)
- ED WOOD (1994, Howard Shore)
- M. BUTTERFLY (1993, Howard Shore)—Lovely score for a rather pallid adaptation of the Tony Award-winning play.
- NAKED LUNCH (1991, Howard Shore)—My new pug “sings” along with Ornette Colman’s wild sax solos.
- THE AVIATOR (2004, Howard Shore)
- NOBODY’S FOOL (1994, Howard Shore)
- BIG (1988, Howard Shore)
- MOONLIGHT AND VALENTINO (1995, Howard Shore)
- SUMMER MAGIC (1963, Buddy Baker and the Sherman Brothers)
- IRONCLAD (2010, Lorne Balfe)
- ALICE’S ADVENTURES IN WONDERLAND (1972, John Barry)
- RIDE THE HIGH COUNTRY (1962)/MAIL ORDER BRIDE (1964, George Bassman)
- RAIDERS OF THE LOST ARK (1981, John Williams)—Thirty years later, nothing in any of the sequels will ever beat the thrill of that first statement of the “Raiders March.”
- INDIANA JONES AND THE TEMPLE OF DOOM (1984, John Williams)
- INDIANA JONES AND THE LAST CRUSADE (1989, John Williams)
- INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008, John Williams)—Except for a couple of minor action set pieces, the score is still an uninvolving, meandering mess (much like the film) that can’t capture the excitement and musical joie de vivre of the earlier scores.
TOTAL: 25 scores