For every score-fan: "Dangerous Liaisons" by George Fenton.

On a broader base it would have to be Conan The Barbarian due to it's wealth of good and accesable tunes!

For you guys, "Winnetou" by (gosh, the composers name escapes me rigth now). It's a German score for a German, Italien, French co-production. The main theme is quite good. The only one who probably knows this one is Floyd.

Scott: Winnetou was scored by Martin Bottcher. He has done some nice music for German television, easy listening stuff of the sixties and seventies... (That is if we're talking about the same Winnetou...)

Personally the CD I would introduce to people, would be Jerry Goldsmith's The Mummy. That is one of the few that when I got it, I told everyone I know, that they should get it.

Shaun

Return to Oz or The Natural.

Pfft, I've tried this kind of thing so many times. I've inundated my Chicago buddy (formerly-Chicago buddy, I should say, he's just pulled up stakes for Mexico) with stuff -- side A on the first one was Unknown Ifukube (whom he does like at least for the Godzilla stuff), side B was Unknown Masaru Sato -- to my great surprise, he responded more strongly to the Sato. Hence, I made a second tape of 100 RIFLES (side A) and PLANET OF THE APES (side B). I thought this was a fair range of Goldsmith's ability, and if he'd responded to Sato, it only made sense he'd respond to these. So I thought. He didn't hate them (or wouldn't tell me he did -- but then, he's moved away, hasn't he? Oh, there were other reasons, but still, I'm superstitious.)

You just never know what people are going to respond to. My father can't be bothered with nearly ANY form of film music, but he adores GRAND CANYON (both theme and movie leave me absolutely cold); and he responded surprisingly well to Christopher Young's DEF-CON 4 theme and Goldsmith's VOYAGER (but he's predisposed to like it, he also likes the show. Drives him nuts when I'm in the same room with it and start whistling along with the tune -- but I can't help it, it's one of the most infectious things I think I've ever heard, even if it's basically an inversion of Goldsmith's SHADOW theme from earlier the same year.)

As of yesterday afternoon, the bid was not very high.

Hiya, H Rocco! Nope, the description of my love for some electronic scoring was "proletarian, and un-informed". Obviously I have decided not to "retire" from posting, or sell off my collection & take up animal husbandry as a hobby. Who cares? I like what I like, and try never to offend in defense of my passions.

I know what you mean. My girlfriend LOVES all music (I'll take some credit for introducing her to film scores). She is crazy about Poledouris and Williams and Barry....but finds Goldsmith "too atonal". My fault here, as the first Goldsmith scores I loaned her were PLANET OF THE APES and POLTERGEIST. I have since gone crazy finding other Goldsmith scores for her to listen to; she now likes FIRST KNIGHT, THE 13TH WARRIOR, MULAN, and THE BLUE MAX. She will be going with me to the Detroit concerts in June, but I have the feeling that it is more out of love for me than excitement over the live performances. Great woman.

I still stand with my picks here, but the suggestion of THE NATURAL is a terrific one. Hard not to respond to all that wonderful Americana.....

You guys are great.

I'd open a nice bottle of wine, make sure everyone was calm and mellow, and then I'd preface the playing of a score with a little bit of the story...the size of it, the scope, and what the music they were about to hear said to me during the course of the film.

One friend and his wife were treated to "The Wind and the Lion" -- and that opening title just grabbed them, shook 'em all up and blew them away. They were mesmerized by the whole score. As the mood of the music changed, I'd give a short idea of the scene the music was written to accompany.

They loved it so much, they asked for a tape of the score and they shared a similar night with other friends at their home. They also asked for another night like that, so I cranked up "Mutiny on the Bounty" by Bronislau Kaper. (This was in the days when all we had were vinyl LPs). There were two cues I'd get really involved with to the point that I had my friends' attention so fully I could probably have hypnotized them....the Leaving Porstmouth Harbor sequence...and then the sequence when the Bounty crew lands in Tahiti....the crew comes ashore with all those ominous chords swirling around them, while on-screen the Tahitians swirled around the crewmen...it was an exhilarating experience for me and for my friends.

Years later (we were in the Navy and we went our separate ways to other tours of duty), our paths crossed again and they still remembered those nights...and they had become fans of, rather than collectors of, film music.