FSM # 14: Own a classic score just because you “have to”?
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When I was still at school I had a Saturday job in the record (LP) department of WHSmith in Newcastle. For context, it was the year of the boiling hot Summer and ABBA’s Greatest Hits – 1976.
The permanent staff were able to choose which LP to play over the shop floor PA system, and inevitably it would be pop or easy listening. I got to choose exactly twice in the year or so I worked there; the first time I chose The Moody Blues’s “To Our Children’s Children’s Children”, but put the wrong side on, the side which starts with a huge explosion of noise which made everyone in that part of the shop jump a mile.
I was kept away from it for several weeks after that, but late on one quiet Saturday I sneaked into the back and played “Aces High” (The Luftwaffe March) from Battle of Britain. I got a few looks from the other staff, but an old boy, very posh and military-looking, went to the counter, asked what the music was and bought the LP.
In your face, Charlie the department manager!
Yeah, I have the second edition of that, which is maybe the same you have. Was very useful for me at the time, when I was still in that exploration phase.
Looks somewhat different, you may have a later edition. I have this one, which must have then been from 1996 even or 1995, could be I bought it then…
Yup, I think that’s the first edition.
TG, great story. It reminds me that – at some point – I’d like to do a thread about those pre-internet record store days, where we can wallow in nostalgia. I like to wallow.
I corrected the date in the original post. Pre-internet… yeah, I used to spend a lot of time in record stores. Was a favorite past time of mine, to just enter my local record store and browse the endless rows of shelves, maybe picking up one or two newly found “treasures” to take home.
I loved doing that as well, probably most of us. Great times when we even had an actual soundtrack only shop, Tarantula, here. And 2nd shops scoring some bargains was also great. We still have some here, I should try that again…
About every three years I convince myself that I should revisit Lord of the Rings, re-buy the OSTs, live with them for about a week, then remember that they are, much like their Wagnerian inspiration, uninteresting to all but the most punctilious harmonic aficionado, or those who just really love when a theme goes with a thing.
Good to see you pop in, Schilkeman. I’m ressurecting many of these FSM threads just for you! (well, not really, but I remember you said that could be interesting, so that was a nudge to do it).
There are many bits and bobs in the LOTR scores that I don’t particularly care for – especially those dark bits that border too closely on his droney Cronenberg work – but overall, it’s a classic that I’d put in the first category, I think. They’re definitely what turned me around on Shore a bit, back in the day.
I love the LOTR scores in general but at the time and now I had wished for a little more experimentation and maybe little more dissonance.
I love the LOTR scores in general but at the time and now I had wished for a little more experimentation and maybe little more dissonance.
More? I’d say it almost has too much!
More? I’d say it almost has too much!
Right. The Desolation Of Smaugh is so dissonant. It partly goes on my nerves.
But I said it before, I wished the music for Isengard and the Orks were rhytmically more interesting, something like planet of the apes or land of the sand people.
More? I’d say it almost has too much!
Well, not the Goldsmith etc. type of dissonance…
Right. The Desolation Of Smaugh is so dissonant. It partly goes on my nerves.
Okay, I though of the original three only. Here I find the complete editions a good and even better flowin listen (although its been some time…) THe Hobbit ones I find generally rather boring despite a few good tracks. Most interesting is that the best theme IMHO is not by Shore at all and sadly only used in the first part (unless I missed it)
But I said it before, I wished the music for Isengard and the Orks were rhytmically more interesting, something like planet of the apes or land of the sand people.
That’s indeed what I probably also mean…
Shore was never really very good with rhythms, IMO, and certainly not creative, odd-metered ones like with Goldsmith & co. He’s more into the draaaawn-out chords and stuff. Which is why the only percussive element of note in the LOTR scores is that simplistic march thing for the ork armies. But I’ve come to accept that aspect for what it is, rather than what it is not, or should have been. He can only be himself.
THe Hobbit ones I find generally rather boring despite a few good tracks.
I find the first Hobbit score is really a nice listen. Best in that trilogy. Probably also due to the extensive usage of the indeed best theme not by Shore.
In both trilogies I mostly struggle with the second score, same for Two Towers and Desolation Of Smaug.
The first and the third I enjoy quite a lot in both cases.I find the first Hobbit score is really a nice listen. Best in that trilogy.
I actually find some of the tracks of part 2 and 3 more interesting becuase of some dissonance probably. You can whittle it down to a good 2CD edition. I tried that back then. 1CD would be better but then tracks would have to be editied which I was too lazy for 😉
Probably also due to the extensive usage of the indeed best theme not by Shore.
Never understood why that isn’t used in the other two. The ocasions Shore adapts it are highlights of the first score IMHO.
Shore was never really very good with rhythms, IMO, and certainly not creative, odd-metered ones like with Goldsmith & co.
Yeah, I was surprised back then he was chosen being knwon for more subtle scores. Although the more dramatic THE FLY made me think it might work.
Just to mention I like his video game score “Soul Of The Utimate Nation” a lot which is basically a cousin of the LOTR scores.
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