I have about 2600 soundtracks, but there are people in here who have much more... Actually I came from classical music to soundtrack myself (but I do like modern classical stuff as well). My number of classical CDs is way bigger... Hard to say, 6000 or 7000 maybe.

thb8, September 8, 2007; 4:35 PM

I think I might have between 1500 and 2000 soundtrack titles, including all kinds of media. Of course I still haven't heard many of them. That's a task for the coming years !

-Dorian

42zaphod, September 8, 2007; 4:49 PM

Sylvos... one cannot!

Anyway, a frank response by Dorian regarding unlistened to music that I'll share here as well.

Since I got myself a PC, I have been buying more film music than I can listen to in a reasonable time frame.

When I listen to a soundtrack, I want to really listen to it and not skim through it so I have plenty of fresh film music listening to keep me happy and my ears busy for a long time. :- )

As far as how many... a substantial amount.

serifiot, September 8, 2007; 5:59 PM

I feel a bit sheepish about it, but I only have some hundred soundtracks plus some hundred
jazz CDs.

To tell the truth, when I stumbled across this site, about two years ago, I hadn't more than
some dozen soundtracks. But frequenting this site turned out to be badly addictive... ;-)

coma, September 8, 2007; 6:21 PM

I probably have around 700 soundtrack/film music CDs and I can say that I have definitely listened to each at least three times. Since I am employed again (February 2007), I have a long train commute to work which allows me to listen to around 3-4 hours of music each working day. That allows for giving everything a thorough undisturbed listen on my iPod.

Regards,

Urs

handstand, September 8, 2007; 6:37 PM

About 3.ooo and additional 600 copies to trade.

Droenix, September 8, 2007; 8:27 PM

768 and don't care for at least half of them

dspin24358, September 8, 2007; 8:47 PM

Have about 2000 soundtracks on CD and love them all to some degree.
As for the old LP soundtracks , I would hate to think how many and cassettes.
40 years of collecting soon mounts up a collection.
May it all continue.

tanemahuta, September 8, 2007; 9:55 PM

0_0

Wow.

I got a long way to go. But then, I'm 16, so I can understand why I don't have too many compared to you guys.

Handstand, you said, "I probably have around 700 soundtrack/film music CDs and I can say that I have definitely listened to each at least three times."

I admire that. You've listened to your soundtracks and have used them for what they should be used for: listening to.

dspin24358, you said, "768 and don't care for at least half of them"

I've come to not care for about 6 of mine, so I think I can understand you not listening to many of your soundtracks, especially since you have 768.

Two points brought up. Both sort of opposite, but understandable... unless Handstand, you have a few soundtracks you don't listen to too often now.

But, I'll say it again: I have a long way to go compared to the lot of you. ;-)

--Truman

raalerasoul, September 8, 2007; 11:31 PM

Hello Truman,

I have about 900 scores in my collection. I would say about 1/4 of them get very little play, But the rest of them I get to hear from time to time. Between playing music when I'm driving and playing music at my home while doing stuff around the house, I seem to fit them into my schedule. It also helps that I'm not a big television watcher, I'd rather listen to music.


I noticed you mentioned your only 16 years old, I think it's great that someone your age likes film music. I did'nt get into collecting film music until I was in my 30's and wish I had discovered it much earlier in life. Do your friends find it odd that you like film music? Do you like older film scores or do you just like the things you have heard in your generation?

Best Regards,
David Phoenix, AZ.

deg63iami, September 9, 2007; 2:38 AM

Thanks Heaven soundtracks exist !

Started at 12 , now carry about 3187 exactly and still enjoy with the same enthousiasme from most of them.
Just one desapointment most of today composers seems to repeat the same stuff from one to another movie , too much exhibition and less description...
And of course there are classics & jazz but i only collect soundtracks.
Keep goin and you will have incomparable moment of life!!!

cinemusic, September 9, 2007; 5:49 AM

Over 500 now.

philkws, September 9, 2007; 8:33 AM

Truman

I started collecting at 19 years of age and before I could afford soundtracks, I used tape directly from tv broadcasts. Still I got to listen to music that I really wanted to. Since my very first LP, I have now amassed somewhere near 3000 CDs, LPs, and cassettes. You've still got a long way to go 'cos you're young but Good Luck anyway.

TheSaint.786, September 9, 2007; 9:35 AM

895, all originals, no boots or cdr`s.

anthonynputson, September 9, 2007; 3:47 PM

Wow. Well, I started actually collecting when I was about 13, but I got my first soundtrack, Lord of the Rings: RotK when I was 12, before the movie came out.

As for my friends, I really don't think they care one way or another. They like film music too... if it includes Lord of the Rings or Pirates of the Caribbean. In other words, they like stuff from films that are popular.

They do think it's strange I don't like most rock or any kind of contemporary (i.e. rap; hip-hop; metal; pop; jazz; etc.) You didn't ask me that, but now that I've said I don't like that kind of music, now you'll probably think I'm strange for liking film scores and classical... and only film scores and classical. ;-)

Yes, I do like older scores. "The Conversation" by David Shire was terrific piano (and yes, I noticed the jazziness in it, so I could make a contradiction and say yes, I do like some jazz). Elmer Bernstein for "The Ten Commandments," Alex North for "Spartacus," and Russell Garcia for "The Time Machine" are among some I like that are from back then.

The newer scores are somewhat better, I think, since the style of music can go anywhere now. I mean, in the older films the same cliches are presented throughout almost every score. Like the soaring violins for romance or sorrow, the deep bassoons and other basses for horror or the villain, the fast-paced cellos for action.

It's all the same, really, except for some who resisted like Elmer Berstein and Russell Garcia. Although they still used some of the cliches mentioned, they still made good themes for their music that stood out.

Cinemusic is right though. There are still many composers that don't make any effort to create a theme for something. Hans Zimmer has gone down that road a bit. The Lion King was wonderful. Rain Man was great. But most of his other movies are not that much of an effort, like "The Last Samurai." The theme? G - F - E flat - D *pause* F - E flat - D - C, repeat. It's not much. Pirates 2 and 3 were mostly big hijacks from Klaus Badelt's original themes, although he did come up with an alternate for Jack Sparrow, and a theme for Davy Jones. That's pretty much it. Otherwise, it's rearrangements of Klaus Badelt.

Zimmer's the only example I can think of for now. He is definately talented, but his creativity isn't that bright anymore for most films.

You can really recognize composers for what sort of instruments they like to use, though. The eighth-note trumpets and complex strings for John Williams. The blaring brasses and fast-paced strings for Alan Silvestri. The soaring strings for Randy Edelman (I think he gets it from old scores; I'm not sure). The lone horn or the follow-up woodwinds for Randy Newman. They've all got their quirks, but they're all good quirks that make you like 'em.

But I don't collect soundtracks just for listening to or collecting. There's another reason, but I'll save it for another time. I think my comment is getting to be a little long. Heh... So I think I'll stop here. Thanks for the encouragement! You all have many more soundtracks than me. You're all collectors in the truest sense. I'll certainly continue my collection! ;-)

--Truman

raalerasoul, September 9, 2007; 4:25 PM

I began buying recordings at the age of 12. All of the ones from then I happily no longer have. I have all the ones I bought from the age of 15 on. Improvisational stuff and various other interesting little this and thats. All told I'm guessing I have between 5000 and 5500 recordings about 75% being film scores.
The latest addition being the Silva disc of "Alien" (Goldsmith) Picked it up an hour ago for $2.99.

victoravalentine, September 9, 2007; 4:53 PM

Over 500 on cd at last count..I never have taken a count of the LPs or the cassettes.. I've been a fan of soundtracks since I was 10...best guess would be 70 LPs and 200 cassettes too.

Happy collecting!
Kim

emt8134, September 10, 2007; 2:32 AM

Does anyone have 8-track tapes? :- )

I did have a few with film music among others and threw them out since my player was not working.

Dumb move on my part!

Truman my young lad!...

First of all, welcome to SC's forum!

I like you analytical, 'musicological' descriptions pertaining to film music. Very perceptine I might add and if you have never studied music, which I have a hunch you have, please consider it.

As far as aspects of older scores being sort of cliched... okay there is some truth to that today but that is also true for today's film music as well (man is it true!) and I might add that these cliches might not have been so evident when film music was in its infancy.

What beautiful innovative cliches those must have been once though!

They simply have been overused and copied so much but again... a lot of the times they cannot be avoided.

Innovative scoring I would think is trying new things (instruments, sounds) avoiding cliches by circumventing them or if the task is impossible, making them sound fresh and different.

I would think innovative scoring, first is scoring that works well in a film in the sense that it tries to provoke the viewer and envoke, 'dig up' if you will, feelings from the viewer making the film more memorable and second, scoring that does not interfere with the scenes but simply enhances and underlines them in a very subtle way adding to the scene and not necessarily taking over the scene.

Of course, many times a scene is better left with no music at all.

There is movie with Al Pacino (one of his first) titled "The Panic In Needle Park" (1971) were there is absolutely no score and I don't think even any source music either.

I don't know if this was an intentional decision or simply a fund making decision but the film nevertheless is excellent even without any underlining film score.

Also, my humble opinion, as a third and last point on innovative film scoring, I don't believe that a composer should concentrate so much on the score being listenable (marketable?) by itself as a solitary listen as so much in making it an integral part of the film first while keeping in mind all the points I mentioned previously.

If both are achieved, well... that is even better I guess.

Even though I am not that much tuned into current film scores and not even that keen on the current films being produced for that matter (I have my spurs and moments of course) I find today's scores not that inspiring.

On the contrary, in general film music from past eras seems more diverse and more interesting to listen to, encompassing so many different styles and schools of music.

Today, a lot of the film music sounds stale and alike.

You know... I do not have any of the "Lord Of The Rings" scores but perhaps it is time to get myself some and listen to them.

Is the LOTR music memorable or is it just loud (brassy) and noisy without any transparency?

Is it recognizable? Perhaps hummable?

Does it have character?

Is it unique in some way?

You see... these are attributes a lot of the older film scores had and still have.

Anyway...

I wish your enthusiasm for film music stays fruitful and ever growing through the years.

Enjoy the music!...

serifiot, September 10, 2007; 5:50 PM

I remember regularly listening to "They Call Me Mister Tibbs!" on my brothers 8 track car player years ago.

victoravalentine, September 12, 2007; 3:29 PM

Serifiot, thanks for the welcome!

I agree with you on the cliches of today. I don't think there are too many compared to older films, but yes, you're right to say there are. I wonder what the audiences felt about film music back then. I know why the producers back then did what they did with it though. They gave a load of time to the composer to think over his score (unlike today), since they knew he needed time. The composers were never in a rush. It was like the producers knew music to be an art. Many film makers today don't see that. I mean, the big directors like Howard and Spielberg completely understand it to be so... even though the composer still has less time. But they still understand the music to be essential when it's called for.

Many older film scores are sort of like European orchestras, led by someone like Schumann or Rachmaninoff. Beautiful music, but limited to the Romantic period for some reason. Even into the 50s and 60s, most of the music was put through (most likely by the producers) to the movie because people (I guess) automatically clicked, "Oh! Rising strings. There must be a romantic kiss coming up." Or, "Oh! A double bass. There must be suspense." You know? Sort of like programmed music for the audience to adhere to over time, so it's so engrained that they understand the "language" (as you might call it) of the film music. Nevertheless, I by no means object to all of it. Other times it's put to good use. I do enjoy old film scores, but to me, it all depends if a theme is present, and a good one to. Something I can hum or whistle. I like "Filby's Theme" from Russell Garcia's "The Time Machine." That's humable. That's a tune; a theme. Something to remember.

And yes, there should absolutely be many times in the movie where the music should most definately halt, and let the story take over. It's knowing when to shut up that really shows a film composer that he knows what he's doing. Though the director, producer, and composer all sit together and discuss where the music will go, it's still up to the composer, at times, to make a halt. And I admire that in those who know when to do that.

Philip Glass doesn't do that sometimes. He just drags and drags. Has anyone here seen the "Classic Monster Collection" Edition of the old "Dracula" film? Some genius told Philip Glass to compose to the old Dracula film so it could have some music. What does he do? He drags and drags. The music never stops, literally. Sometimes you can't even hear the dialogue, because not only is the music continuous, it never softens. The volume level is kept steadily in place. I have a feeling the producers thought it to be artistic. Personally IMO, I thought it to be extremely annoying.

You're right about when you said, "I don't believe that a composer should concentrate so much on the score being listenable (marketable?) by itself as a solitary listen as so much in making it an integral part of the film first while keeping in mind all the points I mentioned previously." However, I think it necessary for the composer to make a lasting impression on the audience if the moment ever comes. If there are no moments like that, then it's up to the buyer to decipher and decide. In other words, he must decipher the music, where it comes and goes, and really listen to see the theme. Then he decides if he enjoys the music enough that he'll want to listen again (buying the soundtrack.

LotR music... Well, I do have all three scores (what a surprise). To answer you questions, yes, Howard Shore knows when to quiet down or increase the volume when needs be. The music is most definately memorable. Even if you see the movie and never listen to the soundtracks, you'll know the themes at a finger snap when it's played, to which I wonder, have you seen the movies?

The music is a far, far cry from loud and brassy. In fact, most of the cues are very soft and steady; many of them being very romantic or wondrous.

Recognizable and/or hummable. It's funny you mention that. I have the LotR DVDs and in one interview with Dir. Peter Jackson, he discusses the Rohan theme he wanted. He specifically told Howard Shore to make a "hummable theme" for it. He definately accomplished that, and later, Jackson says, he was in a car with someone who knew what he said to Shore about the theme, and he was humming the tune. The person next to him in the car said Howard did it. You're humming his theme. Not that the Rohan theme is the only memorable theme. In fact, there are cues that are not hummable, but yet memorable. You can't really hum their tune, but when it's played, you'll know. Other hummable music is present. Especially the main theme.

Character? Well, it's like Shore painted a picture with his music, only he used different paints. Watercolor, oil, acrillic, finger-paints; the themes all have their own instrument combination. When you hear them all you think throughout, "Elves," "Oh, Dwarves!" "The lost ring," "I'm in mischief!" "Hopeless," "RUN!" "I'm your friend Mr. Frodo," "Orcs," "Isengard," "Let's go home." It's unbelievable how he gets it all in there.

Yes, the music is unique. Very unique. I've never heard any music like it, but then, I only have 30 soundtracks. ;-)

You're probably wonder why I'm not giving any track examples. Well, if you don't have the soundtracks you wouldn't know, would you? :-D There's no point in listing which tracks are good or bad. You must decide that for yourself. Frankly, the LotR sountracks are the ones I listen to least often, since I enjoy other types of film score much more. In other words, you could say I'm a "loud and brassy" kind of a guy when it comes to film music. That's why I don't listen to those as much. This doesn't make the music bad, I just like other types better.

This comment is getting very very long. I'll save the music study part of your response for later. Long live soundtracks!

--Truman

raalerasoul, September 15, 2007; 2:15 PM

About 35-45 total!

I know that's not much to match my e-mail (scorelover), and I'm pretty pitiful compared to most Soundtrack Collectors out there with over 1,000.

I love action and horror film music, myself.

scorelover, September 28, 2007; 4:12 PM