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Williams, John - By Request...Best Of John Williams CD Cover Art

By Request...Best Of John Williams CD

 Williams, John CDS

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Category Rock/Pop, Classical, Classical Vocal Crossover, Film Composers, Greatest Hits Collections, Film Score, Fanfare
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By Request...Best Of John Williams Music


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List Price $16.98 (You save $6.29)
Label Philips
Orig Year 10/25/1990
All Time Sales Rank   995  
CD Universe Part number 1169111
Catalog number 420178
Discs 1
Release Date Oct 25, 1990
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By Request...Best Of John Williams Classical Reviews



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By Request...Best Of John Williams Songs


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1. Olympic Fanfare and Theme, for orchestra  (4:28)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Fanfare
   Date Written  1984
2. The Cowboys, film score: Overture  (8:59)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Date Written  1972
3. Close Encounters of the Third Kind, film score: Excerpts  (10:11)
   Common Name  S, Close Encounters Of The Third Kind Film Score
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1977
   Country  United States of America
4. Midway, film score: March  (4:15)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
5. E.T. The Extra-Terrestrial, film score: Flying Theme  (3:49)
   Common Name  Et The Extra Terrestrial Film Score
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1982
   Country  United States of America
6. Star Wars, Episode VI: Return of the Jedi, film score: Luke and Leia Theme  (4:30)
   Common Name  Star Wars Episode Vi
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1983
   Country  United States of America
7. Superman, film score: March  (4:29)
   Common Name  Superman Film Score
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1978
   Country  United States of America
8. Liberty Fanfare, for orchestra  (4:19)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Fanfare
   Date Written  1986
   Country  United States of America
9. Raiders of the Lost Ark, film score: March  (5:33)
   Common Name  Raiders Of The Lost Ark Film Score
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1981
   Country  United States of America
10. Star Wars, Episode V: The Empire Strikes Back, film score: Yoda's Theme  (3:24)
   Common Name  Star Wars Episode V
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1980
   Country  United States of America
11. 1941, film score: March  (4:30)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
12. Jaws, film score: Theme  (2:57)
   Common Name  Theme
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1975
   Country  United States of America
13. Star Wars, Episode V: The Empire Strikes Back, film score: Imperial March  (3:10)
   Common Name  Star Wars Episode V
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1980
   Country  United States of America
14. Mission Theme for orchestra (Theme for NBC News)  (3:29)
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Date Written  1985
15. Star Wars, Episode IV: A New Hope, film score: Main theme  (5:36)
   Common Name  Star Wars Episode Iv
   Composer  John Williams (Film Composer) (1932 - )
   Conductor  John Williams
   Genre  Film Score
   Date Written  1977
   Country  United States of America


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Composers on By Request...Best Of John Williams CD : John Williams

Conductors on By Request...Best Of John Williams CD : John Williams

Genres on By Request...Best Of John Williams CD : Fanfare, Film Score

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This compilation focuses on great American songwriters including Cole Porter, Duke Ellington, Jerome Kern, George Gershwin and Richard Rogers. Personnel: Bob Winter (piano). Liner Note Author: Max Baade. Recording information: Symphony Hall, Boston, MA (12/16/1992/12/18/1992). Illustrator: Kim Whitesides. Translators: Anna Saxon-Forti; Genevieve Haines; Mike Danner. Arrangers: David Raksin; Jack Mason; Eric Knight; Peter Bodge; Angela Morley; Sid Ramin; Alexander Courage; Richard Hayman; Billy Byers; Billy May.
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Upon the release of MOTHERSHIP in 2007, almost three decades after their demise, Led Zeppelin arguably stood as the only other band in rock history to merit space with the Beatles in the greatest-of-all-time debate. While the latter practically invented the how-to guide for composing and recording modern pop, Zeppelin taught the machinery how to rock with a seismic bravado that decades latter still rattles foundations. In the post-Zeppelin era, rock became a synonym for a heaviness intended to both inspire awe and knock you flat with its weight. The first six Led Zeppelin records contain nary a less-than-stellar track and define perfection as a canon; yet adequately compiling bits and pieces of this remarkable run has always eluded the band. Though this collection is no substitute for the first six records, MOTHERSHIP succeeds as a greatest hits retrospective on two levels: one, as an introduction for neophytes who want all the band's signature songs, and two, as a sound upgrade for completists. (In fact, Jimmy Page, Robert Plant, and John Paul Jones themselves are all given production credit on these blistering remasters.) While many extraordinary gems--"Going to California," "Battle Of Evermore," and "Your Time Is Gonna Come," among them--are left out, no reasonable Zep head can argue with the cuts that are included, from "Communication Breakdown" and "Black Dog" to "Dancing Days," "Kashmir," and "Achilles' Last Stand." In the end, MOTHERSHIP works as a stirring lecture in Zeppelin 101. Audio Remasterer: John C.F. Davis. Liner Note Author: David Fricke. Recording information: A&R Studios, New York, NY (10/1968-12/1978); Island Studios, London, England (10/1968-12/1978); Juggy Sound Studio, New York, NY (10/1968-12/1978); Musicland Studios, Munich, Germany (10/1968-12/1978); Olympic Studios, London, England (10/1968-12/1978); Polar Studios, Stockholm, Sweden (10/1968-12/1978); Ronnie Lane's Mobile Studio, Headley Grange, Hampshire, (10/1968-12/1978); The Rollin
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The Dead End Kids got their first big break when they opened for the Bay City Rollers during a British tour in 1976, and the two bands were likely a good match -- on their first and only album, 1977's Breakout, the Dead End Kids play calculated, commercial pop music aimed at the younger side of the teen market, following the same approach that had made the Rollers a massive success. While the Dead End Kids lack the same "guilty pleasure" appeal as the Rollers all these year later, Breakout at least shows that the group were good at what they were doing. Singer Robbie Gray had solid pipes, and while producer Barry Blue and arrangers John Cameron and Graham Preskett turn these songs Teflon-slick, the band delivers the material with enthusiasm and as much conviction as one can muster for songs like "I'm Your Music Man," "All My Love Always," and "Last Night in Chinatown" (the latter complete with rinky-tink "Chinese" keyboard lines). While "Tough Kids" is a laughable attempt to make the boys sound like they came from the wrong side of the tracks, the covers of "C'mon Let's Go" and "Have I the Right" are solid, and when the band work up a decent head of steam they suggest that if they'd been encouraged to rock harder they could have become a teeny-bopper version of Slade. The Dead End Kids were over and done with by the end of the '70s, and while Breakout is far from a lost classic, its suggests the group had a potential for better things they never quite reached. [The Glam/7T 2007 CD reissue of the 1978 LP features three non-LP single sides, making it a practically definitive overview of their recording career.] ~ Mark Deming Additional Tracks
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