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  1. To go from Zimmer to Goldsmith as your favourite composer is quite a step... but totally logical. punk

    Oh I'm sure Papillon will open my eyes eventually, but first I'll have to open my ears. biggrin
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  2. DreamTheater wrote
    To go from Zimmer to Goldsmith as your favourite composer is quite a step... but totally logical. punk


    I think it's called logical sense wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorfommes
    • CommentTimeApr 23rd 2010
    Now the final step is to go from Goldsmith to Williams, in order to be granted entry into Film Music Superclass.
    cool
  3. Nah Jerry is just as much of a king as John is, just two different countries, but I like to visit them both on equal basis. smile

    I could never put the one above the other... The same goes for James.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeApr 23rd 2010 edited
    I could never put Goldsmith and Williams above one or the other too. But I could I put them both above Horner.
    •  
      CommentAuthorDreamTheater
    • CommentTimeApr 23rd 2010 edited
    Nope Horner has given me the biggest thrills, and the biggest emotional responses in the past so he's a king in my book. The only thing is his country is a bit of a mess these days.

    Just like friggin' Belgium !!!
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeApr 23rd 2010
    Check my profile for my response.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 23rd 2010
    John Williams > The Rest

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeApr 23rd 2010
    biggrin

    The man has his priorities.

    For me, it's:

    Goldsmith/Williams > The Rest

    Okay, probably including Herrmann, Korngold & Rosza too. They're my favourite Golden Age composers.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 23rd 2010
    Don't get me wrong... I love Goldsmith dearly but just not as much as Williams.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeApr 23rd 2010 edited
    I completely understand. I've never been able to pick one over the other though, which is why they remain (and will no doubt always remain) my two top film composers. smile
  4. For me Horner was the top guy for a very long time because Aliens is the point of no return for me.

    For Erik, Williams is his favourite because Raiders is his.

    For Steven I don't know but I'm sure he'll tell us.

    I guess we're always drawn the most to the composer who introduces us into this genre. Not a general idea though, but we're always inclined to deify a composer because of that very first special score.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeApr 23rd 2010
    DreamTheater wrote
    For me Horner was the top guy for a very long time because Aliens is the point of no return for me.

    For Erik, Williams is his favourite because Raiders is his.

    For Steven I don't know but I'm sure he'll tell us.

    I guess we're always drawn the most to the composer who introduces us into this genre. Not a general idea though, but we're always inclined to deify a composer because of that very first special score.


    It's a good point. As with Erik, it's Williams for me, but I can't really remember what score it was. Could be the STAR WARSes that triggered it (in the late 80s), but it was JURASSIC PARK that catapulted my fandom. It's not always true that you stick to your early loves, though. I remember Silvestri's THE ABYSS as one of my very first loves, before I really had any soundtracks in my collection. I was lying on the floor (for some reason), listening to the end credits and thinking to myself "THIS is the kind of music that I want to own!". Today I have about 10 Silvestri CD's and am a moderately big fan, but he's far from my favourite despite being one of my very first exposures.
    I am extremely serious.
    •  
      CommentAuthorkeky
    • CommentTimeApr 23rd 2010
    DreamTheater wrote
    I guess we're always drawn the most to the composer who introduces us into this genre. Not a general idea though, but we're always inclined to deify a composer because of that very first special score.


    Yes, but it can change. As a kid, the music of Star Wars and the Indy movies introduced me to film music so Williams the first name I kept in mind and whose music I could relate to the most.
    But as a teenager I got to know more and more Morricone and he quickly became my favourite composer and he's been the one ever since. Since I'm 38 I don't think it will change.
    As for Williams, he still belongs to the group of my favourite composers but as years went by he fell back to nr.3 (Horner stepped on nr. 2)
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 23rd 2010
    DreamTheater wrote
    For Erik, Williams is his favourite because Raiders is his.


    It's more than just that. Before I even knew the name John Williams I loved his music. I can clearly remember being in Grade 12 and going to the library to research my final music project on John Williams. By then I knew the name and knew I loved film music but little did I know that John Williams was the one that triggered my interest in film music. When I played the By Request album for the first time, which I borrowed from the library, I couldn't believe that all of the film music that I loved and remembered came from the SAME composer. Jaws, Close Encounters, Star Wars, Indy, etc. That's when I put it all together and when John Williams permanently became my all time favorite composer!

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  5. Erik Woods wrote
    John Williams > The Rest

    -Erik-


    Williams is brilliant, but Jerry had to battle more with his projects because he didn't have a Spielberg to give him all these great movies. Comparison Williams Jurassic Park, Goldsmith Baby: Secret of the Lost Legend, Williams Superman, Goldsmith Supergirl, Williams Indiana Jones, Goldsmith King Solomon's Mines, and yet both types of score turned out amazingly well

    But Goldsmith was always much more inventive too, dared to test the limits, stuff like Poltergeist, The 'Burbs are creative examples that turned out amazingly, and don't get me started on First Knight, which is brilliance in a crappy album. The promo is so much better

    My point is, Williams is probably the king, but for me it is Goldsmith's creativity, dare and voice that won me over, finally smile
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  6. fommes wrote
    Now the final step is to go from Goldsmith to Williams, in order to be granted entry into Film Music Superclass.
    cool


    no, Goldsmith is the top of the iceberg, why go further? wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 23rd 2010
    Thomas Glorieux wrote
    Williams is brilliant, but Jerry had to battle more with his projects because he didn't have a Spielberg to give him all these great movies. Comparison Williams Jurassic Park, Goldsmith Baby: Secret of the Lost Legend, Williams Superman, Goldsmith Supergirl, Williams Indiana Jones, Goldsmith King Solomon's Mines, and yet both types of score turned out amazingly well

    But Goldsmith was always much more inventive too, dared to test the limits, stuff like Poltergeist, The 'Burbs are creative examples that turned out amazingly, and don't get me started on First Knight, which is brilliance in a crappy album. The promo is so much better

    My point is, Williams is probably the king, but for me it is Goldsmith's creativity, dare and voice that won me over, finally smile


    I appreciate all that which is why Goldsmith is also one of my all time favorites but Williams' style and uncanny ability to create that instantly memorable melody is what turns me on the most.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeApr 23rd 2010 edited
    Goldsmith was brilliant, but quite overrated in film music fora, IMO.

    Williams could also daring, challening stuff with ease, btw. It's just know what most people know him for.

    (Oh my God, am I actually doing the ol' Williams vs. Goldsmith thing again??)
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeApr 23rd 2010
    Thor wrote
    Goldsmith was brilliant, but quite overrated in film music fora, IMO.


    The only thing that's overrated is the word itself.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 23rd 2010
    Let hope this doesn't turn into a Goldsmith vs. Williams war. Do we really want Dan Hobgood around here? He can sniff this stuff out you know.

    Anyway. both are superb composers and I think a good majority of us rank both very highly on our favorites list. Let's enjoy the music that they gave us and move on.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeApr 23rd 2010
    Erik Woods wrote
    Let hope this doesn't turn into a Goldsmith vs. Williams war. Do we really want Dan Hobgood around here? He can sniff this stuff out you know.

    Anyway. both are superb composers and I think a good majority of us rank both very highly on our favorites list. Let's enjoy the music that they gave us and move on.

    -Erik-



    NOOOOO! There can only be one.....

    wink
    I am extremely serious.
  7. Erik Woods wrote
    Let hope this doesn't turn into a Goldsmith vs. Williams war. Do we really want Dan Hobgood around here? He can sniff this stuff out you know.

    Anyway. both are superb composers and I think a good majority of us rank both very highly on our favorites list. Let's enjoy the music that they gave us and move on.

    -Erik-


    indeed Erik, we will never see anyone as good as those 2, ever again sad
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  8. Yup, Jerry has written many many brilliant scores, Johnny has done the same... they have both earned their place in our collective memories. There should never be a clash between such two titans.

    Thomas Glorieux wrote

    and don't get me started on First Knight, which is brilliance in a crappy album. The promo is so much better



    40 minutes of unrelenting genius melodies, rhythms and fanfares hardly make for a crappy album buddy, but I get what you want to say, the 70+ minute promo is what should've been released instead. That reminds me, can you bring it with you sometime? wink
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 4th 2010
    FSM: OUTLAND
    Music Composed and Conducted by Jerry Goldsmith
    Performed by The National Philharmonic Orchestra

    FSM presents the definitive edition of a pivotal Jerry Goldsmith sci-fi score: Outland (1981), for Peter Hyams’s suspenseful “space western” set on an Io mining station in orbit of Jupiter. This 2CD set features the complete score as heard in the film, the 1981 LP configuration released by Warner Bros. Records, and never-before-heard alternates and outtakes.

    Outland was written and directed by Peter Hyams, whose 1978 Capricorn One had featured a sensational score by Goldsmith. Sean Connery stars as O’Niel, a Federal marshal whose investigation of suspicious deaths throws him into conflict with the mine’s corporate administrator (Peter Boyle). Something of a cross between Alien (minus the monster) and High Noon (transplanting the conflict to outer space), the stylish film is one of Hyams’s best.

    Goldsmith had made a mark on Alien in 1979—a film that Outland resembles in its hardware and atmosphere—and applied many of the same suspenseful textures to Outland. The score oozes menace and mood, evoking not only the dangerous environment of the space station, but the suspense-thriller human relationships (in which nobody is up to any good). Goldsmith’s musical modernism is perfectly tailored for the action scenes, especially a bravura chase through the station (“Hot Water”) which is treated with a Stravinsky-like pulse.

    Outland has long been available in a 40-minute album program, but that sequence (recreated for disc 2 of this release) includes alternate takes—and omits many notable cues. Disc 1 of this album features the complete score as heard in (or intended for, in the case of unused cues) the finished film, including such Goldsmith cues as the film’s “Main Title” and action moments in “Stiffed” and “The Bags.”

    Disc 1 also interpolates the work of two other composers, who stepped in when Hyams requested changes but Goldsmith was unavailable: Morton Stevens, who adapted Goldsmith’s thematic material for the film’s climactic fight on the exterior of the station (“The Last Battle [Broken Hose]”), and Michael Boddicker, who wrote and recorded the film’s rec room source music. Disc 1 also features a bonus section including Goldsmith’s original versions of these sequences as well as other alternates.

    The deluxe 24-page booklet features liner notes by Jeff Bond and Lukas Kendall including new interview comments by Hyams and an essay from Boddicker. Goldsmith’s score has been newly restored by Mike Matessino from the three-track stereo film mixes, with Boddicker personally remixing his tracks. The entire 2CD set has been mastered by Bruce Botnick, Jerry Goldsmith’s longtime recording engineer.

    http://www.screenarchives.com/title_det … UTLAND-2CD

    http://www.filmscoremonthly.com/cds/det … 3/Outland/

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeJun 4th 2010
    Excellent release of an underrated Goldsmith gem, I'll be having one. cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  9. Erik Woods wrote
    FSM: OUTLAND
    Music Composed and Conducted by Jerry Goldsmith
    Performed by The National Philharmonic Orchestra

    Ordered!
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeJun 5th 2010
    I'm pleased with the ol' GNP release, but that's some smokin' new artwork there!
    I am extremely serious.
  10. I love two cues from this score, but could never get into the rest of it. Traded the GNP away. While I won't be buying this watermelon, I certainly recognize others want a bite of it, and I'm glad they got a chance. I can only hope FSM sees more successess, instead of CDs that linger around for half a decade.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 8th 2010
    NEW FROM LA LA LAND RECORDS

    THE EDGE
    - On Sale June 15th
    Newly remastered and expanded edition of one of Jerry Goldsmith last great scores. A true masterpiece from the genius himself featuring over 65 minutes of music. This new edition is brought to you courtesy of 20th Century Fox and Sony Special Products. (and yes, the glitch has been fixed. smile )

    Limited Edition of 3500 units
    Retail Price: $19.98

    Produced by Nick Redman, Mike Matessino and Didier Deutsch
    Liner Notes by Jeff Bond

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!