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      CommentAuthorDemetris
    • CommentTimeJul 15th 2014
    Southall wrote
    First Knight is the one that really sticks in my mind. I remember how floored I was when I first heard it and I expressed that opinion on one of the film music mailing lists or newsgroups at the time and was met by a parade of abuse from people calling me an idiot for liking such a piece of shit, I should go and listen to The Wind and the Lion if I wanted to hear a real film score, etc. It was exceptionally odd. (And virtually all Goldsmith scores after Basic Instinct were absolutely panned until he died, when people suddenly said how great they all were.)


    First Knight is his best score, imo. The film though...
    Love Maintitles. It's full of Wanders.
  1. As much as I love the 90s (at least quite a bit of it) for fun purposes, I think Goldsmith's best material comes from the 1970s.

    Having listened to Planet of the Apes recently, I have to say that a lot of the techniques used in the 1970s in the modernist masterpieces like Tora! Tora! Tora!, Patton (which is a modernist score, even if it does have that beautiful march) or Chinatown come up in that classic.

    The Omen is a different beast in that regard.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    sdtom wrote
    I like Z-clone.
    Tom smile


    You like Z-clone musak? Oh, Tom, you do disappoint me. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    Demetris wrote
    First Knight is his best score, imo. The film though...



    His best score? spin Fair nuff! For me it's in his top 25.

    I had the misfortune to see the film once, what a load of pants!
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  2. Timmer wrote
    Demetris wrote
    First Knight is his best score, imo. The film though...



    His best score? spin Fair nuff! For me it's in his top 25.

    I had the misfortune to see the film once, what a load of pants!

    If you like the score I suppose that you have to watch the film at least once? It's sometimes the curse of being into film music I suppose.
    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
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    Indeed it is Alan, indeed it IS! rolleyes wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    In fact I've watched bad films more than once just so I could hear an unavailable score I liked.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    PawelStroinski wrote
    I think Goldsmith's best material comes from the 1970s.


    I think his output from the late 60's to the mid 80's is astounding but in particular I would pick out ( personally ) his mid-late 70's output.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. What's the first score that you would pick out?

    To me Goldsmith had a really, really astounding 1970, with two of my favourite war films and scores ever.

    Frankly, I am quite limited in my collection when it comes to his work in 1970s, I have Patton, Tora! Tora! Tora! (I would give La-La Land a hearty hug for re-releasing that score, because I wasn't aware of limited editions when the original FSM sold out!), Chinatown (again kudos to Varese) and Star Trek: TMP. Yes, I know I just HAVE to get at least the first Omen, which I will. I know Wind and the Lion and Alien are a necessity (especially the latter for me, because I have a kinda research/academic passion for Ridley Scott film scores), but at this point I am totally turned off by the price of the MAF (and because it is MAF I'm not in that much of a hurry). I got Patton because it's for a 1-CD price. Oh well.
    http://www.filmmusic.pl - Polish Film Music Review Website
  4. I think the earliest Goldsmith score I own is Lonely are the Brave (1962). I like that a lot.

    Volker
    Bach's music is vibrant and inspired.
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014 edited
    PawelStroinski wrote
    What's the first score that you would pick out?


    The first score I would pick out without any hesitation is STAR TREK THE MOTION PICTURE...the 3 CD set. The latter half of CD3 is expendable IMO though it contains some "interesting" oddities.


    All three Omen scores are must-haves in my book with THE FINAL CONFLICT being the pick of the bunch.

    THE WIND AND THE LION is quite simply awesome!

    PawelStroinski wrote
    Alien is a necessity (because I have a kinda research/academic passion for Ridley Scott film scores)


    In that case you'll need/want the complete ( and partially un-used ) score released by Intrada a few years back. It's brilliant though I have to admit I find it difficult to sit through an entire listen in one go.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014 edited
    I think this illustrates why I can't get through a full listen of the complete ALIEN . I'll still take this over the original release ( tracks 1-10 of CD 2 are the original album release ), there's so many tracks here that were never released before that I wanted so much.

    Complete edition track listing

    Disc 1
    1."Main Title" (4:12)
    2."Hyper Sleep" (2:46)
    3."The Landing" (4:31)
    4."The Terrain" (2:21)
    5."The Craft" (1:00)
    6."The Passage" (1:49)
    7."The Skeleton" (2:30)
    8."A New Face" (2:35)
    9."Hanging On" (3:39)
    10."The Lab" (1:05)
    11."Drop Out" (0:57)
    12."Nothing To Say" (1:52)
    13."Cat Nip" (1:01)
    14."Here Kitty" (2:08)
    15."The Shaft" (4:31)
    16."It's A Droid" (3:28)
    17."Parker's Death" (1:51)
    18."The Eggs" (2:24)
    19."Sleepy Alien" (1:04)
    20."To Sleep" (1:56)
    21."The Cupboard" (3:05)
    22."Out The Door" (3:13)
    23."End Title" (3:09)
    24."Main Title" (Rescored Alternate) (4:11)
    25."Hyper Sleep" (Rescored Alternate) (2:45)
    26."The Terrain" (Rescored Alternate) (0:58)
    27."The Skeleton" (Rescored Alternate) (2:31)
    28."Hanging On" (Rescored Alternate) (3:08)
    29."The Cupboard" (Rescored Alternate) (3:12)
    30."Out The Door" (Rescored Alternate) (3:02)

    Disc 2
    1."Main Title" (3:37)
    2."The Face Hugger" (2:36)
    3."Breakaway" (3:03)
    4."Acid Test" (4:40)
    5."The Landing" (4:31)
    6."The Droid" (4:44)
    7."The Recovery" (2:50)
    8."The Alien Planet" (2:30)
    9."The Shaft" (4:01)
    10."End Title" (3:09)
    11."Main Title" (film version) (bonus) (3:44)
    12."The Skeleton" (alternate take) (bonus) (2:34)
    13."The Passage" (demonstration excerpt) (bonus) (1:54)
    14."Hanging On" (demonstration excerpt) (bonus) (1:08)
    15."Parker's Death" (demonstration excerpt) (bonus) (1:07)
    16."It's A Droid" (unused inserts) (bonus) (1:27)
    17."Eine Kleine Nachtmusik" (source) (bonus) (1:49)
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  5. I know, in both cases the Intrada releases are the only way to go for me.

    I own the La-La edition of The Motion Picture and I don't regret that. I haven't heard the Sony edition, however, just the original album.

    One of my most cherished memories from England (London to be precise), as I said a couple of times, was listening to it from the original LP, which was found in the stash of my friend's father's vinyls, which I somehow got to rummage through.

    That and the original LP of Williams' Superman.
    http://www.filmmusic.pl - Polish Film Music Review Website
  6. STMP: LLL reigns supreme. Still the Anniversary (Columbia) edition is a fine presentation of the score if you want to hear a more condensed run.
    Bach's music is vibrant and inspired.
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      CommentAuthorSouthall
    • CommentTimeJul 15th 2014
    The LLL release of ST:TMP is superb, but as a listening programme, I cut out all the Fred Steiner/Alexander Courage pieces (and all the alternative arrangements of course) and that's not really that far away from the Sony album.
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      CommentAuthorSouthall
    • CommentTimeJul 15th 2014
    Timmer wrote
    PawelStroinski wrote
    I think Goldsmith's best material comes from the 1970s.


    I think his output from the late 60's to the mid 80's is astounding but in particular I would pick out ( personally ) his mid-late 70's output.


    Yup, late 60s to mid 80s is an astonishing run from him, maybe Blue Max through to Legend if you look at his chronological filmography. There's some truly great stuff before and after that period but not with quite the frequency.

    There's a pronounced change around 1980 when he shifted to a much lusher sound and you got things like Final Conflict, Poltergeist etc which are orchestrationally so much fuller than the sparer sound he had generally been using beforehand. I wonder what prompted that - maybe the emerging success of John Williams.
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      CommentAuthorDemetris
    • CommentTimeJul 15th 2014
    Southall wrote
    Timmer wrote
    PawelStroinski wrote
    I think Goldsmith's best material comes from the 1970s.


    I think his output from the late 60's to the mid 80's is astounding but in particular I would pick out ( personally ) his mid-late 70's output.


    Yup, late 60s to mid 80s is an astonishing run from him, maybe Blue Max through to Legend if you look at his chronological filmography. There's some truly great stuff before and after that period but not with quite the frequency.

    There's a pronounced change around 1980 when he shifted to a much lusher sound and you got things like Final Conflict, Poltergeist etc which are orchestrationally so much fuller than the sparer sound he had generally been using beforehand. I wonder what prompted that - maybe the emerging success of John Williams.


    From the 70's? the synth farts?

    Demetris wrote
    Southall wrote
    First Knight is the one that really sticks in my mind. I remember how floored I was when I first heard it and I expressed that opinion on one of the film music mailing lists or newsgroups at the time and was met by a parade of abuse from people calling me an idiot for liking such a piece of shit, I should go and listen to The Wind and the Lion if I wanted to hear a real film score, etc. It was exceptionally odd. (And virtually all Goldsmith scores after Basic Instinct were absolutely panned until he died, when people suddenly said how great they all were.)


    First Knight is his best score, imo. The film though...


    And the Omen scores for sure.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014 edited
    There wasn't much of the "synth-farts" in the 70's D. The most well known example being 1976's Logan's Run, a score cleverly split in two, a synth score for the futuristic city and purely orchestral for the apocalyptic outside world
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorSteven
    • CommentTimeJul 15th 2014
    Ah, 70s sci-fi.
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    Steven wrote
    Ah, 70s sci-fi.


    Back then books and imagination ruled more than films. Lots of brilliant scores though. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorSteven
    • CommentTimeJul 15th 2014
    But books are wot you get on iPads, and I'm pretty sure they didn't have iPads in the 70s. You're not making sense, Timmer.
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    A what Pad?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorThor
    • CommentTimeJul 15th 2014
    90s Goldsmith is my favourite Goldsmith, hands-down. But if I'm going to be all brainy and hipster and politically correct, I'll concede that his late 60s to late 70s output is the most artistic and intriguing.
    I am extremely serious.
  7. When it comes to the fun bit, I'd say mid-80s to ca 1995, with notable exceptions for an amazing year in 1998 and some good stuff in 1999 smile .
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorSteven
    • CommentTimeJul 15th 2014
    I've always thought The Mummy was his last truly great score (Timeline being the best of the rest, so to speak). I still do, in fact.
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      CommentAuthorThor
    • CommentTimeJul 15th 2014
    THE MUMMY is my alltime favourite Goldsmith score.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeJul 15th 2014
    I don't think The Mummy is a truly great score, not by Goldsmith standards at any rate. Everyone knows what I think his last truly great score is.
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      CommentAuthorThor
    • CommentTimeJul 15th 2014 edited
    It is not only a truly great score, it's a masterpiece. By any standard.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeJul 15th 2014
    It is not only not a truly great score, it's [spoiler]I can't think of any way of ending this.[/spoiler]
    • CommentAuthorTimmer
    • CommentTimeJul 15th 2014
    Southall wrote
    I don't think The Mummy is a truly great score, not by Goldsmith standards at any rate. Everyone knows what I think his last truly great score is.


    Loony Tunes?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt