JERRY GOLDSMITH

You'll like Fireworks (on the same album) though!

First of all, I agree with those who said that once you ask for recommendations, at one point you'll have every single score of his listed. And then it kinda defeats the purpose. So I think one needs to make at least two specifications here:

1. Are you talking about SOUNDTRACKS or the score as it works in the MOVIE? It's a crucial difference, because while there are scores that may work well in the film, it may not be as essential on disc. ALIEN, for example, is a cornerstone score in film history, yet it isn't - IMO - a very rewarding listening experience on CD.

2. STRIVE to be as objective as possible! Even though it is near-to-impossible to leave all subjectivity behind, try to step out of your own fan favourites and ask yourselves, what will stand the test of time in Goldsmith's oeuvre? What will he be remembered for? What are the scores that are most often referenced in literature and popular culture?

With this in mind, I would make this "essential" list for Goldsmith:

PLANET OF THE APES
THE OMEN
PATTON
THE WIND AND THE LION (although the film itself will always remain quite obscure to most people)
STAR TREK: THE MOTION PICTURE
BASIC INSTINCT
THE MUMMY (this might be arguable, but IMO on of his best representations of the style he emulated from the mid 90's and onwards).

I would love to add stuff like UNDER FIRE or FIRST BLOOD or THE LAST RUN, but in the scheme of things, these are mostly my own personal favourites, not "essentials".

...and I don't understand that!?

They're not that prevalent, surely?
Nor that dated?

Incidentally, I'd hesitate writing off First Blood so easily.
To me it's vintage Goldsmith and probably the finest example of his action-scores-with-a-twist from the early eighties, right in between the harder to listen to seventies scores and the bombast themes from the nineties.
But that's just my opinion. I agree with Thor that it would be best to apply some objective standards, but I disagree in the sense that I wonder if it can actually be done.

Only one way to find out.

Small Soldiers the recording sessions is a dream of a score, it proves how some scores deserve a full release while others don't even deserve a half release

Don't forget Baby: Secret of the Lost Legend too, men what a main theme

The brilliant rise from the synths to a full orchestral score is the beauty of it all, anyway I adore it

Small Soldiers might be a mess, but once you put it all into film order, give it all names, and pick the cues out of it which deserve it, you'll get 50 minutes of creative Goldsmith fun

Actually, you don't necessarily disagree so much, because I stressed the STRIVE bit above. One should STRIVE to be as objective as possible in these kinds of questions. You'll still end up with some amount of subjective evaluation, but at least you've tried to consciously separate yourself from your own preferences and looking at the "big picture".

It's my single favourite film score album of all time. Just saying.

Check your pm.

Here's mine:

Small Soldiers
Earlier Chopper
Chip Hazard
Assembly Line
Unloading and First Sale
Roll Call
Alan and Archer
Branded
Prepare for Assault
Special Design
Minor Problems
The Gorgonites
Windows
Operation Sandman
Wind
Sneaking In
Gwendy Rampage - Escape
The Warehouse
I’m Scared
Negotiations
Attack Montage
Trust Me
Off to Gorgon
Small Soldiers Suite
Mistake Mix
Gwendys
Commando Commercial

Does anyone with more musical language than me define Goldsmith action music style? (the 90's one).

Thanks.

thanks

5/8.... that's what I meant. Yeah.

....

Dammit, I'll write it tomorrow. A whole analytic post got erased