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  1. NP: Avengers Campus - John Paesano (arr.)

    This is easily the most glorious thing to sweeten the day.
  2. NP: The Social Network and Steve Jobs

    In honour of Elon Musk's successful twitter bid.

    J/K. dizzy
    A butterfly thinks therefore I am
  3. NP: Petricor (Ludovico Einaudi)

    Just a single track - beautiful strings, violin solo part (Daniel Hope, I think) and piano. Typical Einaudi rhapsodic stuff - very lovely.

    Next up: Peter Gregson - A little chaos. I didn't love the film (I'm a bit grouchy for that sort of thing), but I do love that it got Gregson into film scoring.
    A butterfly thinks therefore I am
  4. NP: Clouds - The mind on the rewind (Ezio Bosso)

    A score, not for film, but for dance. Part of Bosso's beautiful Music for Weather Elements, which was developed with Sydney Dance Company. This piano and violin duet is something else.

    Can be heard here: https://youtu.be/OePtn6mx6fg
    A butterfly thinks therefore I am
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      CommentAuthorBobdH
    • CommentTimeMay 27th 2022 edited
    Since I consider Jerry Goldsmith a big black hole in my score-knowledge, I decided to finally sit down and listen to much of his work from start to finish. I mean, I’m currently only superficially familiair with his scores. I know his major titles, and of them I mostly know the highlight tracks. I’ve heard The Omen and Poltergeist, as well as some other classics, but I’m not as intimately familiar with his scores as I am with, say, John Williams or James Horner, even though he is considered by many as one of the greats. I have a fair amount of his CD’s, but I’ve always just skimmed through them, for some reason, or listened to them in the background, and kept returning to my favorite tracks. I’ll be listening to these in random order, depending on which I feel like listening to on the day.

    Yesterday: THE SHADOW - Jerry Goldsmith

    Listened to the Intrada Film Score presentation. The Shadow really benefits from one killer main theme, which is addictive and memorable as hell. It’s a good thing it gets quoted throughout, too, because whenever the theme does not show up, the score tends to drag a little. Maybe consecutive listens would bring out some other themes, but in my first full listen, it’s not always as engaging as I would like it to be. Still, the highlights are genuinely great, but I feel this might work better in its original album presentation and gets bogged down by its expandedness. 3.5*

    Today: TOTAL RECALL - Jerry Goldsmith

    The 77 minute version of the 30th Anniversary release for this one. This seemed to be the complete opposite as The Shadow, in that it is lacking a strong main theme (hell, the one the score opens with in The Dream is propulsive enough to set the tone, but doesn’t get a proper reprisal until well into the score in The Treatment), but is a lot more engaging in its compositions throughout. It’s propulsive, energetic and gives the orchestra a full workout - and yet, the lack of a strong and memorable theme makes this not as likeable as The Shadow. Guessing I won’t be returning to this one as much. Another 3.5*, but for different reasons.
  5. OBI-WAN KENOBI - Theme by John Williams
    I wasn't convinced at first, but hell did that one grew on me watching the first two episodes. The score itself is done by Natalie Holt (Loki) using her own style, which is freakishly different from the usual SW treatment, but it's very effective in the right places. I can't wait for the full score to become available. Since watching it, I return to Williams' new theme again and again. It's addictive as hell, not only because the first two episodes were a good start, but because it's a fantastic new Williams theme. One might argue why composing a Kenobi theme now when we all have connected him with the Force Theme, but if you watch the show you'll quickly understand why this Obi-Wan needs his own theme, and it's really fitting. I'm sure they know what they are doing, and we'll get what we really want before the end.

    TOP GUN MAVERICK - Top Gun Anthem by lots of people, but really Harold Faltermayer
    Haven't seen the movie yet, just jumped right into the first and last track from the score because of reasons. And it's doing exactly what it's meant for. Serious flashbacks to the Eighties and the time this baby made summer even hotter. How do you rate a new version of something you're so used to that even the tiniest change from the original feels off, but then it grabs you and takes you with it as it lifts off into the air and soars high above the earth through a lense-flared sky? What can I say? I'm guilty of enjoying some shameless nostalgia overdrive treatment.
  6. BobdH wrote
    Since I consider Jerry Goldsmith a big black hole in my score-knowledge, I decided to finally sit down and listen to much of his work from start to finish.


    I don't know where to start on Goldsmith, so I won't even try to give you some clues, since discovering your personal treasures on your own will be much more rewarding. He has been my favourite composer for a very, very long time, though I have been on and off with him in recent years. I've grown a bit more aware of some quirks in his style, be it the synthesizers or his unique scoring of hectic action. But man, when he goes all in and decides to write a really good theme, it will blow you away. I massively envy your journey of discovery, since there is SO MUCH awesomeness to discover, especially when you least expect it. Many of his scores have just one or two highlight tracks, but some are just relentless in providing one great track after another.

    Please keep posting about your experiences. I'll be watching!
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      CommentAuthorBobdH
    • CommentTimeMay 28th 2022 edited
    Thanks for watching, and yes, will definitely keep posting my discoveries on here, as it’s also a handy way to keep track of them and clear my thoughts. Excited to discover those gems you mentioned. Already have some pretty promising titles lined up, and many releases wishlisted to purchase along the way. Looking forward to them all!
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      CommentAuthorBobdH
    • CommentTimeMay 28th 2022 edited
    Today’s Goldsmith: THE WIND AND THE LION - Jerry Goldsmith

    Listened to the 63 minute Complete Score Intrada presentation. When I first listened to this, which must have been over 10 years ago when I first purchased the CD, I thought the metal clanging that accompanied the main theme (and announces the Raisuli in the film, I believe) was shrill and distracted from the orchestra. Now, years later and listening to the score start to finish, I think it actually gives the work color and character. Goldsmith goes in full-on Maurice Jarre mode with great orchestral color to portray the Moroccan setting, multiple (memorable) themes and recurring motifs, and engaging compositions throughout. It’s quite a sweeping score with rousing percussion and brass and a touching love theme (The Legend). Glad I bought this one all those years ago. 4,5*
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      CommentAuthorBobdH
    • CommentTimeMay 29th 2022 edited
    Today’s Goldsmith: LIONHEART - Jerry Goldsmith

    Listened to the 83 minute recent Varese Sarabande edition, which really has a remarkably clear and lush sound quality given it’s a score from 1987. Lionheart is on a par with The Wind and the Lion in that it combines propulsive, interesting writing for orchestra throughout with a strong thematic presence. The difference, though, is that while Wind and the Lion smacks you in the face with its immediately recognizable themes from track one, Lionheart takes its time to develop them. I was already familiar with Forest Hunt, but it’s much more satisfying to hear that theme get developed from Black Prince and Children in Bondage onwards before it gets its full reign. No theme is overused in a well balanced presentation, combining lush romance with the more adventurous cues. I didn’t ‘feel’ the expansion one bit - each and every cue has its place here, and couldn’t be missed. 4,5*
  7. I've never listened to the full score of The Wind and the Lion, but Lionheart is one of my absolute favourites. When it came out I couldn't stop listening to it for months. Because of his friendship to the director, Goldsmith created a masterpiece of a score with enough thematic material to fill three movies with. And the way it all comes together in King Richard is simply amazing. What a fantastic listen. True, it has those synths Goldsmith was very fond of, which might turn away some listeners today - especially in a score for a medieval movie - but as a fan of his work I don't really care. He has used them in everything, and if you get used to it, you will find them an interesting addition. Now, Lionheart may be a really, really bad movie (trust me, it is), but it's easily one of his best scores for me. It's main theme is a massive motivational boost for every hero's journey, the love theme is beautiful and captivating, Mathilda's Theme gorgious, and the Black Prince is certainly blessed with a good baddie theme. You had a great pick there!
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      CommentAuthorBobdH
    • CommentTimeMay 30th 2022 edited
    I can absolutely see how Lionheart is among your favorites, I quite loved it too and I can see myself returning to it often! If only to better differentiate all the themes you mention, which I didn’t immediately all identify yet on my first full listen. And funny what you say about the electronics, as it’s what originally deterred me from him. It took me a while, but I’ve now gotten used to ‘em - at least, the way they appear in scores like The Shadow and Lionheart - and can now appreciate the extra color they add to the sound.
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      CommentAuthorBobdH
    • CommentTimeMay 30th 2022 edited
    Today’s Goldsmith: TIMELINE - Jerry Goldsmith

    When this first came out back in 2004 I was a big fan of Brian Tyler’s version, the fresh new sound from the up-and-coming composer, which may have clouded my judgement of Goldsmith’s approach a bit. I didn’t like the kazoo-like sounds during the action, and though I’ve come to appreciate several tracks over the years, I never really sat down to listen to it front to back ever since I had my first listen. Now that I did, I can recognize it as a solid score with a fine main theme (end of The Dig) and a lovely love theme on flute (Move On). It’s leaning a lot more towards action and suspense than Lionheart does, but whereas that score had a perfect balance in its themes, Timeline tends to overuse some of them. The climactic Prepare For Battle / Victory For Us is a thrilling finale to an entertaining score, but as a whole, this isn’t as exhilarating as the previous two. Something is keeping me from giving this a 4, so I’ll go with a solid 3.5*
  8. I am waiting until you get to some Goldsmith I like! The previous three you mention are some of my least favourite Goldsmith scores.
    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
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      CommentAuthorBobdH
    • CommentTimeMay 30th 2022
    Haha, I’m sure I’ll get to them! Probably going for a different sound and era tomorrow for variation.
  9. BobdH wrote
    Haha, I’m sure I’ll get to them! Probably going for a different sound and era tomorrow for variation.

    I look forward to your Goldsmith musings!
    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
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      CommentAuthorBobdH
    • CommentTimeMay 31st 2022 edited
    Today’s Goldsmith: RUDY - Jerry Goldsmith

    Now I know this one has quite a reputation, ending usually quite high on Best Of Goldsmith lists, which (I’m guessing) is because of the rousing Feel Good Moments. Which is precisely why I never made an effort to seek this one out, as sportsfilm-feel goodness usually doesn’t do it for me. If you want to tug on my heartstrings, you need to come with more tender, quiet drama. Which, I was pleased to see, Rudy has quite a few of as well - I especially dug the few moments the gentle choir kicks in, like in the lovely The Plaque. The whole thing shifts quite nicely between smaller renditions of its dramatic themes and the big bombastic ones. And even though the whole score comprises of constant renditions of its two main themes, they never start to grate and the whole thing balances out quite nicely. It’s a solid listen, I enjoyed its themes and I can see why people like it so much, but was I ever really moved? Nah, not really. I’m giving this a 4*, but I’m also bumping Lionheart and The Wind and the Lion to 4.5* since it doesn’t quite reach those highs.
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      CommentAuthorBobdH
    • CommentTimeMay 31st 2022 edited
    Also: THE BLUE MAX - Jerry Goldsmith

    Listened to the 51 minutes Intended Final Score from the LaLaLand release. From back when Jerry Goldsmith still wrote for only old fashioned orchestra, no electronics, this exhilarating classic is full of sturm und drang, while Jerry weaves his themes very intelligently throughout the action - especially in its first half - without ever overdoing it. The cues on piano and violin add color but also feel like source cues as they break the flow of the music a bit, but nonetheless, a solid listen and impressive early effort. 4*
  10. The Blue Max? Now we are getting somewhere! wink

    I think that I am more partial to his 'Sturm und Drang' (with a bit of his quieter moments).
    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
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      CommentAuthorBobdH
    • CommentTimeJun 1st 2022
    I love that side of him too! He can be quite ferocious with an orchestra.
  11. BobdH wrote
    I love that side of him too! He can be quite ferocious with an orchestra.

    Ferocious and inventive. And, what I particularly like, is that his use of the orchestra can be so sparing but achieve such a lot.

    Take, for example, (a score just plucked out of the air) THE OMEN (which I watched again the other week) hasn't the largest orchestra but it ably copes with even the most aggressive and dramatic scenes. And, to think of what would happen today, most composers would choose to or be asked to throw masses of people at the music. IMO.
    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
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      CommentAuthorBobdH
    • CommentTimeJun 1st 2022 edited
    Today’s Goldsmith: SMALL SOLDIERS - Jerry Goldsmith

    I was originally going to go with the 31 minute original score release, but since I saw someone on a message board calling the DeLuxe Varese Sarabande edition a “revelation”, I decided I didn’t want to miss out. And given how strong the musical composition is throughout - Jerry clearly had a lot of fun playing with the orchestra - I can understand how the original release didn’t suffice. There are several tracks that are definitely adding to the listening experience. I was a bit wary that the very nature of this entertaining yet emotionally lightweight score wouldn’t justify a 70 minute album, and while this is true to a certain extent, I did enjoy Small Soldiers more than I thought I would. I adore the main theme (Assembly Line) and Jerry uses it just enough throughout the score, while developing it in a very satisfying way. Still, it does outstay its welcome a bit and there’s a perfect 50 minute album in here. 3.5*
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      CommentAuthorBobdH
    • CommentTimeJun 1st 2022 edited
    FalkirkBairn wrote
    Ferocious and inventive. And, what I particularly like, is that his use of the orchestra can be so sparing but achieve such a lot.

    Take, for example, (a score just plucked out of the air) THE OMEN (which I watched again the other week) hasn't the largest orchestra but it ably copes with even the most aggressive and dramatic scenes. And, to think of what would happen today, most composers would choose to or be asked to throw masses of people at the music. IMO.


    Certainly, which has probably to do with him starting out for a while with smaller orchestras in the beginning of his career, and the need to be inventive in his writing and orchestrations to get an adequate sound out of it.
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      CommentAuthorBobdH
    • CommentTimeJun 1st 2022 edited
    Also: THE 13TH WARRIOR - Jerry Goldsmith

    Speaking of ferocious, Jerry is giving his orchestra quite the workout here in tracks like The Fire Dragon. I always considered The 13th Warrior to be kind of The Mummy light given its similarities in instrumentations and its main theme, in which The Mummy seems like the better developed score. Upon relisten this may not be entirely fair, given this is already a pretty solid score in its own right, with (just) enough elements to set it apart. I was quite surprised how much I enjoyed this one, given the last time I started listening to this (a couple of years ago) I didn’t finish it. Especially the big finale of Valhalla / Viking Victory is quite glorious. 4*
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      CommentAuthorBobdH
    • CommentTimeJun 2nd 2022 edited
    Today’s Goldsmith: THE GREAT TRAIN ROBBERY - Jerry Goldsmith

    Listened to the Varese Sarabande DeLuxe edition. I was already well aware of its incredibly energetic and infectious main theme, just hadn’t listened to the full score in ages (I just kept returning to the Main and End Titles and that’s it). Goldsmith certainly knows his way around a melody in this one. I love how he keeps making subtle allusions towards the main theme throughout (in tracks like No Respectable Gentlemen and Clues, but also during the more sinister moments in its second half) without overtly stating the theme. Or how he repackages the main theme into a waltz in Rotten Row - he’s clearly having fun with the material. It really gives the score its very own personality that is infused in every track, while never overusing its melodies. With 37 minutes this may be a short release, but it’s exactly what the material needs. It entertains throughout and never outstays its welcome. 4*
  12. Still interesting to read another perspective but few of these would make a Jerry Goldsmith Top 20 for me!
    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
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      CommentAuthorBobdH
    • CommentTimeJun 2nd 2022 edited
    I understand The 13th Warrior and The Great Train Robbery may not be Top 10 material, but for what they need to do, they do it very well. Also, I’m aware I got some big classics coming up still, but I want to balance the bigger and the smaller ones out. Looking at every score in a positive way. And hey, that only means there’s apparently a ton of even better Goldsmith’s waiting!
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      CommentAuthorBobdH
    • CommentTimeJun 2nd 2022 edited
    Also: THE BOYS FROM BRAZIL - Jerry Goldsmith

    Listened to the Intrada Film Score program. Speaking of waltzes, this one relies heavily upon them, as a very effective way to signify the Nazi’s. Goldsmith finds a way to make the main waltz effectively menacing and even quite gnarly in places. Although maybe overusing the waltz a bit, it settles down in the second half, in which Jerry uses the menacing part of his main theme and incorporates it into the score in a very effective way. Especially in its latter half the score becomes quite ferocious. Still, some additional ideas to counterpoint that waltz would have been nice, as I’ve heard the suites on the original soundtrack release before and I noticed that this full score program doesn’t bring much that’s new to the table. 3.5*
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      CommentAuthorRalph Kruhm
    • CommentTimeJun 3rd 2022 edited
    What a great series of posts. It reminds me about how much material there is I never really got around to give a proper listening, too.

    Of those you mentioned, The 13th Warrior, Rudy, and The Blue Max are among the most beloved by myself, though for completele different reasons.

    The 13th Warrior is a great action score that gave birth to a fantastic Viking theme, and I return to it quite regularly. As a Gamemaster for tabletop RPGs I'm always looking for great scores to play in the background, and this is certainly one of them.

    The Blue Max is something I rarely listen to on its own, but there's an immensely beautiful rerecording of a suite out there, as part of his Suites & Themes album, which I highly recommend. It has also one of the very few alternative recordings of the Lionheart theme, and several great suites of older movies and TV shows he composed for. I LOVE this album.

    Rudy was a score I never listened to when Goldsmith was alive, and I never saw the movie. So when I gave it a listen a few years after his death, going through the whole thing, the album getting more and more rousing, the themes getting more spectacular versions, I definitely was in tears at the end of it. It was as if I had just found some kind of testament of the man whose music I had adored from very early on.

    So yeah, Goldsmith still gets me, now and then. I hope there are many more treasures like these out there for me to find.
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      CommentAuthorBobdH
    • CommentTimeJun 3rd 2022 edited
    Ha, I remember that Suites and Themes album from Goldsmith! I discovered it several years ago and listened to it on Apple Music for a while, which I why I am quite familiar with several of his themes instead of his main scores. I understand Rudy can be a lovely score, but I just don’t really connect with Goldsmith on an emotional level (yet?). Which is probably the main reason I hadn’t jumped into his discography yet. I really enjoy his work and themes on an appreciative level, and I can see he clearly was an accomplished composer, but I’m still hoping for a score to really sweep me off my feat.