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      CommentAuthorBobdH
    • CommentTimeJun 3rd 2022 edited
    Today’s Goldsmith: MASADA - Jerry Goldsmith

    When the original Intrada release came out in 2011 I was already familiar with the main theme through YouTube and loved it, so I jumped into buying the release, only to find out it had a much smaller sounding orchestra than the re-recording I had heard and was familiar with. Over the years I came to appreciate this original recording, but would still like to get my hands on that re-recording one day (but won’t be paying $35 plus shipping of that newly released 4-CD set just for the additional 37 minutes). Jerry intelligently incorporates elements of that energetic main theme throughout the score, and further develops it, making you feel the presence of the theme without overusing the melody. Drums, bells and brass add color to the score, but the large number of short tracks means the score rarely gets the chance to soar, making it feel at times episodic instead of a flowing whole. But when the music does get free reign - mainly during the second half in which flutes and additional specialty instruments, along with longer tracks (Move On, The Slaves) infuse the score with more life - it’s pretty great. My gripes are probably also related to this being a score for a television series instead of film, which also means that Goldsmith’s part doesn’t get a nice conclusion at the end. My guess is the more condensed and suite-like re-recording will certainly bump my rating up a notch. For now, it sits somewhere between 3.5 and 4* for me.
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      CommentAuthorBobdH
    • CommentTimeJun 4th 2022 edited
    Today’s Goldsmith: THE GHOST AND THE DARKNESS - Jerry Goldsmith

    Was looking forward to this one, and although it didn’t disappoint, it didn’t leave a big impression either. The main theme is great, it’s got some great African color through (tribal) percussion and interesting use of vocals in the action cues, but whereas the big moments are very impressive, they are interspersed with less interesting quieter moments of suspense and drama. But maybe this has to do with me listening to just the 40 min. original soundtrack, as I can see a score like this benefiting a lot from a longer presentation in which its themes and ideas may be better developed. Gotta go with 3.5* as I (surprisingly) enjoyed The 13th Warrior more, though leaning towards 4*.
  1. Great to read all of this Bob, but I always find it so funny. You say here to there, this didn't leave a big impression, or this was too long. But you always rate it 3.5, 4 or higher. Most modern scores of today don't even reach this, have no themes or creativity. Lack so much what his music has ALL THE TIME.

    I agree on some of your scores. But we tend to be more hard on the top composers, because of their extreme and immense catalog of riches. And yes, a simple mediocre score of them still beats so many composer's work today.

    Just find it funny wink

    Anyway, keep em coming.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  2. It's interesting to try and work out rating systems that people use. It's such a personal thing and really difficult to really know what they mean. Maybe that's why some reviewers have given up on rating reviews?

    I suppose that an individual's ratings can only be compared with the ratings of the same reviewer.

    I am a pretty harsh rater. In all of my reviews I have only ever given one 5-star review, I think.
    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 5th 2022 edited
    Thomas Glorieux wrote
    But we tend to be more hard on the top composers, because of their extreme and immense catalog of riches. And yes, a simple mediocre score of them still beats so many composer's work today.


    Oh yes, in regards to this being way better than modern composer scores, absolutely agree. In fact, I’ve gotten bored with most recent output over the years. Add to that awful score releases across the board nowadays (too many short tracks, not designed anymore for listener experience) and I’ve turned away from listening to film scores lately. This rediscovering of Jerry Goldsmith, returning to the masters (but also purchasing rereleases from for example John Williams and James Horner I hadn’t heard before) is reinvigorating my lost enthusiasm.

    As for my rating system, I’d rate modern scores a lot lower than these. I see so many Lorne Balfe releases that people award 3 or 4 stars just because, meh, it has some merit. Whereas years ago you’d go, Oh, this score doesn’t have enough themes, or the themes aren’t developed satisfactorily across the board, 2*, nowadays people seem to go, Yay, it has A THEME! 4*! It seems people have gotten too forgiving for scores nowadays, Like Falkirk, I can also be quite a tough rater, rarely giving out 5*.

    I don’t think I’m tougher on the masters, I just don’t hand out positive grades to the contemporary ones smile In fact, with all those 4 and 4,5 stars I’ve been handing out lately, I think I’ve been pretty lenient :p
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      CommentAuthorBobdH
    • CommentTimeJun 5th 2022
    FalkirkBairn wrote
    It's interesting to try and work out rating systems that people use. It's such a personal thing and really difficult to really know what they mean. Maybe that's why some reviewers have given up on rating reviews?


    Agree, by the way. A rating is meaningless, unless you get to know that person and can put it in context.
  3. BobdH wrote
    FalkirkBairn wrote
    It's interesting to try and work out rating systems that people use. It's such a personal thing and really difficult to really know what they mean. Maybe that's why some reviewers have given up on rating reviews?


    Agree, by the way. A rating is meaningless, unless you get to know that person and can put it in context.


    But you can at least compare with what other scores that same person rates, to get a better picture as to what they like alongside of it. At least I find a rating system more interesting, just to see what they like ELSE on the side
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorBobdH
    • CommentTimeJun 5th 2022
    Yes, that’s what I meant with ‘getting to know the person’ wink

    Usually when I want to get a feel for someone’s rating, I check out several top-rated scores versus the scores he/she rated the lowest, that usually tells you something.
  4. Yes, I agree. Comparing a reviewer's other ratings allows you to get a sense of their likes and dislikes, their preferences. And if their ratings agree with your feelings then you will be able to assess future ratings from them in the context of your own opinions.
    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 5th 2022 edited
    Today’s Goldsmith: POLTERGEIST - Jerry Goldsmith

    It’s a dark and rainy evening over here, so I figured it was perfect for Poltergeist. Last time I heard this fully has been a while, so I wanted to refresh my memory before I delved into Poltergeist II, which I haven’t heard yet. I love a good horror score and this still remains a classic in the genre, with Jerry showing you can go full, melodic orchestral for scares without going all soundscapey or just relying on jumpscares (which has completely ruined the genre as of late). Goldsmith shows complete mastery of the orchestra with great atonal action, while balancing the scares with gentle statements of Carol Anne’s theme. Meanwhile orchestral sounds like the opening of Night Visitor or the high pitched ‘TV sound’ add additional character to the score outside of its main theme. Listened to the original soundtrack which is captivating throughout, with plenty of long tracks to let the compositions develop, even overflowing into each other to create one long symphony. No expansion needed. 4,5*
  5. Excellent score. One of my Top 10 Goldsmith scores.

    Make sure you listen to an expanded version of Poltergeist II. There's lots of good stuff missing from the original release.
    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 6th 2022 edited
    I’ll be listening to the most recent Intrada ‘complete soundtrack’!
  6. BobdH wrote
    Today’s Goldsmith: POLTERGEIST - Jerry Goldsmith

    It’s a dark and rainy evening over here, so I figured it was perfect for Poltergeist. Last time I heard this fully has been a while, so I wanted to refresh my memory before I delved into Poltergeist II, which I haven’t heard yet. I love a good horror score and this still remains a classic in the genre, with Jerry showing you can go full, melodic orchestral for scares without going all soundscapey or just relying on jumpscares (which has completely ruined the genre as of late). Goldsmith shows complete mastery of the orchestra with great atonal action, while balancing the scares with gentle statements of Carol Anne’s theme. Meanwhile orchestral sounds like the opening of Night Visitor or the high pitched ‘TV sound’ add additional character to the score outside of its main theme. Listened to the original soundtrack which is captivating throughout, with plenty of long tracks to let the compositions develop, even overflowing into each other to create one long symphony. No expansion needed. 4,5*


    So many brilliant tracks of course, but one of those tracks that ALWAYS get me is "Contacting the Other side", starting off with Carol Anne's theme shattered and otherworldly, then lovely and sweet when they hear from her. But THE MOMENT comes in when Carol Anne tells her parents there is someone else here. You immediately get who that "presence" is through Goldsmith stating the "other side motif " (2.20), I mean is it that hard to create various themes that basically tell the audience what the film is trying to tell you? Attention to detail, composers who really reflect and understand what the director / film is trying to tell the audience, and they just add their own take on it. It feels so easy, YET it's such a lost art

    Should have given him one of MANY Oscars, Goldsmith really deserved more recognition in terms of Oscars.
    That's why I still rate Goldsmith just a tad higher than Williams. He made crappy films look good, good films classic, great films legendary
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorBobdH
    • CommentTimeJun 6th 2022 edited
    Today’s Goldsmith: POLTERGEIST II: THE OTHER SIDE - Jerry Goldsmith

    Whereas Poltergeist was strong in atonal orchestral terror, Poltergeist II leans more heavily on mood building, creating a different kind of listening experience. It’s a score brimming with ideas, amongst which the return of the creepy choir from The Omen. I liked the balance between orchestra and electronics, creating an otherworldly vibe, as well as the well-balanced themes, with a nice comeback of Carol Anne’s theme sprinkled throughout the score next to its new theme for the astral entity played out by synthesizers. While the album doesn’t always flow as brilliantly as the previous installment did - with quite some tracks clocking in at under a minute without adding much to the musical palette, completeness for completeness sake, disrupting the flow a bit - there’s still plenty of longer tracks in which Goldsmith gets to develop his mood. 4*
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      CommentAuthorBobdH
    • CommentTimeJun 7th 2022 edited
    Today’s Goldsmith: CAPRICORN ONE - Jerry Goldsmith

    Listened to the original soundtrack album recording. It’s got a good main and subsidiary theme, which get a good workout throughout the score (even though the lounge version of Kay’s Theme is… not for me). It’s a fine score with a good and concise release, but it’s nothing special either. Somehow the score just didn’t sweep me along. 3.5*
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      CommentAuthorBobdH
    • CommentTimeJun 8th 2022 edited
    Today’s Goldsmith: LEGEND - Jerry Goldsmith

    This one intrigued me for quite a while, reading reviews and listening to samples for so long that I just decided to take the plunge and buy it. Orchestra, electronics and choir are merged in a score that is filled with ideas, to the point that it becomes a bit chaotic at times - let’s just say it took me a couple of tracks to get into the spirit of things (and for the score to settle down and find its footing). Even though some themes are presented in the form of song (and culminate in the wonderful Reunion), Legend is a score that seems to rely more on its sounds than it does on melody, at least more so than your typical Goldsmith score. Nonetheless, this richness of sounds, coming both from the orchestra and the experimentation with electronics, makes for a wonderful (wondrous?) listening experience - even though a bit more structure at times would’ve been nice. This might take a few listens to get a firm grasp on, but it’s a fascinating and captivating score nonetheless. 4*
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      CommentAuthorBobdH
    • CommentTimeJun 9th 2022 edited
    Today’s Goldsmith: FIRST KNIGHT - Jerry Goldsmith

    Listened to LaLaLand’s 78 min. expanded Film Score program. Next to Lionheart, this might be the thematically best developed Goldsmith score so far. Even though none of its themes are as thrilling as in certain previous Goldsmith works, I did enjoy the fact that there are a multitude of them which all get developed very well throughout, and get nicely wrapped up in its concluding Camelot Lives. Predictable as it may be, this richly melodic work justifies its expansion by being a captivating listen throughout thanks to its themes and overall quality of compositions. 4*
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      CommentAuthorBobdH
    • CommentTimeJun 10th 2022 edited
    Taking a night off from Goldsmith for:

    JURASSIC WORLD DOMINION - Michael Giacchino

    Trying to get through this 107 min. beast. God I hate these ‘complete’ releases. I’m an hour in and there’s a clear distinction between music worthy of a release, and underscore that was better left out. And the interpolation of John Williams’ theme in A Sattler State of Affairs is… bad. It’s the kind of tinkering with a perfect theme that I hated about Don Davis’ Jurassic Park III and Giacchino up till now thankfully hadn’t done yet in the series (like in Gigantosaurus on Your Life it’s done tastefully). Also, Giacchino keeps hinting at these original themes, without ever completing them, leaving you with an unscratched itch, while he doesn’t introduce any memorable theme for this specific installment, like he did with World and Fallen Kingdom. The whole thing just feels flat and uninspired.
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      CommentAuthorBobdH
    • CommentTimeJun 11th 2022 edited
    Today’s Goldsmith: STAR TREK: THE MOTION PICTURE - Jerry Goldsmith

    Listened to the recent 87 min. Director’s Edition presentation. Sure, it’s a solid score composition wise and it handles its thematic material well (though nothing groundbreaking) but I also fail to recognize the masterpiece others are seeing in this. There’s a lot of suspense material in here that is not particularly inventive in its execution - or memorable. Maybe it’s a stronger score in a more compact listening presentation, and I do understand its main theme is a classic, but even though I didn’t get really bored during its 87 minutes, it didn’t grab me all that much either. 3,5*
  7. Now that's trolling. ^^ biggrin
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      CommentAuthorBobdH
    • CommentTimeJun 12th 2022
    Haha, I know it’s a classic! I just didn’t feel it with this one. :p
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      CommentAuthorFalkirkBairn
    • CommentTimeJun 12th 2022 edited
    Testing...works from my phone...
    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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      CommentAuthorFalkirkBairn
    • CommentTimeJun 12th 2022 edited
    Testing...from my computer. And it worked. But I still get the 403 code when I try and quote Bob's ST:TMP post!
    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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      CommentAuthorFalkirkBairn
    • CommentTimeJun 12th 2022 edited
    BobdH wrote
    Today’s Goldsmith: STAR TREK: THE MOTION PICTURE - Jerry Goldsmith

    Listened to the recent 87 min. Director’s Edition presentation. Sure, it’s a solid score composition wise and it handles its thematic material well (though nothing groundbreaking) but I also fail to recognize the masterpiece others are seeing in this. There’s a lot of suspense material in here that is not particularly inventive in its execution - or memorable. Maybe it’s a stronger score in a more compact listening presentation, and I do understand its main theme is a classic, but even though I didn’t get really bored during its 87 minutes, it didn’t grab me all that much either. 3*

    And I can quote the comment but can't paste my original response. But I can add this comment.

    I can't remember how many versions I have bought over the years. The original LP presentation back when the movie came out, and them most of the subsequent rereleases on CD.

    This soundtrack is an example of where I had a couple of prominent scratches on my LP - "Ilia's Theme" and "The Klingon Battle" - and the pattern of clicks I can still hear whenever I listen to those tracks!

    I have a much higher opinion of this score than you Bob - but probably 'only' 4 stars overall. And my love for this score is different from probably most others. The main theme is probably third in my list of likes for this score, and I can't see all the love that's given to 'The Enterprise'. I really like the opening Klingon battle sequence (visuals and music) but that theme's reappearance in later instalments never really reaches the same heights as it does here.

    But, the highlight for me is all the music Goldsmith wrote for the exploration-of-the-cloud sequences - I could listen to these on repeat for some period of time, headphones on, volume high. The whole feel of these segments is gorgeous and so enveloping. And, alongside the visuals, Goldsmith's music really saves those sequences as well as being wonderful to listen to.
    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
  8. Well, that was a struggle. I had to rewrite that whole post rather than being able to cut-and-paste it. I hope it was worth it!
    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 12th 2022
    Yeah, worth it, thanks for sharing! Klingon Battle is indeed a strong cue, as there are several tracks in there that certainly showcase Goldsmith’s mastery of the craft. I just thought other scores I listened to are stronger examples of this smile. I think what might be part of it was me starting out with the hour and a half presentation (which is the one that is most readily available right now) in which lesser cues bog down the listening experience. Especially since I don’t have this history with the score, as I’m sure repeated listens might bring to light its compositions and themes.
  9. BobdH wrote
    Yeah, worth it, thanks for sharing! Klingon Battle is indeed a strong cue, as there are several tracks in there that certainly showcase Goldsmith’s mastery of the craft. I just thought other scores I listened to are stronger examples of this smile. I think what might be part of it was me starting out with the hour and a half presentation (which is the one that is most readily available right now) in which lesser cues bog down the listening experience. Especially since I don’t have this history with the score, as I’m sure repeated listens might bring to light its compositions and themes.

    There's a couple of things in particular that are noteworthy for me. How his music for the cloud sequences add interest to the scenes - without the music all these scenes would be pretty boring since not much happens, and how he can convey so much with such a limited orchestration. Yes, the main theme is a good tune but, to me at least, it's not particularly innovative.

    And what adds to my enjoyment is that I also have the full score book that's available

    https://omnimusicpublishing.com/product … n-picture/

    I don't understand any of it but it is fascinating to try and follow Goldsmith's music on the written page.
    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 12th 2022 edited
    Ah yes, I can imagine all of that adds to the experience. Myself, I haven’t even seen the film (and I’m not that into Star Trek), so I lack all of that, and I’m sure that adds an extra layer of understanding and appreciation for the score smile.


    Today’s Goldsmith: THE MUMMY - Jerry Goldsmith

    Now this is a score I’ve known since growing up (being 15 when the film premiered) and it’s still a fun powerhouse of a score. Excellent themes, colorful orchestration, this just entertains from start to finish. If anything, this would probably benefit from the Intrada expansion as it might give the score a little more room to breathe, since it’s wall to wall action in this original soundtrack presentation. 4*
  10. Goldsmith's Star Trek Theme is okay in its Main Title form, but becomes pure magic when it's changed to a waltz in The Enterprise and other, similar scenes. It is a waltz, right? It's the perfect presentation for her queen, the one and only 1701 refit. ^^
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      CommentAuthorBobdH
    • CommentTimeJun 13th 2022 edited
    Ah yes, I’m not sure if it’s indeed a waltz, but The Enterprise was certainly a track that stood out to me, in which Goldsmith satisfyingly integrated his main theme through several incarnations of the melody.