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Jerry Goldsmith's Gladiator (Unused Score) - New Intrada Feb 19 2013


Jay

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INTRADA Announces:

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GLADIATOR

Composed and Conducted by JERRY GOLDSMITH

INTRADA Special Collection Vol. 231

The 1992 Columbia production Gladiator might have been part of a sports movie quartet for Jerry Goldsmith—he’d tackled basketball in in 1986, baseball in 1992, and football in 1993. Gladiator boasted some of the inspirational qualities of Goldsmith’s other sports-related movie projects, but the overall tone was much darker, dominated by desperation, poverty and violence. Goldsmith had been employing an extensive palette of electronics in his scores since the mid-1980s, and his Gladiator score balances traditional orchestra and synthesizers equally. One key approach to the score is a funk-based, staccato bass line; clicking, metallic-sounding synth effects; a bluesy low piano line; acoustic rhythm section (including bongos); keening strings; and, finally, a burst of distinctive action licks for flute, marimba and piano that characterize Tommy Riley’s fighting abilities. The score also features a moody love theme for piano and woodwinds, sparked by the smash of Simmons electronic drums, a staple of Goldsmith’s late’80s-early ’90s electronic effects. Although Goldsmith's score was removed from the film, Intrada is proud to present his complete score (from the original stereo elements) for the first time.

Brooding actor James Marshall plays Tommy Riley, a former Golden Gloves champion whose real ambition is to be a writer. After his mother dies and his father takes on too many gambling debts, Tommy finds himself enrolled in a run-down high school on Chicago’s South Side. He is soon stuck between two feuding gang members: closet family man Abraham Lincoln Haines (Cuba Gooding Jr.) and vicious ringleader Shortcut (Lance Slaughter). When Tommy gets in between the two, his obvious fighting skills attract the attention of grizzled boxing manager Pappy Jack (Robert Loggia). Pappy has been organizing illegal, underground boxing matches and Pappy sees a quick opportunity to make some cash off Tommy. Tommy sees opportunity too—to erase his father’s gambling debts and get himself out of the slums. But Lincoln is fighting for his own personal reasons—his wife and child—and despite their growing friendship, the two young men soon find themselves facing each other in the ring.

INTRADA Special Collection Vol. 231

Retail Price: $19.99

Available Now

For track listing and sound samples, please visit

http://store.intrada.com/s.nl/it.A/id.7973/.f

GLADIATOR (1992 - UNUSED SCORE)

Label: Intrada Special Collection Volume 231
Date: 1992
Tracks: 18
Time = 35:51
World premiere release of unused Jerry Goldsmith score for Rowdy Herrington boxing tale with Cuba Gooding, Jr., James Marshall, Robert Loggia, Brian Dennehy. Goldsmith anchors with tiny syncopated motif for low keyboards, basses, percussion, then surrounds with variety of larger ideas that grow from it. Rhythmic action is keynote but tender love theme also has some say. Highlight is five-minute final boxing sequence. Here, suspense & action play then finally give way to powerful statement for full orchestra. Grand moment! Intrada presents complete score from digital session mixes with crisp, dynamic stereo audio, courtesy Columbia Pictures & Sony Entertainment. CD produced for Intrada by veteran Goldsmith scoring mixer Bruce Botnick. Jerry Goldsmith conducts. Intrada Special Collection release available while quantities and interest remain!
01. I Owe 2:04
02. The Diner 0:44
03. Good Luck/The Real Thing 1:52
04. The Crowd 0:31
05. Knock Out 2:16
06. He's Mine 1:06
07. Repayment 0:36
08. I'd Rather Walk 0:47
09. A Favor 2:36
10. My Baby/My House 4:29
11. Stop The Fight 1:00
12. Romano's Dead 3:25
13. Finish Him 0:59
14. Tommy & Dawn 1:01
15. That's Enough 1:35
16. Jackpot/Take A Look 4:07
17. No Gloves/Refund/Get Him 5:22
18. Tommy & Dawn Love Theme 1:21
Jerry Goldsmith

Price: $19.99

http://store.intrada.com/s.nl/it.A/id.7973/.f

http://www.moviemusic.com/soundtrack/M08775/gladiator1992/

http://www.screenarchives.com/title_detail.cfm/ID/24128/

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I remember reading a not too favourable review in the FSM print magazine nearly 15 years ago. But even if it really is not very good, chances are there's something worthwhile in it. It's Goldsmith, and I've vowed after the Baby release to never miss a release of a Goldsmith score I don't have yet.

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I can't believe you guys fell for this. Obviously, at best this is a fake, and at worst a really bad bootleg.

You can tell at first glance. That guy doesn't look anything like Russell Crowe, and I'll be stuffed if that's ancient Rome in the background. . . .

- Uni

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  • 4 weeks later...

Who wondered, if all cues from the 23-track edition are there... yes, they are (but some cues merged together). And Intrada included 1 cue that wasn't featured on it at all (4M3). By the way, because all the titles on the unofficial counterpart are incorrect, here are the real slates and titles if anyone still wants to keep and rename it for some reason:

Track 01: Tommy & Dawn [9M3]
Track 02: I Owe [1M3]
Track 03: Stop The Fight [8M2]
Track 04: The Diner [2M3]
Track 05: 4M3
Track 06: Repayment [5M1]
Track 07: He's Mine [4M4]
Track 08: A Favor [6M2]
Track 09: My Baby [6M3]
Track 10: My House [7M2]
Track 11: Finish Him [9M2]
Track 12: That's Enough [10M2]
Track 13: Tommy & Dawn Love Theme [9M3A]
Track 14: Jackpot [10M3]
Track 15: Good Luck [3M2]
Track 16: The Crowd [3M3]
Track 17: No Gloves [11M3]
Track 18: I'd Rather Walk [5M2/6M1]
Track 19: Take A Look [11M1]
Track 20: Refund [11M2]
Track 21: The Real Thing [4M2]
Track 22: Get Him [12M1]
Track 23: Romano's Dead [9M1]

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  • 3 months later...
  • 2 weeks later...

I really enjoyed what Goldsmith came up with for this. A shame it got rejected. His music underscores the raw and urban setting of the movie quite well, imo. Eventhough some found it cheesy, I found the motif for the protagonist very catchy. That motif really sums up the protagonist as this up and coming boxer with the heart of a champion, imo.The melancholic love theme was also well done. Though it's very somber for a love theme, but it's still very moving, imo. Some of the electronics remind me of his underrated Extreme Prejudice and Hoosiers score (as well as the upbeat moments from that particular score). The unused score really helps me picture the movie in a different perspective. I've seen the film many years ago and can't recall much of Brad Fiedel's score. So I can't really compare 'em, but I really enjoyed Goldsmith's unused score. It might be a little synth heavy, funky, and upbeat for some. And the electronics are very mid-late 80s to early 90s Goldsmith, but again it works (or could've worked) for the story and tone of the movie, imo anyway.

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