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Brundlefly

Crucial Jerry Goldsmith Scores that Nobody Knows?

Do I need these Jerry Goldsmith scores in my collection?  

15 members have voted

  1. 1. Along Came a Spider (2001)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  2. 2. Fierce Creatures (1997)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  3. 3. Two Days in the Valley (1996)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  4. 4. City Hall (1996)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  5. 5. I.Q. (1994)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  6. 7. Angie (1994)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  7. 8. Malice (1993)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  8. 9. Six Degrees of Separation (1993)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  9. 10. Dennis the Menace (1993)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  10. 11. The Vanishing (1993)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  11. 12. Love Field (1993)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  12. 13. Mr. Baseball (1992)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  13. 14. Mom and Dad Save the World (1991)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  14. 15. Not Without My Daughter

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  15. 16. Rent-A-Cop (1988)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  16. 18. King Solomon's Mines (1985)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  17. 19. Supergirl (1984)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  18. 20. The Lonely Guy (1984)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  19. 21. Raggedy Man (1981)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  20. 22. The Salamander (1981)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  21. 23. Caboblanco (1980)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  22. 24. Players (1979)

    • No, not at all!
    • Maybe, I don't know.
    • Yes, of course!
  23. 25. The Great Train Robbery (1979)

    • No, not at all!
      0
    • Maybe, I don't know.
    • Yes, of course!


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I have more than 70 Goldsmith scores in my collection and I am still planning to get more of them. But now I'm more or less left with a bunch of unknown scores which I don't know at all and I'm wondering whether it is really worth having all of them, and if that's not the case which ones are worth it? Any recommendations?

 

Furthermore, which two scores of the following are the ones to get next?

 

Logan's Run (1976) by FSM

Damnation Alley (1977) by Intrada

Coma (1978) by FSM

The Swarm (1978) by La-La Land

Innerspace (1987) by La-La Land

Tora! Tora! Tora! (1970) by La-La Land

The Blue Max (1966) by Tadlow

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Fierce Creatures, Bad GirlsCity Hall and The Great Train Robbery are all, to various degrees, favourites of mine.

 

Logan's Run is essential. Coma is an excellent 70s paranoid thriller score as well, of the more gritty and dissonant kind (outside of the poppy love theme). See/hear also The Cassandra Crossing in that regard.

 

I still don't own The Swarm. A new release of that is overdue (and one for Supergirl as well).

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1 hour ago, King Mark said:

I don; think Baby Secret of the Lost Legend is very well known and one of his best

I already have that one and it's a bit like Warlock: greatly composed and slightly spoiled by cheap synths.

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Well I participated. I've heard (and own) almost every Goldsmith score so if I picked the middle option, it's because I wasn't sure if the score was essential for *you* to own or not.

 

Also, will you be doing another of these for his pre-1979 scores, because there are a ton of hidden gems from the previous two decades you didn't cover here. I'll start you right off with Breakout and High Velocity, if you don't have those. If muscular brass action writing gets you going, don't miss 'em...they're among my most listened to Goldsmith scores, and I think the Prometheus releases are complete or near-complete.

 

Yavar

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I feel the same way. Jerry's been my favorite for over a decade now and there are still a few scores I'm not really familiar with. Plus I'm now in the phase where to get deeper appreciation of his work, I've started making a point of seeing more of the films he scored...even inferior ones. 

 

Yavar

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1 hour ago, Yavar Moradi said:

Also, will you be doing another of these for his pre-1979 scores, because there are a ton of hidden gems from the previous two decades you didn't cover here. I'll start you right off with Breakout and High Velocity, if you don't have those. If muscular brass action writing gets you going, don't miss 'em...they're among my most listened to Goldsmith scores, and I think the Prometheus releases are complete or near-complete.

I stopped at 1978, because there's too much which I don't know from that point. At first I have to explore that time period in general, before I can even ask what's left there for me.

 

1 hour ago, kaseykockroach said:

Nothing so far has come close to the intense disappointment that was watching Leviathan. It should be illegal for a late 80's monster movie featuring Ernie Hudson, Stan Winston effects and a Goldsmith score to be as boring as it was. 

The ending is so dumb. They reach the surface of the water and seem to be a bit happy, as it seems to be over. But then the monster returns and kills the black guy and then they are really happy, because it is really over. It's like they think "This is a bad movie, so just the couple can survive. Let's not be too relieved right now, the black guy still has to be killed." At the end it actually comes across like they are relieved about the black guy's death.

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I ticked the middle option on quite a lot, either because I don't have them or I don't have a strong opinion about them (and I've got about 100) ... but it looks like the only consensus so far is that we all think you should get Train Robbery...

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Much of the 90's, the first half particularly, is really negligible in the sense that the movies were bad and the scores often kind of muted (or followed suit). From 1982 downwards till 'Papillon' there is imho not one score that is lacking, though personal interest in the partly harsh, modernist writing may vary. 

 

Try to get a hold of killing western scores like 'Take a Hard Ride' before shelling out good dough for shit like 'Bad Girls', 'Malice' or 'Not without My Daugfhter'.

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Of those listed, I'd say the best are BAD GIRLS (the movie might be bad, but the score is awesome), KING SOLOMON'S MINES, THE SALAMANDER, CAPOBLANCO and THE GREAT RAIN ROBBERY. Maybe SUPERGIRL too, although even the Silva OST drags a bit.

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10 minutes ago, Thor said:

Of those listed, I'd say the best are BAD GIRLS (the movie might be bad, but the score is awesome), KING SOLOMON'S MINES, THE SALAMANDER, CAPOBLANCO and THE GREAT RAIN ROBBERY. Maybe SUPERGIRL too, although even the Silva OST drags a bit.

 

Silva didn't release the OST to Supergirl, Varese did. Silva did the expanded.

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I have both of them and each have their pluses and minuses.

 

The OST has better sound quality, the film version of the main title, and a surprisingly compelling symphonic flow.

 

The expanded has many new great cues, plus some rousing alternates.

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27 minutes ago, Denise Bryson said:

 

Silva didn't release the OST to Supergirl, Varese did. Silva did the expanded.

 

My bad. I only have (or rather had) the Silva. Forgot that this was an expansion. But there's been another one since then, right?

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10 minutes ago, Denise Bryson said:

I have both of them and each have their pluses and minuses.

 

The OST has better sound quality, the film version of the main title, and a surprisingly compelling symphonic flow.

 

The expanded has many new great cues, plus some rousing alternates.

 

The Silva is patchy and badly mixed, the Varése sounds constricted and 'narrow', there must be a good 50-minute release lurking with a sound update and without all those repetitive or musically uninteresting cues that plague the Silva.

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55 minutes ago, Thor said:

 

My bad. I only have (or rather had) the Silva. Forgot that this was an expansion. But there's been another one since then, right?

 

Nup, the 1994 Silva has been the last word on the score since then. Much to my frustration because it's one of my favourite scores, but I'm grateful for what we've got.

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The second hand prices of Coma are insane! Any chance that La-La Land re-releases that (and Innerspace)?

 

Thanks guys for voting, meanwhile I see a certain tendency to a few scores which I should not exclude from my collection.

 

Is the filmtracks-guy as insane as the score to Link or is there really a reason not to like that score?

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There are still a few scores that you should get in any case:

Fierce Creatures

City Hall

Link

King Solomon's Mines

Supergirl

The Great Train Robbery

 

But stay away from Along Came a Spider! It's the worst Jerry Goldsmith score of all time!

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I'm gradually recognizing certain tendencies (although The Great Train Robbery is more than a tendency;)).

 

19 hours ago, Richard said:

Fact: all self-respecting Goldsmith fans need LINK.

Yeah, I know what you mean, but at the time I'm mentally healthy and I don't want it to change for the worse.

 

19 hours ago, kaseykockroach said:

39 minutes should be the length for every score album ever made. Except Poltergeist, Gremlins 2, Horton Hears a Who, Hellbound: Hellraiser II and The Lost World: Jurassic Park

What's so special with these titles you selected?

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I'd say that his very first feature score all the way back in 1957, for the underrated/overlooked noir western Black Patch, *definitely* qualifies for this thread. We discuss it with lengthy sound clips in our latest Goldsmith Odyssey podcast here: http://www.goldsmithodyssey.com

 

Curious to hear if anyone else loves this score as much as I do. It *needs* a new recording as the original recording is lost.

 

Yavar

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