FSM's Indy Podcast

[Henry B 50]

http://boards.theforce.net/star_wars_and_f...27807006/p1/?37

I have a copy of the vendor-provided presser for the upcoming film, and it says:

Later this yeare, Concord will re-reissue(?) the soundtracks to the original Indiana Jones trilogy (Raiders of the Lost

Ark, The Temple of Doom, and The Last Crusade). These original soundtracks have been out of print for nearly a decade!

[tpigeon 3]

Not sure what to make of that.

Ted

[Mr. Breathmask 555]

Old news.

[Ollie 1,059]

Not sure what to make of that.

Ted

That they aren't going to be expanded.

- Mark, starting the panic early.

[#SnowyVernalSpringsEternal 10,265]

I'm gonna need to buy a new bottle of Vodka.

[Luke Skywalker 1,796]

the steven awalt link does not work.

[Hlao-roo 389]

Expanded Indy scores would be completely unnecessary, not to mention harmful to the music as a listening experience. I own the original releases; they flow nicely and are perfect the way they are.

Thor

[#SnowyVernalSpringsEternal 10,265]

Anyway, none of those scores can come close to the brilliance of Jerry's King Solomon's Mines. The linear unity in that soundtrack is mindblowing.

Dan Hobgood

[Hlao-roo 389]

Did someone mention Jerry Goldsmith?

Goldsmith is 29th on my list of favourite film composers. The majority of his work from the late 50s through to 1992 I believe to be of a very high quality, though the standard of most of his movies were rather disappointing. Interestingly, it is not that his movies were cheaply made (though some were inevitably cheap-jack productions), for he was sought after by some very high-profile producers and directors and most of his movies were substantially budgeted and potentially ‘big box-office’. Through sheer bad luck, or poor choice of projects, or whatever, Goldsmith was lumbered with a lot of potentially good movies that failed to live up to expectations…..that’s ‘the Goldsmith Enigma’. Having said that, movies such as CHINATOWN, PLANET OF THE APES, and ALIEN are classics or near classics of cinema, but such movies are very few in number.

Of course, not every score Goldsmith produced between the late 50s and 1992 was brilliant (in my opinion), and even during this long period of great creativity, some of his scores did not live up to expectations….but that is only natural, and overall Goldsmith maintained a remarkably high standard of film scoring during this long period.

However, with FOREVER YOUNG onwards, I was very disappointed with Goldsmith’s output, and have registered this disappointment – by doing so, I have learnt to appreciate the alternative opinions of others – my aim has never been to attempt to change the opinions of others. I have found the bulk of Goldsmith’s post-MR BASEBALL work to be remarkably limited in its scope and even verging on the unmusical, and Goldsmith’s approach does tend to fly in the face of what I perceive to be CMS (contemporary musical sensibilities). Though Goldsmith’s 1999 releases displayed a remarkable resurgence in Goldsmith’s creativity, each of the three movies released that year were in similar genres (ie action/fantasy/horror, that sort of thing), and not in the more adult-orientated genres of drama/thriller/comedy/romance etc. By unmusical I mean, music is a unique and very emotional experience, and I believe that the bulk of Goldsmith’s output during the 90s came as close as anything to being devoid of expressiveness, of nuance, of irony, of warmth, of emotion, whilst also being particularly simplistic in its form, thematics, structure and orchestration.

Finally, regarding Goldsmith’s approach to film scoring, I strongly believe Goldsmith was an extremely limited composer of popular or jazz styled music. For a film composer I find this remarkable, and it is a tribute to Goldsmith’s abilities as a composer of symphonic/orchestral styled film scores that he remained near the top of his profession for the duration of his career. However, most film composers are ‘champing at the bit’ to employ jazz and pop stylings to their scores, and most of today’s composers judge the required mix of jazz, symphonic, and pop stylings in their scores to near perfection, in my opinion.

Paradoxically, Goldsmith seemed much more disposed towards applying pop and jazz stylings in his earlier scores than he was in today’s sophisticated, intelligent and mature cinema, where the skilled and appropriate application of the full range of musical styles, from jazz to symphonic, from Celtic to Latin, is not only vital to the success of the modern movie, but the opportunity to compose through the full range of styles is eagerly welcomed by the film composer. Goldsmith seemed to resort to applying music that isn’t purely-symphonic only with the greatest of reluctance.

Below I have indicated my appreciation of Goldsmith’s film scores 1980 – 1992, a period of very fine work, inclusive.

1992 Another Goldsmith/Verhoeven triumph. BASIC INSTINCT would prove to be one of the most influential film scores of the 90’s.

Forever Young **

Mr. Baseball **1/2

Mom & Dad Save the World **

BASIC INSTINCT *****

Medicine Man **

1991

Sleeping w/the Enemy ***1/2

Not Without My Daughter ***

1990 A trio of Goldsmith classics, here we see just what Goldsmith is capable of, sheer brilliance.

THE RUSSIA HOUSE *****

Gremlins 2 ***1/2

TOTAL RECALL *****

1989

Star Trek V ***

Leviathan *

The 'Burbs **1/2

1988

Warlock **1/2

Criminal Law ***

Rambo III **

Rent-a-Cop ***1/2

1987 Two scores, EXTREME PREJUDICE and LIONHEART, completely different in just about every way, yet bound by Goldsmith’s hallmark of quality.

Innerspace ***

Extreme Prejudice ****

LIONHEART *****

1986 Goldsmith’s most recent British film (LINK) had a really fun score, and HOOSIERS (aka BEST SHOT) had a very successful multi-faceted score.

Hoosiers ****1/2

Link ****

Poltergeist 2 **

1985 The action film score par excellence, and what many consider to be Goldsmith’s ‘magnum opus’.

Legend ***1/2

RAMBO: FIRST BLOOD PART II *****

Baby **

1984 The pulsating RUNAWAY was a great example of the exciting electronic score.

Runaway ****

Supergirl **

Gremlins ***

The Lonely Guy ***

1983 Perhaps UNDER FIRE gave us Goldsmith’s best album? TWILIGHT ZONE had a great score, especially the sentimental Crothers portion, and the spiky Lithgow segment.

UNDER FIRE *****

Twilight Zone: The Movie ****

Psycho II **

1982 Classic scores through and through. FIRST BLOOD virtually defined its genre, THE CHALLENGE was absolutely ace, and THE SECRET OF NIMH is really what film music is all about.

First Blood ****

The Challenge ****

THE SECRET OF NIMH *****

Poltergeist ***1/2

1981 Goldsmith surprised some with his profound Wagnerian work on THE FINAL CONFLICT, quite different from his previous Omen scores.

Night Crossing ***

Raggedy Man **

Outland **

The Final Conflict ****

1980 Goldsmith followed up STAR TREK: THE MOTION PICTURE (my favourite JG score) with the magnificent MASADA, a score that appears to come from the composers’ heart.

Masada ****

Caboblanco **

Average *** (2.79)

I feel unable to comment on GLADIATOR, TWO DAYS IN THE VALLEY, HOLLISTER, H.E.L.P., ALIEN NATION, THE SALAMANDER, or INCHON as I have not heard Goldsmith’s music in the context of the production.

DANIEL2

[Charlie Brigden 7]

Expanded Indy scores would be completely unnecessary, not to mention harmful to the music as a listening experience. I own the original releases; they flow nicely and are perfect the way they are.

Thor

I don't see why they can't peacefully co-exist. I love expanded scores because they offer the opportunity for fans to create their own versions of the OST, tailored to their own tastes but also to share with others that may like the same. Hell, with Indy I paid over the price to import the Japanese TEMPLE OF DOOM only to find out it wasn't the film version of the finale/end credits, one of my favourite sequences of music ever. That alone makes me want an expanded edition.

[#SnowyVernalSpringsEternal 10,265]

Daniel2, suddenly the memories are coming back.

Was I the only one threatened by Andre Lux?

[JoeinAR 1,949]

Andre Lux? Andre Lux, now thats a name I've not heard in a long time. A long time.

[Hlao-roo 389]

Daniel2, suddenly the memories are coming back.

Was I the only one threatened by Andre Lux?

It's so hard to believe but

It's all coming back to me

(It's all coming back, it's all coming back to me now)

Andre Lux? Andre Lux, now thats a name I've not heard in a long time. A long time.

You know him?

[Ray Barnsbury 8]

Hmm, I don't understand the FSM references.

[Hlao-roo 389]

Hmm, I don't understand the FSM references.

Well, some of that was moviemusic.com (as Mark, Marian, and Justin -- were he still around -- could attest). Anyway, you're not missing much -- we're clearly very bored.

[Henry B 50]

Old news.

Yeah, I know. The wording of this new report - "These original soundtracks have been out of print for nearly a decade!"- seems to suggest that the scores will be straight reissues.

[Luke Skywalker 1,796]

Old news.

Yeah, I know. The wording of this new report - "These original soundtracks have been out of print for nearly a decade!"- seems to suggest that the scores will be straight reissues.

but Last crusade was never truly OOP...

[Ollie 1,059]

Hmm, I don't understand the FSM references.

Well, some of that was moviemusic.com (as Mark, Marian, and Justin -- were he still around -- could attest). Anyway, you're not missing much -- we're clearly very bored.

This thread has just gotten hilarious.

Ahh the memories. Andre and his conspiracy theories.

If you want a good laugh you should go to moviemusic.com and do a message board search for Andre Lux. Read some of his posts.

[King Mark 3,631]

there's that other one,SPQR