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Introduce me to Jerry Goldsmith


Faleel

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How odd, my post seems to have disappeared from this thread. Here are my favorite Goldsmith titles and could easily get into liking his scores.

Star Trek: The Motion Picture

Star Trek V: The Final Frontier

Star Trek: First Contact

Star Trek: Insurrection

Star Trek: Nemesis

Air Force One

The Edge

The Mummy

Mulan

Timeline

For the Star Trek scores, definitely get their complete versions. The OST's are OKAY but a lot of the best highlights have been left off of them, particularly for Star Trek V and Nemesis.

Air Force One, The Mummy and Mulan definitely get their complete versions as well.

Timeline you could either go with just the Varèse release or get the complete version, your choice on that.

The Edge and Star Trek V for sure get La-La Land's release. I was iffy about The Edge but I have ended up liking it quite a bit and it's a pleasure to listen to. One of the very few Goldsmith scores that doesn't have his signature synths.

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Recommendations for a Goldsmith newbie:

Star Trek the Motion Picture: The theme is a winner and a classic, the mysterious Vejur synth and orchestra and blaster beam sections are perhaps less easy to digest. The Klingon theme is great as well. Not to mention Ilia's theme.

Air Force One: If you can stomach the extreme patriotism of the main theme you are in for a great relenless Goldsmith action with a neat theme for the Russians and a nice little family theme for the President.

Rudy: Melodic, gentle but at times epic sports score with subtle Irish-American lilt to it. Heartwarming.

Omen: Terrifying and dramatic. Dark and a bit weird but a classic horror score. The choral sections are the highlight.

Wind and the Lion: Goldsmith's adventure/David Lean film type of score. Robust heroic main theme and a bittersweet love theme. Great Hollywood ethnic writing.

Basic Instinct: One of the sexiest and suave scores in history. Awesome main theme with a deadly vibe underneath (well not deadly to the listener)

First Knight: Heroic, fanfarish, pounding action and sweet romantic interludes.

The Edge: Superb main theme that complements the vistas and wild mountains in the movie. The suspence music is top notch, the action brutal, peppered by percussion.

The Mummy: Adventure with slight ethnic tint. This score has a bit of everything.

Papillon: One of Goldsmith's best but if you do not fancy accordion and some French stylings then it is not for you. Varied and soulful music.

Capricorn One: Powerful main theme, rather icy suspence music and a lovely Kay's theme.

Blue Max: Adventure and drama. Goldsmith makes the planes soar with his wonderful leaping main theme that captures flying to a T.

Chinatown: If you like film noir then this is a classic. Bittersweet trumpet theme, nostalgic strings, wistful piano. Sparse, suspenceful and at times quite unorthodox in its orchestration.

Well this is only a handful of the more accessible scores but they cover a variety of styles and techniques.

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Whenever such topics come up, I usually recommend people to go for compilations first and see what they like there for further investigation.

Also, it's important to separate between what are must-haves or landmark scores on his resume and what you would like.

And the latter point is also essential. In order to give any kind of meaningful recommendation, I would know what kind of taste you have.

Here's what I said in a similar thread over at FSM awhile back:

"I think that in looking at his career, there is only about a handful that is historically important and/or "must-haves" in his canon. People will probably pick slightly different scores, but IMO it boils down to these:

PLANET OF THE APES

PATTON

THE OMEN

ALIEN

STAR TREK: THE MOTION PICTURE

BASIC INSTINCT

That's it. These are either pivotal in film music history (POTA, PATTON, ALIEN, BASIC INSTINCT) or for Goldsmith's own career (OMEN, STAR TREK).

Then, of course, I might just mention a few PERSONAL favourites that aren't necessarily must-haves for everyone, but bloody good listening experiences, if you ask me:

THE LAST RUN

THE MUMMY

UNDER FIRE

MEDICINE MAN

THE WIND AND THE LION

There are obviously more nice Goldsmith out there, but a guy could live perfectly well on just these 11."

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"I think that in looking at his career, there is only about a handful that is historically important and/or "must-haves" in his canon. People will probably pick slightly different scores, but IMO it boils down to these:

PLANET OF THE APES

PATTON

THE OMEN

ALIEN

STAR TREK: THE MOTION PICTURE

BASIC INSTINCT

That's it. These are either pivotal in film music history (POTA, PATTON, ALIEN, BASIC INSTINCT) or for Goldsmith's own career (OMEN, STAR TREK).

Conduct an empirical study and those lists go up in flames. Here in Germany few know PATTON, many more know PAPILLON. Finally, people tell you they remember FLIM FLAM MAN best and never knew that POTA featured any music.

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"I think that in looking at his career, there is only about a handful that is historically important and/or "must-haves" in his canon. People will probably pick slightly different scores, but IMO it boils down to these:

PLANET OF THE APES

PATTON

THE OMEN

ALIEN

STAR TREK: THE MOTION PICTURE

BASIC INSTINCT

That's it. These are either pivotal in film music history (POTA, PATTON, ALIEN, BASIC INSTINCT) or for Goldsmith's own career (OMEN, STAR TREK).

Conduct an empirical study and those lists go up in flames. Here in Germany few know PATTON, many more know PAPILLON. Finally, people tell you they remember FLIM FLAM MAN best and never knew that POTA featured any music.

Well, I wasn't thinking so much in terms of global popularity, as in how referenced they are (both within the industry and in film literature) how they influenced the artform.

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Well, I wasn't thinking so much in terms of global popularity, as in how referenced they are (both within the industry and in film literature) how they influenced the artform.

Then things like SAND PEBBLES, CHINATOWN, WIND AND THE LION or POLTERGEIST pop up with the same frightening regularity.

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Well, I wasn't thinking so much in terms of global popularity, as in how referenced they are (both within the industry and in film literature) how they influenced the artform.

Then things like SAND PEBBLES, CHINATOWN, WIND AND THE LION or POLTERGEIST pop up with the same frightening regularity.

Except maybe CHINATOWN, I've rarely bumped into those in that context. SAND, WIND and POLTERGEIST are more genre fare (first two are also relatively obscure), which doesn't have the same "presence", in my experience (although well appreciated by fans, of course).

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Hey Roald. Do you want your Tsunami CD back? You like For Always now, maybe you will like Christus Apollo too!

Even if you would pay me I wouldn't take it back..! :lol:

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I think you need advise from someone who's not a Star Trek geek and likes Goldsmith's more melodic, elaborately orchestrated scores from the late 70's up to about 1987. These are the ones that are comparable to Williams thematic type scores

Star Trek The Motion Picture

Poltergeist

Patton (Intrada)

Sand Pebbles

The Great Train Robbery

The Final Conflict

Night Crossing

Secret of NIMH

Legend

Supergirl

King Solomon's Mines

Explorers

Twilight Zone the Movie

The Blue Max

Innerspace

Baby, Secret of the Lost Legend

Gremlins (bootleg)

Logan's Run (about half of it,I think it contains one of Goldsmith's best love themes)

If you listen to the weird stuff first (Link, Planet of the Apes) or scores that don't belong on any such list (Star Trek Nemesis, 13th Warrior), you may be turned off and stop right away

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So Link, Extreme Prejudice, and Planet of the Apes are no-go's too.

No they're not!!!! They do, however, fit into the "unusual" side of J.G., along with "Runaway", "Alien Nation", and "Rent-a-Cop".

So Link, Extreme Prejudice, and Planet of the Apes are no-go's too.

I'd recommend POTA but it may be too much for a newbie.

Mark, "POTA" was the first J.G score that I bought, when I was wee nipper. It blew me away then, and it continues to do so. Talk about starting at the top!

This thread just goes to show not only the depth of love for J.G., but also the diversity of choice that there is within his music.

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I think you need advise from someone who's not a Star Trek geek and likes Goldsmith's more melodic, elaborately orchestrated scores from the late 70's up to about 1987. These are the ones that are comparable to Williams thematic type scores

If you listen to the weird stuff first (Link, Planet of the Apes) or scores that don't belong on any such list (Star Trek Nemesis, 13th Warrior), you may be turned off and stop right away

No offense to KM, I also think you need to ignore posts like these as well that only go for the traditional stuff.

The 13th Warrior is an excellent score.

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The 13th Warrior was probably one of my first Goldsmith's CD's. I think it's better than The Mummy from the same year (which is also not bad).

Karol

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There is nothing wrong with the score for Star Trek Nemesis. Grant the OST isn't that great of a listening experience since it leaves off a lot of awesome material. The complete score for Star Trek Nemesis is a lot better and definitely worth having. If anyone says it doesn't "belong" on any list is well....stupid.

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  • 1 year later...

Dude, get Lionheart!!!

If the last 5 minutes of King Richard doesn't blow you away, then nothing will!!!

Oh, and get The Ghost and The Darkness too. My favorite!!!

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Dude, get Lionheart!!!

If the last 5 minutes of King Richard doesn't blow you away, then nothing will!!!

Yes! Highly recommended! That's just one of the most triumphant and rousing march finales I have ever heard.
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