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10 minutes ago, publicist said:

There's enough of that, I want my re-recording of:

 

What's wrong with it?

 

I have this version, which is all I ever need:

 

lionheart-epic.jpg?w=584

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Interesting interview with JG about religion and its influence on his life and music:     Source: http://jewishjournal.com/old_stories/1351/

Regardless of how it's regarded (by whom, anyway), it's certainly an ace score, intelligently conceived and helping the movie immeasurably in the poetry department. Goldsmith wistful waltz elevates th

Fantastic arrangement and performance of Gremlins 2 end credits suite!    

Alright, just curious, since we clearly have such a different evaluation of the performance. I faintly remember something about my version being a re-recording, while the one you linked to earlier looked like the original recording. Either that, or my version consists of material from the "Vol. 1" and "Vol. 2" albums. Or something like that. The LIONHEART release history is a little confusing, and I'm not generally into such things. Perhaps you can clear things up, Yavar?

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You just don't hear the flubs. Between 00:58 - 01:10 is a typical example, the brass just breaks apart and the score is full of that, ie either brass or percussion stumbling along. Goldsmith dubbed his awful synth trumpets over some other mistakes. It's no big shakes in a simplistic score but scores like this require immense preciseness and the Hungarians could not provide that. Why could he have the National Philharmonic for 'Link', but not this...

 

 

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That's funny. I've always taken that brass statement to be intentionally weird; which wouldn't be that unusual in JG's bag of tricks. But even if it wasn't, I don't mind. I've always considered this a fine performance without any noticeable issues, so after having listened to and enjoyed it for 25 years, this is the first time I've encountered anyone having any!

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The only Goldsmith score I'm aware of that has a worse performance is Rambo 3, and that's probably only because it's rhythmically more complex. I've long had the impression that Lionheart only has such prominent, goofy synths because it was the only way to somewhat salvage the orchestral recording.

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Belatedly sharing of this super tribute to Jerry for his 92nd birthday last week... Really terrific suite (almost a mashup) of most of his major scores and plenty of less well known ones. My only (really minor) criticism would be that an uneducated audience could easily mix them up without having the sheet music and also, no Gremlins! Surely that must be his best known movie theme outside of Star Trek?! But still, really fun and a largely great performance. Be good if this made its way to CD one day.

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https://nerdist.com/article/legend-movie-movie-scores-tangerine-dream/

 

Moderately interesting article comparing Jerry's Legend score with that by Tangerine Dream. Not sure I've ever seen the film with either score but some interesting points. Perhaps (with depressing inevitability) they end up preferring TD's effort, although I can't help thinking it's more due to era specific aesthetics. Certainly interesting comparing the approach taken to the same scene they use as an example, notably the Dress Waltz scene. TD's music is appropriate enough and definitely gives it the 80s music video vibe they reference elsewhere, but Jerry's feels more like actual underscore, with dramatic ebb and flow.

 

I have to admit that I've never quite loved Legend as much of some of his other scores of the period, the ringle-rangle song (which sounds like a spoof of the Oompa Loompa song from Willy Wonka and the Chocolate Factory) and some of the synths aren't to my taste, trampling a bit over all that wonderful Ravel-esque orchestral writing. Still, a fine companion to Secret of NIMH from the same period (and which I prefer, save for the rather cloying songs), with which it shares a lot of stylistic musical fingerprints, mainly Ravel through Jerry's own style.

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It's been an eternal debate. I like both scores, although I've never seen the film with the TD score in it. Could be without JG's 'synth farts', though.

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7 minutes ago, Tom Guernsey said:

It’s a lovely melody but the song version I find quite grating. But I’ll let it slide as clearly the producers wanted a song and the score is bloody marvellous.

 

I'm comfortable being in the minority on this one among score fans.  I love Paul Williams' voice.

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3 minutes ago, The Big Man said:

I like it

 

Let this recording be stricken from every book and tablet... stricken from all pylons and obelisks, stricken from every monument of JWFan. Let this recording of Flying Dreams be unheard and unspoken, erased from the memory of men... for all time.

 

So let it written, so let it be done.

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On 1/11/2021 at 7:50 PM, publicist said:

Why could he have the National Philharmonic for 'Link', but not this...

:lol: I am always wondering why they were able to afford Goldsmith for Star Trek V and Warlock, but maybe that's why there wasn't any money left for the special effects.

 

On 1/12/2021 at 12:17 AM, Marian Schedenig said:

The only Goldsmith score I'm aware of that has a worse performance is Rambo 3, and that's probably only because it's rhythmically more complex.

That is a score, where I've never had any issues with the performance. Could you provide a link to a specific example?

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On 4/19/2021 at 1:12 AM, Thor said:

It's been an eternal debate. I like both scores, although I've never seen the film with the TD score in it. Could be without JG's 'synth farts', though.

Jerry wrote a wonderful score for a terrible movie;

actually more boring than terrible. TD score might be more effective in that it"s electronic throbbing is  More effective in keeping the audience from falling asleep. 

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The score is full of these imprecisions. That's just not how it was written, and it's easy to pinpoint the same issues (and more) in his other hungarian ventures, Lionheart, Hoosiers and Extreme Prejudice. The NPO have occasional flubs, but here it's almost any demanding brass part or transition form one group to another. The quiet bits are fine.

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10 hours ago, Brundlefly said:

That is a score, where I've never had any issues with the performance. Could you provide a link to a specific example?

 

3:17-5:00+. There are moments where you can hear individual percussion players notice they're out of sync and trying to catch up with everyone else, but since everyone is slightly off from the get go, they never come together.

 

It has a similar effect to what Nyman does here, only unintentionally in Goldsmith's case:

 

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16 hours ago, Marian Schedenig said:

 

3:17-5:00+. There are moments where you can hear individual percussion players notice they're out of sync and trying to catch up with everyone else, but since everyone is slightly off from the get go, they never come together.

 

Apparently I forgot to post the link and left my timestamps dangling without context… I meant 3:17-5:00+ in this cue:

 

 

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