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Goldsmith at 20th - New series of releases by La-La Land!!!


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5 minutes ago, Yavar Moradi said:

This is the first I've heard from someone who thinks the 2006/2013 version sounds better than the 2020 version, @Brundlefly. I don't notice any clipping but then I don't have fancy listening equipment.

Yeah, I've kinda examined the new edition very carefully (partly to justify the purchase) and I've come to the conclusion that while some tracks are a noticeable improvement, others are slightly more muffled or have new artifacts. The 2006/2013 have clipping noises as well, but they don't align with those on the 2020 for some reason.

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Right, it's not a legendary performance or recording or anything, but I think it's completely fine and fits the writing


I wouldn't say no to a re-recording (heck, I welcome a re-recording of any score anyone wants to re-record) or anything, but I like the one we have

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1 hour ago, Brundlefly said:

Yeah, I've kinda examined the new edition very carefully (partly to justify the purchase) and I've come to the conclusion that while some tracks are a noticeable improvement, others are slightly more muffled or have new artifacts. The 2006/2013 have clipping noises as well, but they don't align with those on the 2020 for some reason.


Huh -- if you're going to Frankenstein together a "best version" at some point from the two, I'd be curious which source you go with for each cue.


Oh, by the way, while we now have "definitive editions" of every Goldsmith score for Schaffner, there are quite a few other great scores written for Schaffner films by other composers which are awaiting definitive versions:


The War Lord (1965) by Jerome Moross with additional music by Hans J. Salter -- the existing album (released on CD by Varese) is pretty great but short (only a little over half an hour of music, with nine cues by Moross and two cues by Salter)...here's a 15 minute suite on YouTube if you're curious to check it out:


A complete release for the score is something of a holy grail for me, to be honest!


Nicholas and Alexandra (1971) by Richard Rodney Bennett -- this is frankly another great score which deserves an expansion of the original album (it did get put out on a Twilight Time isolated score track which I haven't heard):

Full album in a YouTube playlist: https://www.youtube.com/playlist?list=PLAIR9bMHFGB9OzrxCjwSQpvpz5FOG1q28



Sphinx (1981) by Michael Lewis -- pretty excellent score; I'm not sure whether the composer promo release of it is complete or not. Here are some samples:







Yes, Giorgio (1982) by Michael Lewis, with a main song/theme by John Williams -- score released on another Michael J. Lewis composer promo; here's the pretty Williams theme in the end credits:


Here's the Boston Pops version:


(I couldn't find any of the Michael J. Lewis score on YouTube.)


Welcome Home (1989) composed by Henry Mancini -- despite it being a Mancini score I don't think a single note has ever been released, and I can't find any score samples online though I'd certainly be curious to hear the score composed for Schaffner's last feature.


Schaffner certainly seemed to have great taste in music/composer collaborators, but the two other Schaffner feature films had scores by composers I'm really not familiar with: The Best Man (1964) composed by Mort Lindsey and The Double Man (1967) composed by Ernie Freeman.





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Inchon may not be a first rate performance or recording, but it's at least one league above Lionheart in sound and at least two in performance quality.

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2 hours ago, Marian Schedenig said:

Inchon may not be a first rate performance or recording, but it's at least one league above Lionheart in sound and at least two in performance quality.

The sound quality too?

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In case folks here missed them, user "steffromuk" over at the FSM forum has posted a fantastic set of cool individual custom covers with more subtle "Goldsmith at 20th" branding, for all seven films represented in the series so far...
















How cool are these??? (Sorry, I can't get them to embed.)


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Did LLL ever state how many volumes of this series there'd be?


Or is it just an ongoing thing like the Universal Classics collection?

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2 minutes ago, crumbs said:

Did LLL ever state how many volumes of this series there'd be?




2 minutes ago, crumbs said:

Or is it just an ongoing thing like the Universal Classics collection?



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That's cool. Seems like a smart way to bundle together a bunch of small, obscure works that maybe wouldn't work as standalone releases.


I still think a similar concept would be perfect for all Williams' early Universal scores like TRB, SOAW, TSW, TSE, etc.

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7 hours ago, crumbs said:

Did LLL ever state how many volumes of this series there'd be?


Or is it just an ongoing thing like the Universal Classics collection?


One difference I can see is that the possibilities are more endless for the Universal Classics collection. That's still a largely untapped well, with output from dozens upon dozens of composers working at Universal over the course of many many decades.

Goldsmith at 20th seems a lot more finite, even if they manage to find some or most of the more obscure unreleased TV things I listed here:


Plus certain scores they are unlikely to revisit in this series -- Intrada just did Morituri and Take Her, She's Mine last year, and still has Alien, Patton, and The Sand Pebbles 2 CD sets in print. (Damnation Alley too I think; it's just waiting on a restock.) LLL still has most/all Fox Goldsmith western scores still in print from them, as well as his two Planet of the Apes scores in their box set. Varese controls his two Flint scores as well as The Other and The Mephisto Waltz... and probably also his three Omen scores (or at least the first and third I'm fairly certain). So this series is probably more limited than most people might expect. There's still a lot of good material that could be improved/expanded/premiered though, particularly among the TV scores if they can find them in the archives.


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7 hours ago, bruce marshall said:

Would complete FLINTS be two CDs?


Without a doubt. Each is over an hour long. The Varese 90s CD was about half of each score (and the LP album recordings that Intrada put out were less than half of each, albeit with some different selections). There are a bunch of great and fun cues unreleased on CD but included on the Mike Mattesino-produced isolated score tracks for the Twilight Time Blu-rays. The problem with those tracks (as with The Other) is that it's always the film edits of cues, so that it matches to screen as an iso score. So there are bits and pieces (as on The Other) which are intact on the short CD album but truncated here and there on the iso track. We really need a definitive release on CD of everything Jerry recorded for those.


That said, I am skeptical of LLL working out a deal to include any Goldsmith at 20th scores which would need to be sub-licensed from Varese in addition to the studio. Their PotA box set originally wasn't even going to include the Goldsmith scores, but they worked it out late in the game (which is great). I have my doubts they would fork out the licensing cash to Varese for less high profile scores. I think we'll have to keep hoping Varese gets around to expanding those some day.



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New modification to my old list... before (on page 2 of this thread, the post linked just above) I had titles that had been released complete in black, and titles that still had unreleased music in blue.


Now I've colored the Fox titles already still in print (or only recently out of print, like Magic and Sleeping with the Enemy) black since many were released not long ago and they seem least likely to be released in this series. Titles that have already been released in LLL's new Goldsmith at 20th series, I have put in gray because as far as LLL is concerned, they are done. Titles controlled by Varese in perpetuity (and which would have to be sub-licensed from them for an additional fee, if they were even willing to give them up) I have put in Varese red. And finally, the remaining titles which I have the highest hopes of being released/revisited (even if an unexpanded re-release) in this new series, I have changed to a new lighter blue to go with LLL's series color scheme (which before simply indicated there was as yet unreleased music).


On 11/30/2020 at 9:41 PM, Yavar Moradi said:

Jerry Goldsmith at 20th Century Fox (film)

Release Date   Title

12/20/60           Flaming Star (released on LLL's Goldsmith at 20th Vol. 3)
6/19/63             The Stripper (released on LLL's Goldsmith at 20th Vol. 3)

11/13/63           Take Her, She's Mine (A handful of cues are missing from the Intrada premiere album earlier this year, which will probably remain forever lost/unsalvageable. We're lucky to have gotten anything!)
7/22/64             Shock Treatment (I've heard there's a single cue missing from the Intrada 2013 expansion, around three minutes in length. I have yet to verify.)
9/30/64             Fate Is the Hunter (As far as I know the 2013 Intrada expansion is complete.)

10/28/64           Rio Conchos (The FSM and far better-sounding Kritzerland and La-La Land editions are all complete.)
6/23/65             Von Ryan's Express (released on LLL's Goldsmith at 20th Vol. 3) (Someone on the FSM board claimed there was a short cue still omitted from the 2013 Intrada expansion; it hasn't been added to the new LLL version so perhaps it was tracked in or perhaps it is lost. I have yet to verify, comparing against the film.)
8/25/65             Morituri (The new Intrada expansion from earlier this year is finally complete, restoring about a minute of music that was edited out on the FSM due to damage.)
10/7/65             The Artist Who Did Not Want to Paint (Varese Sarabande twice released this complete; I also highly recommend the complete Intrada recording with the London Symphony Orchestra from the late 80s under Goldsmith's baton.)
1/16/66             Our Man Flint (The more recent Intrada Flint twofer is of the unique album recordings. The Varese twofer from the 90s is only about half of each Flint score film recording; the Twilight Time Blu-ray features a full isolated music-only score track, but it replicates film micro-edits and actually omits some music present on the album. We need a true complete-as-recorded edition on CD, but album rights lie with Varese in perpetuity.)
6/15/66             Stagecoach (Intrada released the unique album recording from original tapes; the FSM and later LLL edition are the film recording, both complete length-wise but the LLL adds a few previously missing overlays.)
6/21/66             The Blue Max (released on LLL's Goldsmith at 20th Vol. 1)
12/20/66           The Sand Pebbles (The still in-print Intrada 2CD edition released in 2011 is the most complete, but one cue "A Crushing Affair" had to be taken from a music-and-effects source.)
3/15/67             In Like Flint (The more recent Intrada Flint twofer is of the unique album recordings. The Varese twofer from the 90s is only about half of each Flint score film recording; the Twilight Time Blu-ray features a full isolated music-only score track, but it replicates film micro-edits and actually omits some music present on the album. We need a true complete-as-recorded edition on CD, but album rights lie with Varese in perpetuity.)
8/22/67             The Flim-Flam Man (released on LLL's Goldsmith at 20th Vol. 2 with one previously unreleased cue)
4/3/68               Planet of the Apes (The new LLL edition in last year's PotA box set is complete with all overlays and sweeteners intact and far better sound than the Varese edition.)
5/28/68             The Detective (released on LLL's Goldsmith at 20th Vol. 2) (Varese, Intrada, and now LLL have all released the same 12 track program which omits the source music and most importantly, two score cues, "The Execution" and "The Killing". The Twilight Time Blu-ray isolated score track does include these, although the latter, more important, cue has some minor sound effects as it came from a music and effects source. Since the disc was only 53 minutes long I really wish these cues had been included.)
6/1/68               Bandolero! (The later Intrada and remastered LLL editions are both complete.)
3/26/69            100 Rifles (The FSM and remastered LLL editions are both complete.)
6/25/69            The Chairman (The Varese at Fox box premiered one previously unreleased cue in a suite, which made it to the digital release of the score. Apart from that the rest of the score appears lost, as even the Mattesino-produced Twilight Time Blu-ray isolated score track had to resort to a music-and-effects (and a lot of spoken Chinese, alas) track. We need a complete new recording of this masterpiece from the original written scores.)
8/6/69             Justine (According to a recent post at FSM from Jack O'Callaghan*, there are at least four cues missing from the OOP Varese Deluxe Edition, compared with the film)
4/2/70             Patton (The still in-print 2010 Intrada 2CD edition features both the complete film recording and album recording together.)
9/23/70          Tora! Tora! Tora! (The FSM and later remastered LLL editions are both complete, but have been OOP for a while.)
5/26/71           Escape from the Planet of the Apes (The Varese Club standalone CD and LLL PotA box set editions are both complete.)
6/11/71           The Mephisto Waltz (The Varese 90s CD paired with The Other is supposedly complete length-wise, but is a weird mix and leaves off certain overlays and sweeteners, so needs a new edition a la Planet of the Apes.)
5/26/72          The Other (Released as a single 22-minute track "bonus suite" with The Mephisto Waltz in the 90s, over half of this score is unreleased on CD. As with the Flint scores, the Twilight Time Blu-ray has an excellent isolated music track, but this features film edits and there is still music on the CD suite but not on the iso. A new complete-as-recorded edition on CD is a must.)

4/1/73            Ace Eli and Rodger of the Skies (I always assumed the 2001 FSM premiere release was complete as their releases usually were, but surprisingly it doesn't explicitly claim to be in the liner notes booklet or on the product page; its pairing on the disc, Room 222, is on the other hand stated to be everything Goldsmith recorded for that series. So perhaps there's room for expansion on this title, however slight, and probably a good chance of improved sound on a reissue, since the bonus section features damaged stereo tracks like the old FSM Towering Inferno did.)
9/5/74            S*P*Y*S (released on LLL's Goldsmith at 20th Vol. 3 with ~15 minutes of of previously unreleased cues)
3/14/75          Ransom (aka The Terrorists) (The complete film recording appears lost; the miserable-sounding and terribly produced original LP appears to be the only surviving music source for this score, of which a decent chunk remains unreleased.)
10/29/75        Take a Hard Ride (The FSM and later remastered LLL editions are both complete.)
6/25/76          The Omen (Technically the Varese 40th Anniversary Edition is lacking a clean ending to one cue it crossfades with another, but otherwise it is complete. That clean ending can meanwhile be found on the isolated score track on certain editions of the film.)
10/21/77        Damnation Alley (The Intrada expansion is complete-as-composed, thanks to Leigh Phillips re-performing most of the synth elements in 2017. The original synth overlays have apparently been lost to time, so technically the film performance with those remains unreleased until and unless those are uncovered somehow.)
6/9/78            Damien: Omen II (The Varese Deluxe Edition features both the unique album recording and complete film recording, but the latter suffers from damage on certain cues and could probably be repaired and remastered to sound a lot better, given advances in technology over the past couple decades since its release.)
11/8/78          Magic (The Varese premiere CD was missing a single 23 second cue, which the later LLL edition added making the score truly complete...it only recently went OOP so may not be a priority for a revisit in the new series, unless there are a lot of volumes and it's one of the last ones.)
5/25/79          Alien (The 2007 Intrada 2 CD release features all the music recorded for the film.)
3/20/81          The Final Conflict (The Varese Deluxe Edition left off four cues; here's hoping this gets a 40th Anniversary Edition next year just like the original Omen score.)
10/7/88          Alien Nation (unused) (The Varese CD and Kritzerland reissue are both complete.)
2/4/91            Sleeping with the Enemy (The LLL expansion is complete and just recently sold out!)
2/5/93            The Vanishing (I used to think the Varese Club edition was complete but someone told me it beyond a doubt was not; I don't know details and haven't verified.)
4/22/94          Bad Girls (The LLL expansion is complete.)
8/2/96            Chain Reaction (The Varese Deluxe Edition is complete.)
9/26/97          The Edge (The LLL expansion is complete but OOP and could sure use better artwork/packaging!)


Jerry Goldsmith at 20th Century Fox Television

Air Date     Title

9/19/65      Voyage to the Bottom of the Sea "Jonah and the Whale" (The LLL expansion in their series box set earlier this year is complete, and even includes a previously unknown theme re-do Goldsmith came back to record a week later.)
9/18/65      The Loner "An Echo of Bugles" (The FSM and later remastered LLL editions feature everything Goldsmith recorded for this series, albeit annoyingly in one lump track per episode rather than individual titled cues.)
10/16/65    The Loner "One of the Wounded" (see above)
3/14/66      The Legend of Jesse James "Things Just Don't Happen" (This unreleased western TV show -- though UCLA has copies of the entire single season run I think -- is supposed to feature a single Goldsmith score for this episode.)
rec. 1968   Nick Quarry (unaired, unsold pilot) (The FSM premiere release of this with The Stripper is complete, but long OOP.)
9/17/69      Room 222 "Richie's Story" (pilot, aka "The Problem with Ritchie")
10/15/69    Room 222 "The Flu" (Both episode scores are complete on the FSM premiere CD, but the album is a couple decades old.)

8/26/70      Prudence and the Chief (unsold pilot) (This retelling of Anna and the King set in the west has a fantastic Goldsmith western score, from which he re-used the main theme as a secondary theme in Rio Lobo later that same year.)
12/4/70      Bracken's World "A Score Without Strings" (Goldsmith's score, and score-within-a-score, can be heard in the full episode at this link:
9/17/72      Anna and the King "Pilot" (The Varese Goldsmith at Fox box includes all but a handful of very short cues. The biggest omission is the second half of the "March of the Royal Children" which is awkwardly edited out, even though it plays "in the clear" during the episode itself.)
10/15/72    Anna and the King "Anna's Romance" (The Fox box only includes two cues from this score.)
11/12/72    Anna and the King "The Chimes" (The Fox box also only includes two cues from this score.)
3/27/74      A Tree Grows in Brooklyn (The Varese Fox box includes about half of this gorgeous half hour score; it is one of my most wanted expansions from this new LLL series.)
rec. 1974   The Best of Times (unaired, unsold pilot) (I found this in the UCLA archives and what a premiere it could be, if found in the vaults! Sounds like it would be Goldsmith's An American Tail... "Topol plays a carpenter who heads an immigrant family living on the Lower East Side of New York in 1912."
6/18/75      A Girl Named Sooner (Goldsmith's final known TV project for Fox; the only edition is the FSM paired with The Flim-Flam Man, and it is supposed to be complete although its companion score was said to be as well, but just got expanded, so one never knows...it's also long OOP.)

So Jerry did at least 28 scores for Fox (that we know of) in the 60s (21 film scores and 7 TV scores), 23 scores for Fox in the 70s (14 film scores and 9 TV scores), only 2 film scores in the 80s, and 5 in the 90s. I am excluding the Fox films The Culpepper Cattle Co. and The Last Hard Men, which re-used his music from other Fox productions. The latter did get unique recordings of those pieces conducted by Lionel Newman, which Intrada released complete in 2012 along with the Leonard Rosenman rejected score. I suppose it's possible LLL might include those on some volume of their new series if there's room. Fox seems to have perhaps had some involvement with The Boys from Brazil, but Intrada's expanded release of that score doesn't mention Fox anywhere in the fine print so I don't think it's something they own tapes or music rights to.


*Re: Justine, I had assumed the Varese Deluxe Edition with the album and film recordings together had the latter complete, but it turns out according to John O'Callaghan (author of Simians & Serialism, the book on Goldsmith's Planet of the Apes) at FSM...



Yavar, here's an important update for your list: From my research and study of Goldsmith's original sketches at the Academy Library in January 2020 (mere days before the pandemic took hold), I can advise that JUSTINE is NOT complete.

There are (at least) 4 cues missing:


“Cohen's Death,” “Toto's Death” and “The Balcony” are short but highly emotional cues (Goldsmith at his best) that totals a minute and a half of music. “The Lovers” is 4 pages/29 measures and runs 1:30 on screen—an elegiatic piece with long, dramatic phrases.

It's also very sad and frustrating to report that virtually all of the sketches to JUSTINE that were included in the London re-recording for Mainstream Records back in '69 did NOT find their way back to the balance of the handwritten sketches—their whereabouts presently unknown...

It would be great if this forgotten gem could be presented complete and have the audio given the same kind of robust restoration that "Rio Conchos" and others have gotten.



This is the version of the list I will use going forward to gray-out titles as LLL releases them. For anyone who wishes to see my original list indicating complete and incomplete Fox titles, that will remain intact on page 2. But LLL doesn't seem to be avoiding titles that have been released complete already, as long as they are also OOP and there's some potential demand for them.



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  • 2 weeks later...
On 5/25/2021 at 12:38 AM, Brundlefly said:

Wow! I like them all, except maybe The Stripper is a bit too gaudy.


That was based on the best elements he was able to find at the time. I pushed him a bit more to find an illustrated image to use for his custom cover, and he did, coming up with the following alternative option:




But it still bugged me, having the non-illustrated (but rather a painted over film still) image on the right, even though the main image was better. So I bugged him a bit more and he finally made this fantastic version which I think is definitive:




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  • 3 weeks later...

I really love the individual covers by whoever did them! Looks nice on my media player! I hope that he or she continues this work and here's hope that we get a nice cover of Shock Treatment and Fate Is the Hunter, maybe even The Mephisto Waltz and The Other.

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1 hour ago, Brundlefly said:

I really love the individual covers by whoever did them! Looks nice on my media player! I hope that he or she continues this work and here's hope that we get a nice cover of Shock Treatment and Fate Is the Hunter, maybe even The Mephisto Waltz and The Other.


Those first two got individual covers (flipper style) from Intrada when they released them as a twofer. I think high quality versions might have even been posted by Joe Sikoryak (the designer) at AlbumArtExchange.com. If not I can definitely give you 600x600 versions from my iTunes...



As for The Mephisto Waltz and The Other, those are controlled by Varese in perpetuity so probably won't be a part of this series from LLL, but I did consider asking the custom cover art person, after the LLL series is official over, whether they might consider completing their cool set with all of Jerry's other scores for the studio. :)



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3 minutes ago, Yavar Moradi said:

Those first two got individual covers (flipper style) from Intrada when they released them as a twofer.

I know, but I'm pretty sure they will get a re-release in this series and honestly, I prefer the new custom covers of Von Ryan's Express and The Detective over the old covers from the Intrada twofer.


5 minutes ago, Yavar Moradi said:

As for The Mephisto Waltz and The Other, those are controlled by Varese in perpetuity so probably won't be a part of this series from LLL.

We already talked about that, but I still keep hoping they get to aquire the licenses from Varese.

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  • 1 month later...
On 11/27/2020 at 2:19 PM, Brundlefly said:

10 The Dancing Lesson 2:32

23 Should I? 1:29
33 Should I? / The Dancing Lesson (Film Combo) 3:04

If The Prisoner of Azkaban will ever get an expanded reissue, I want the shawm cue and "Discussing Black" to get that treatment.

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  • 1 month later...

Volume 4 coming October 5th: Ace Eli paired with Tora! Tora! Tora!




MV says "Ace Eli is remastered and expanded"



Neil S. Bulk says: "I don't know if I'd say "expanded" but our presentation is very different and there may be some mixes that haven't been released before."


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Awww yeah... FSM user "steffromuk" to the rescue with two beautiful new separate covers for the latest flight-themed Goldsmith at 20th release:






@Brundlefly you should add these two (and maybe Flaming Star, to complete the set?) to your first post.


In other great news, from the press release regarding Ace Eli:


"ACE ELI presents two unique programs – The first is the original Goldsmith score in mono, in the film’s original sequence. The film was later recut and additional music was written with contributions from Alexander Courage. These cues, and the song “Who’s for Complainin’?” are presented in stereo alongside surviving stereo Goldsmith compositions in a sequence closer to the released version.

TORA! TORA! TORA! utilizes the same master as our previous release.

Both previously out-of-print scores return here with all-new art design by Jim Titus and new in-depth liner notes by writer Jeff Bond. The reissue, limited to 2000 units, is produced by Mike Matessino and Neil S. Bulk, with ACE restored, mixed and mastered by Chris Malone and TORA mastered by Dan Hersch and Mike Matessino."


The audio miracle worker who restored the supposedly-unsalvageable Take Her, She's Mine for Intrada last year (to say nothing of The Towering Inferno for La-La Land) has lent his magic touch to this release...if I'm ever going to fall in love with this score it'll be now...



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This new Ace Eli program by Neil S. Bulk (and restored by Chris Malone, fixing SO MUCH horrible wow and damage on the FSM edition) is a far more enjoyable listening experience. I always regarded the score as an interesting curiosity at best, but now I can actually enjoy it as music. I think having a great-sounding full mono Goldsmith presentation of his original vision for the score, sans song, also really helps. The FSM was an odd mixture of stereo and mono, rescore and original score.


The 19% off sale right now going on at LLL helped take the sting off of having to re-buy the exact same Tora! Tora! Tora! master I already had...


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  • 6 months later...

I've been listening to a bunch of albums by the jazz legend Oliver Nelson (saxophonist/composer/arranger) from the early 60s and came across this very cool big band arrangement he made of Jerry Goldsmith's score for The Stripper (included in LLL's Goldsmith at 20th line).  This is when Nelson was fully an east coast jazz musician, several years before he moved to LA and became a TV/film composer himself.  I wonder how this arrangement came about.  Was Nelson just hip to Goldsmith's music?




To compare against the original, the theme is used throughout the score in many different guises, but this version in the main title is closest to Nelson's arrangement


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Thanks for sharing this @Stu! Thanks to the new LLL edition with improved sound, I really really like The Stripper now, and I've been a fan of Oliver Nelson ever since I heard his fantastic Columbo score, "The Greenhouse Jungle" (might be my favorite score for the series, sorry Goldenberg/Melle/DeBenedictis/Williams... you know a I love ya!)


I had no idea this existed, and it's excellent!



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  • 3 months later...

Kinda off-topic for this thread, but since the Oliver Nelson jazz cover of Goldsmith's The Stripper was shared above... I recently ran across another cool jazz cover of an obscure early Jerry Goldsmith theme, and thought I'd share it here!


Here's the original Goldsmith:


FSM/SAE still has available the great CD album with all four Goldsmith scores for this series (it's feature film quality work, really):



To bring this back onto the thread topic, I just realized that I never shared the Goldsmith Odyssey Soundtrack Spotlight for Vol. IV. Audio restoration wizard Chris Malone joined us and Jeff Bond to talk about his amazing work on Ace Eli and Rodger of the Skies...






Really, it's a night-and-day improvement over the two decade old FSM edition of the score, which I was never able to enjoy. Now thanks to Chris Malone's efforts I actually LIKE Ace Eli. :)



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  • 2 weeks later...
On 30/11/2020 at 9:31 AM, Yavar Moradi said:

I completely agree and I was also really hoping for a cover for its pairing on the FSM disc, A Girl Named Sooner, which has never gotten one. I suspect a new edition of that will be in this series eventually, but I guess we won't get a standalone Jim Titus cover for it. Damn.

Here's a fairly neat cover my friend Brad Wills made and shared on the FSM board a while back, as well as his cover for A Girl Named Sooner, based on a paperback tie-in edition of the novel.


The Flim-Flam Man.png

A Girl Named Sooner.png

At LAST! I admire what Brad was able to do with only a paperback tie-in cover, but now we have a truly excellent cover for A Girl Named Sooner, courtesy of “steffromuk” and the FSM custom cover thread!



And here’s the cover he did for Anna and the King!


Here’s hoping he can do a few more for the fantastic new Goldsmith at 20th Vol. V 2CD set (potentially five more covers, if suitable image elements can be found…it’s trickier with TV stuff of course).


But if only two can be done, these two bookending scores are the longest on this new set (well over a half hour each)…



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  • 2 weeks later...

Who'd like an advance listen to extensive samples of the previously unreleased music on this great new release? (over 40 minutes total over the two CDs!)






Can't wait to hear what people think of this release. I think Anna and the King and A Tree Grows in Brooklyn are the most significant Goldsmith expansions (percentage-wise) in some time, Anna and the King is more than doubled in play time compared with the Varese Goldsmith at Fox box, and Tree Grows is twice as many cues. And of course there are also the two exciting premieres, Prudence and the Chief (really fun western score) and Only in America...



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LLLCD 1600



Order yours from www.lalalandrecords.com starting 12 noon (pst) on 9/13.




La-La Land Records and 20th Century Studios proudly present La-La Land’s 600th release - a new 2-CD collection of classic Jerry Goldsmith television music composed for 20th Century Fox: GOLDSMITH AT 20th Vol. V – MUSIC FOR TELEVISION 1968-1975, including music from ANNA AND THE KING, A TREE GROWS IN BROOKLYN, NICK QUARRY, ONLY IN AMERICA, A GIRL NAMED SOONER, PRUDENCE AND THE CHIEF and ROOM 222. The Goldsmith at 20th Collection brings back out-of-print favorites while also debuting previously unreleased music, with new authoritative liner notes and unified packaging sure to please avid collectors but also serve as a perfect gateway for listeners experiencing this music for the first time.

Volume V showcases Goldsmith’s original television work at Fox between the years 1968 to 1975. The composer’s genius, experimentation and creativity are on full display within this presentation, demonstrating that Goldsmith never “wrote down” for TV and that the work was some of the most colorful and heartfelt of his career.


Premiering for the first time on this release are expanded presentations of ANNA AND THE KING and A TREE GROWS IN BROOKLYN (TREE is presented in stereo) and the world premiere of music from the TV pilots ONLY IN AMERICA and PRUDENCE AND THE CHIEF.

Produced by Mike Matessino and Neil S. Bulk, and restored and mastered by Chris Malone, this 2-CD presentation features exclusive, in-depth liner notes by writer/author Jon Burlingame and classic art design by Jim Titus. This release is limited to 2000 units.

Look for more “GOLDSMITH AT 20th” releases coming soon from La-La Land Records!






DISC 1 59:56

1. Main Title (Pilot) :50
2. Anna Arrives 1:47
3. The Throne Room 1:13
4. March Of The Royal Children 2:12
5. The King’s Study / Ill Tempered King / A Change Of Mind :51
6. Anna Decides :22
7. Better Ways :32
8. After The Ball / A New House :59
Anna’s Romance
9. Main Title (Series) :50
10. The Classroom / Something New / A Big Saving / Tell Me :48
11. A Royal Child 1:27
12. No Marriage 1:18
13. The Letter / A Great Person :55
14. King Waltz / A New Lesson 1:06

The Chimes
15. The Old Man 4:24
16. Another Game 2:44
17. He Was There / The Final Game 3:20
18. You Lose 2:57
19. End Titles :34
Additional Music
20. My Secret (From The Sand Pebbles) 2:19
21. Main Title (For Library) :50


22. Meet Nick Quarry 2:52
23. Body Art / Don’t Move / Pool Bit 1:55
24. House Call 2:25
25. Quarry Cornered 3:17


26. Main Title (Only In America) :53
27. Open And Close :25
28. End Title (Only In America) :38


ROOM 222 (12:57)
29. Theme 2:14
30. Richie’s Story 4:09
31. Main Title (Long) 1:34
32. The Flu 3:21
33. Main Title (Short) 1:07
34. End Credit (Short) :33

DISC 2 70:31

1. Main Title (Prudence And The Chief) 1:22
2. The Escort 1:17
3. The Chief :41
4. The Village 1:14
5. Sign Language / No Luck 1:29
6. The Visitors 2:00
7. Scalp Treatment :29
8. Missing Child 1:06
9. Found Child 4:10
10. End Title (Prudence And The Chief) 1:05


11. Main Title / The Tree 1:39
12. A Warm Day1:09
13. My Favorite Day1:33
14. No Tree1:52
15. When My Ship Comes In 1:35
16. A Clean Shirt / The Bible 1:25
17. Morning Chores :32
18. A New Address 1:32
19. A New School 1:10
20. The Cake 1:12
21. Don’t Touch Me 1:17
22. Father’s Girl 3:09
23. A New Child 1:17
24. A New Tree (Finale) 3:03
25. End Titles :32
26. Bumper :15


27. Main Title 3:06
28. Main Title - Part II :47
29. The Town :30
30. Late Hours 2:10
31. Unexpected Guest :37
32. There’s A Difference / New Clothes 2:50
33. Love That Catsup / Jump Rope 3:01
34. No Excuse 2:21
35. Tell Me Who 2:39
36. All Alone 1:01
37. Empty Grave 2:10
38. Idle Time 1:26
39. Oh Bird :56
40. Chores / How It Is 4:21
41. Everything Changes 2:16
42. End Credits 1:02




This is a CD format release.


Listen to the Goldsmith Odyssey Spotlight Podcast about this exciting new release!


La-La Land's Goldsmith at 20th series continues with the most exciting volume yet, and we have a new Soundtrack Spotlight to commemorate the occasion! Film music restoration experts Mike Matessino and Chris Malone join your humble hosts Yavar and David to discuss the varied challenges of working on seven different Goldsmith television projects composed between 1968 and 1975!



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  • 3 weeks later...

A final four covers from "steffromuk" at FSM to complete his Goldsmith at 20th set, including an alternate for Anna and the King!










So great to have an individual custom cover for each Goldsmith at 20th score now, for iTunes. Hurrah!



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  • 3 weeks later...

I'm super interested to hear what other folks here think about this diverse set of wonderful scores, so I guess I'm going to get the ball rolling here with my own ranking of favorites released on this set... I look forward to others keeping that ball rolling if possible! I myself will write descriptions of why I rank each thing where it is, but if anyone doesn't feel like going to that trouble I'd still be curious just too see you put up a simple ranking from 1-7. Without further ado, here's my pick for #1 FAVORITE thing on this packed 2 CD set:



1. A TREE GROWS IN BROOKLYN (1974) -- This was a TV movie that was apparently also intended as a backdoor pilot for a potential series (think what The Homecoming was for The Waltons) which never came to be. Alas that it's never been commercially released on a home video format because it's really quite a nice film. But Goldsmith treated it with real class and delicacy; I think he knew how much the book was beloved and took his responsibilities even more seriously than usual. This is "gentle Jerry" in the vein of something like A Patch of Blue... only this score, while occasionally troubled, doesn't have that score's moments of real darkness/pain. There's not a single cue of of these 16 which I *ever* feel tempted to skip; it's gorgeous all the way through, I love every second, and there are many highlights among the previously unreleased music: "My Favorite Day", "Morning Chores", "A New Address", "The Cake", "A New Child"...
Yeah, I've been waiting for a complete stereo edition for years, and IMO it's worth the price of the new set on its own.

Next up, we have:


2. PRUDENCE AND THE CHIEF (1970) -- I think this will be the biggest surprise on the set for most people, because folks already had some idea of how good A Tree Grows was, from the Fox Box. Thanks to generous FSM board member Ron Burbella, we at The Goldsmith Odyssey podcast have had a B&W film transfer of this rare unsold (but not unaired!) western TV pilot for several years now. I adore Goldsmith westerns, and I really liked the score when I originally heard it in context, and always found it to be a fascinating missing link between two of my favorite Goldsmith western scores, Rio Conchos and Rio Lobo. But even with the nice thematic links to those two scores, this 15 minute complete score reveals a lot of very unique and cool material which particularly stood out to me in the superior sound quality available on LLL's release compared to the film rip we got: the bit of synth that opens "The Village" before we get a nice bit of brass and percussion, the badass 70s brass riff that surprises in "The Visitors" after the really lovely opening, or the unique propulsive ostinato that runs through my very favorite cue in the score, "Missing Child".

Nearly tied with it in my affection is another significant expansion, going from less than 16 minutes of music on the Varese Goldsmith at Fox box set to almost 34 minutes at the beginning of this set... and for this we have TWO nice and different custom covers made by steffromuk so take your pick!



3. ANNA AND THE KING (1972) -- This with A Tree Grows in Brooklyn was always a highlight of the Varese box for me, and ironically they were the two that took the longest to see expansion. And in both cases it's a whole new experience! The pilot score is I suppose the least changed, since it was represented by about 8 minutes, over half of the Varese Anna suite (but four minutes shorter than this new presentation). But over two minutes of that was a cue we now know was outright reused from The Sand Pebbles -- "My Secret" was simply re-recorded for this new series, along with some other pre-existing Fox film cues, as they did on other TV projects of the era like Lost in Space! So it really was only about 6 minutes of original music Jerry wrote for the pilot that Varese released! Debuting here is Jerry's original pilot version of his main title, noticeably different from -- and in my opinion better than -- the regular series version which Varese included. The other *truly* significant addition here is the majority of the a highlight cue: "March of the Royal Children" now properly runs 2:14 and features an impressive full development of Jerry's theme instead of being very awkwardly truncated less than a minute in! The other added pilot music is more minor, but still nice to have as it still fleshes out the musical story/journey. "A New House" in particular is a really lovely close to the pilot score and I'm glad it's been restored to make it feel like there's an actual conclusion.

"Anna's Romance" is a fine further exploration of the sound world and themes Goldsmith established in the pilot score, with a bit of a different tone and some new ideas interspersed throughout its brief runtime of just under 6 minutes (still about twice as much music as the two cues Varese included on their Fox Box suite!) Goldsmith constructs a new romantic version of his main theme which is practically a new theme in itself. Even though it's the most brief of Goldsmith's three scores for the series (perhaps the episode was partially tracked?) it's a lovely score with its own identity, allowed to shine now as a little gem in complete form. My favorite cue is the fairly brief but lovely new development of his main series theme in "A Great Person". And right after it is a unique "King Waltz" that sounds like a music box; just gorgeous!

"The Chimes" I think is the score on this entire set that's going to blow a lot of people's minds! It sounds pretty much NOTHING like the other two Anna and the King scores Jerry wrote! Less than three minutes of the score (only a single cue, "You Lose") was included on the Fox Box, but on this release it's revealed as the longest Goldsmith wrote for the series at over 13.5 minutes long -- which is about as much original Goldsmith Anna and the King music Varese included from the entire series on their Fox Box! And this score is one of the most unique things Goldsmith ever wrote, like sort of an aural fever dream, sometimes mystical/magical, sometimes vaguely threatening. There are parts of other Goldsmith scores which sound a bit like it (maybe even some eerie parts of Planet of the Apes!) but this sustains a cool eerie mood throughout almost the entire runtime. This ended up being my friend David Lichty's favorite thing on the box set and I can understand why. It's kinda trippy and very, very cool! The previously-released "You Lose" is now revealed as the end of a vaguely creepy journey, and thus has a lot more impact which benefits from the added context of the preceding 10.5 minutes.

NOTE: The short 38 second cue "A Practical Woman" which Varese put at the end of their Anna and the King suite was supposedly from this score, but is omitted from this new release because it was *actually* a (strangely anachronistic-sounding for Anna and the King) Richard LaSalle cue written for an episode of Room 222 recorded around the same time at Fox ("You Don't Know Me, He Said")! Credit goes to Neil Bulk and Jon Burlingame for working out the details: This cue coincidentally had the same title as Goldsmith's final short button cue for this episode, which was alas misplaced and couldn't be located for this release. But hearing that cue in the episode, it's frankly a very minor loss, as it really was just a short and simple "everything's all right" capper cue which didn't connect much with the rest of this unique score.

I'll make a follow up post later ranking the remaining four titles on this set.


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I won't be ordering until Black Friday so I won't have any comments for a while

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Re: Anna and the King, I decided to play around with my own track order a bit in iTunes, for (IMO) a slightly superior listening experience. Here's what I did, for anyone interested:

1. I created a chronological order for Goldsmith's original Pilot score -- to do this:
a) I swapped the first two cues, so that the unique Pilot version of the Main Title follows the cold-open cue "Anna Arrives", as it does in the episode itself. I just think Anna Arrives is a great opener, and leads into the Main Title well.
b) I moved "My Secret", the reused Sand Pebbles cue which was freshly recorded for this series' music library, from the bonus section of this release back to where the Varese Fox Box had it, right after "March of the Royal Children". Maybe I just got too used to the Varese suite over the past couple decades, but even if Goldsmith didn't write it for this series I missed it in the sequence where it had previously been, and it does appear as part of the episode score in context there.

2. I thought to myself... Goldsmith made three different recordings of the Main Title, as well as scoring three episodes of the series. So why not move the "library version" from the bonus section to earlier, with "The Chimes", so that each of the three episode scores is with a version of the Main Title? (This also avoids the feeling of repetition at the end of the program by having the library version of the Main Title follow the End Titles.)

This way, there's no bonus section at the end at all (just the End Titles, of which there was only one version), and it feels like everything has a home, of sorts. Anyhow, I like it better this way and I'm curious if anyone else feels inclined to try what I did, and see if they like it better too...


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As expected, it's a very mixed bag - which is not really a reflection on Goldsmith's ability, but on the medium he worked in. In between a lot of short tv bumper-style cues which are not anyone's idea of a good listening time there are some nice nuggets, but i bet the composer would be the first one to acknowledge that material like this needs judicious editing (or in some cases, a cease-and-desist refusal to release it at all).

In the order of presentation: 




If you don't enjoy the kiddie-ceremonial gamelan style Goldsmith employs for the main theme (lots of upper-register woodwinds, glockenspiel etc.), this is a lost cause. If you do (i think it's cute), there's a good selection of precious variations on it (March Of The Royal Children being chief among them, this is classic Goldsmith with a great buildup in the horns). The tv-style brevity cuts many of the cues short, they either stop when you wish them to build more or are not that interesting at all (as usual, the travelogues come off best, often for moments when Fox inserted old location or backlot footage from their expensive Cinemascope version from 1956). Finally, the peculiar music for the episode 'The Chimes' is obviously out of character (the cues are longer and seem to carry the narrative), it's very atmospheric and fuses Goldsmith's asian music with reedy synthesizers. They seem to belong to something like 'The Chairman' or 'The Challenge', but without those scores' thematic brackets, they remain interesting miniatures that trail off nowhere (it's good stuff though, but a bit repetitive). Sound is improved from the old Varése.




This is the best presentation of material in this set - a well edited suite of of punchy Peter-Gunn hard-boiled crime jazz, which Goldsmith wrote for a tv pilot (a bit late to the party in 1968). It's the same as the old FSM suite, but why change a perfect thing? Afair, sound quality is the same, or at least not noticeably better.




Negligible, just three bumper style cues only 30 to 50 seconds in length, written in a broad klezmer style bracketed by americana horns - this could have been written by anyone, Goldsmith's own 'Going-Up of David Lev', another tv movie gave Goldsmith a much broader canvas in the same ethnic idiom, is vastly preferable and hereby recommended if you never heard it. It's even on Spotify.


ROOM 222 (12:57)


Typical 70's tv-scoring, heavy on Burt Bacharach and/or Herb Alpert's Tijuana Brass style. The theme on recorder is somewhat cute if you can stomach Sesame Street music. This is another bumper cue affair, with lots of 20-30 second cues edited together, which all seem to end with the same tadadat flourish, which is frankly a bit obnoxious. 




A western pilot, which you heard in much superior form in the score for Howard Hawks' final movie 'Rio Lobo' (a stinker, but Goldsmith's score sure isn't to blame). Since virtually everything here is available in better form either in 'Rio Lobo' or 'Rio Conchos', why bother? (except for Yavar, who feverishly spreadsheets the few moments in between that are not verbatim repetitions).




Probably the chief reason to get this, a sweet americana score typical of Goldsmith's approach to material like this, before he started beefing it up in later scores like 'Love Field' with big horn and string sections. Cue lengths are still on the short side, but it seems much more like a score for a feature film. Piano and woodwinds dominate, and it's all rather wistful, with a few up-tempo scherzos added for a much needed tempo change (they were missing from the old Varése box, which sounded rather bad - i didn't kept anything from that, so i can't say for sure if this is a stereo update, but it really sounds rather good now)




Another FSM-upgrade, with the most developed underscoring on this set, but it's still marred by the rather unbecoming rustic wholesomeness of 'The Waltons' (more harmonica!). If material like this is pitched against darker idioms (as in 'Raggedy Man' or 'Poltergeist'), it can become an interesting study in contrasts, standing for itself it just mirrors the shaggy tv-style dramatics of what it was written for. It's well-made, alright, but also rather boring.

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4 hours ago, publicist said:

(except for Yavar, who feverishly spreadsheets the few moments in between that are not verbatim repetitions).


WTF is the point of taking a jab at a fellow forum member and fellow film score fan in the middle of an otherwise nice and helpful post about this new release?  Super rude and completely unnecessary. 


Two thumbs up for the rest of your post, two big thumbs down this needless and unhelpful addition

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18 minutes ago, Jay said:

Two thumbs up for the rest of your post, two big thumbs down this needless and unhelpful addition


Geez, what a humourless boob you are.

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Maybe you could explain the “humor” to the board members who might not get it? As the subject of your little jab, it certainly didn’t feel particularly friendly or good-natured, though I was just planning to ignore it before Jay said something. Your “joke” also just doesn’t make sense; I didn’t spreadsheet shit on Prudence and the Chief. All I did was list my three favorite highlights of the more unique material. And honestly, the whole score is unique, having its own tone/feel/sound that’s quite distinct from either Rio score, because of course it was written to accompany a very different western!


That said, I really appreciate the rest of your post and even agree with a decent amount of it. Room 222 and Only in America are going to end up at the bottom of my ranking, similar to your assessment it seems (though probably more charitable in terms of my written assessment).

I’ll just correct you on Only in America: there are four cues presented here on three tracks, and the only actual bumper cues constitute the middle track. The opening is a full main title, and the ending is the full end title. The lengths are short because this was a half hour sitcom, but I’m personally fairly impressed at what Goldsmith was able to encapsulate within those short pieces and I *certainly* don’t agree with you that they sound anonymous, like they were written by anyone. His voice is quite distinctive in these. This is however the one score on this set which is difficult to judge fairly, because while all the other scores are complete (or virtually complete), this one was just the music that could be salvaged from the mixed film audio. So the majority of the score, any dramatic “meat” or development of it, if you will, is missing.



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