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Jerry Goldsmith's MATINEE (1993) - NEW! 2022 Intrada


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You know what's interesting is if you look up the OST album on digital/streaming platforms, it says

 

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Or Varese is claiming perpetuity rights when they don't actually have them and nobody is double-checking the paperwork!

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Liner notes writer @John Takis says

 

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Having written the notes for this release, I can concur that the score plays significantly better in complete form! There's more variety, more development, a much more elaborate final stretch ... I found the old album to be perfectly charming, but it wasn't necessarily among my very favorite Goldsmith/Dante scores. The new Intrada program has raised my estimation of this one considerably!

 

https://filmscoremonthly.com/board/posts.cfm?threadID=147810&forumID=1&archive=0

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3 hours ago, Kasey Kockroach said:

The end suite is all you need from this one.


Speak for yourself. For me the whole score is wonderful, and this previously-unreleased badass cue isn’t in the suite:

https://www.dropbox.com/s/63xpcoqz1um2rkd/Number 4.mp3?dl=0

 

Yavar

 

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22 minutes ago, Kasey Kockroach said:

I felt Small Soldiers complete didn’t do much but pad around the highlights, but Dante/Goldsmith collabs are still my favorite film music in general so I’ll keep an eye on this.

 

Oh really? Small Soldiers: The Deluxe Edition was a revelation for me (more than Matinee, because there was so much previously unreleased music). I never thought much of the original album, but in complete form it's now my third favorite Goldsmith/Dante I think!

 

Yavar

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59 minutes ago, Romão said:

How do you rank the Dante/Goldsmith collaborations, Yavar?

 

It's not all set in stone besides first place and last place, but roughly:

 

1. The 'Burbs (forever my favorite; Jerry threw in everything and the kitchen sink and somehow it all gels together brilliantly!)

2. Looney Tunes: Back in Action (I know this may be high for some, and it's a somewhat compromised case since others had to finish the score due to Jerry's illness... but the sheer energy and creativity and complexity and variety of this score just boggles my mind that it came from a 74 year old man dying of cancer; it sounds like something written by a hungry up-and-coming John Powell of the period)

3. Small Soldiers (The Deluxe Edition was a revelation, as I said)

4. Explorers (works overtime to fix issues with the film)

5. Matinee (perhaps their most charming collaboration; even though it's 5th place I just love it)

6. Innerspace (I like a lot of it but it feels like less than the sum of its parts, to some degree)

7. Gremlins 2: The New Batch (better because more orchestral... though I don't like the Gremlins Rag arrangement as much as the original)

8. Gremlins (sorry Gremlins fans; I love the end credits and certain highlights, but a lot of the dated synth stuff is too grating for me)

9. "Boo!" (Amazing Stories) (it's...ok?)

 

Now one conundrum is that for years I'd heard the story that Joe Dante collaborated with Jerry on the whole scoring of Twilight Zone: The Movie (after the other segment directors departed), and it would be quite high on my list of Goldsmith/Dante collaborations if it were true. But in our conversation earlier this month, Joe himself said he only worked with Jerry on his own segment, not the other three! So to be honest if just judging that segment of the larger TZ:TM, it might slot in just above "Boo!" now.

 

Yavar

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49 minutes ago, Yavar Moradi said:

 

It's not all set in stone besides first place and last place, but roughly:

 

1. The 'Burbs (forever my favorite; Jerry threw in everything and the kitchen sink and somehow it all gels together brilliantly!)

2. Looney Tunes: Back in Action (I know this may be high for some, and it's a somewhat compromised case since others had to finish the score due to Jerry's illness... but the sheer energy and creativity and complexity and variety of this score just boggles my mind that it came from a 74 year old man dying of cancer; it sounds like something written by a hungry up-and-coming John Powell of the period)

3. Small Soldiers (The Deluxe Edition was a revelation, as I said)

4. Explorers (works overtime to fix issues with the film)

5. Matinee (perhaps their most charming collaboration; even though it's 5th place I just love it)

6. Innerspace (I like a lot of it but it feels like less than the sum of its parts, to some degree)

7. Gremlins 2: The New Batch (better because more orchestral... though I don't like the Gremlins Rag arrangement as much as the original)

8. Gremlins (sorry Gremlins fans; I love the end credits and certain highlights, but a lot of the dated synth stuff is too grating for me)

9. "Boo!" (Amazing Stories) (it's...ok?)

I can excuse the dated synths in Gremlins, because it seems to me that they want to sound dated and weird. My ranking would go as follows:

  1. The 'Burbs (tongue-in-check and satire has never worked better in a film score)
  2. Small Soldiers (the creation of a theme that melts together the terms "military" and "toys" alone is impressive)
  3. Gremlins 2: The New Batch (as crazy and intelligently funny as The 'Burbs and Small Soldiers, especially the Dracula motif for Christopher Lee)
  4. Gremlins (my fourth Goldsmith score, I have kind of a nostalgic connection to it)
  5. Explorers (I don't listen to Goldsmith's take on E.T. nearly enough)
  6. Looney Tunes: Back in Action (the stop-and-go style is both entertaining and annoying)
  7. Matinee (we'll see, what the Intrada release can do about this placement)

I've never heard Innerspace, where's the re-release, MV?

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Both Gremlins 2 and Innerspace were VHS tapes I watched a bunch as a kid, so I have a nostalgic connection to those scores.  I fell in love with Gremlins 2 and didn’t see the first one for years.  I was in college when I finally saw it.

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I love the Twilight Zone The Movie score but I can see how it doesn't count.  And yea, out of the 4 segments within it, It's A Good Life is not my favorite at all

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My ranking from favorites to least interested (in terms of isolated listening):

Gremlins 2

The Burbs

Gremlins

Explorers

Innerspace

Matinee

Small Soldiers

Looney Tunes: Back in Action

 

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8 hours ago, Kasey Kockroach said:

The best thing about BiA is the Gremlins reference. 

 

 

 

I like the Gremlins theme cameo and all the musical in-jokes throughout this clever score… but in terms of highlights it’s not even close.

 

Yavar

 

 

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The problem with Matinee is that it’s just too square. Don’t know if it was Beltrami or someone else who had a class with JG at the time and reported that Goldsmith let them score scenes from this movie. The guy came up with a tango for John Goodman and Goldsmith, upon hearing it, commented 'why, I should’ve thought of that‘. Which sums up the whole score. Serviceable, but there’s not one inspired note in it.

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Suits the (terrific) film fine, just isn’t much of a standalone listen. That ‘badass’ cue is Small Soldiers-lite. I’ve seen the film several times and know the unreleased music is nothing to write home about.

But nice it’s getting released, I ain’t complaining. Goldsmith being serviceable is of course at least pleasant.

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21 minutes ago, Kasey Kockroach said:

That ‘badass’ cue is Small Soldiers-lite.

 

Well to me it's more of a callback to Twilight's Last Gleaming and Damnation Alley (also in a nuclear context in both films, so I think it may have been an intentional reference!)

 

Matinee was half a decade before Small Soldiers.


Yavar

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1 hour ago, Yavar Moradi said:

 

Well to me it's more of a callback to Twilight's Last Gleaming and Damnation Alley (also in a nuclear context in both films, so I think it may have been an intentional reference!)

Then listen to those scores if you want that cue! ;)

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7 hours ago, Yavar Moradi said:

Hard disagree. It's absolute magic in the film itself -- just what it needed.


Nah, it could’ve done with a bit more Burbs magic. That limp Gremlins 2 mayhem figure, the bumbling Goodman theme, the jazz stuff, somehow it all reeks of leftovers from better times.

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On 27/05/2022 at 8:09 PM, Yavar Moradi said:

 

It's not all set in stone besides first place and last place, but roughly:

 

1. The 'Burbs (forever my favorite; Jerry threw in everything and the kitchen sink and somehow it all gels together brilliantly!)

2. Looney Tunes: Back in Action (I know this may be high for some, and it's a somewhat compromised case since others had to finish the score due to Jerry's illness... but the sheer energy and creativity and complexity and variety of this score just boggles my mind that it came from a 74 year old man dying of cancer; it sounds like something written by a hungry up-and-coming John Powell of the period)

3. Small Soldiers (The Deluxe Edition was a revelation, as I said)

4. Explorers (works overtime to fix issues with the film)

5. Matinee (perhaps their most charming collaboration; even though it's 5th place I just love it)

6. Innerspace (I like a lot of it but it feels like less than the sum of its parts, to some degree)

7. Gremlins 2: The New Batch (better because more orchestral... though I don't like the Gremlins Rag arrangement as much as the original)

8. Gremlins (sorry Gremlins fans; I love the end credits and certain highlights, but a lot of the dated synth stuff is too grating for me)

9. "Boo!" (Amazing Stories) (it's...ok?)

 

Now one conundrum is that for years I'd heard the story that Joe Dante collaborated with Jerry on the whole scoring of Twilight Zone: The Movie (after the other segment directors departed), and it would be quite high on my list of Goldsmith/Dante collaborations if it were true. But in our conversation earlier this month, Joe himself said he only worked with Jerry on his own segment, not the other three! So to be honest if just judging that segment of the larger TZ:TM, it might slot in just above "Boo!" now.

 

Yavar

 

Thank you for your input. I would generally agree, although I'd rank Gremlins 2 much higher. I adore the Looney Tunes soundtrack, I find a perfect and very well rounded listening experience, with not fat in it. I'm still on the fence in whether I should buy the expanded release. Some of the new tracks are quite fun, but the listening experience is much jarring and disjointed, even without getting to the tracks written by other composers. Maybe I should give it another listen

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18 hours ago, publicist said:


Nah, it could’ve done with a bit more Burbs magic. That limp Gremlins 2 mayhem figure, the bumbling Goodman theme, the jazz stuff, somehow it all reeks of leftovers from better times.


I mean, I agree The ‘Burbs is magic; it’s easily my favorite score he wrote for Dante and I love the film too. But I just don’t agree with your assessment of Matinee and no amount of repeating you don’t like it in different ways is going to win me over. I think it’s absolutely perfect for the movie and something more creatively zany like The ‘Burbs would absolutely not have been appropriate or worked as well in this very different (much more sweet) film.

 

Each of the themes for different characters in this movie (especially Goodman) are spot on in my opinion, and I love the diversity of the thematic material.

 

Yavar

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10 hours ago, Yavar Moradi said:

I think it’s absolutely perfect for the movie and something more creatively zany like The ‘Burbs would absolutely not have been appropriate or worked as well in this very different (much more sweet) film.

 

It's not about zany, but how it's uninspired and retreads roads more than well-travelled before. 

 

And you know how it is, Yavar, i just love to play counterweight to all your relentless promoting of often unworthy causes. ;)

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On 28/05/2022 at 11:15 PM, Yavar Moradi said:

Hard disagree. It's absolute magic in the film itself -- just what it needed.

 

Yavar

 

So you recommend to rather see the film then? :)

 

2 hours ago, publicist said:

 

It's not about zany, but how it's uninspired and retreads roads more than well-travelled before. 

 

And you know how it is, Yavar, i just love to play counterweight to all your relentless promoting of often unworthy causes. ;)

 

Do you think he gets paid for the promotion?

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21 minutes ago, Jurassic Shark said:

So you recommend to rather see the film then? :)

Do you think he gets paid for the promotion?

 

'Matinee' is cute, with a few satiric standout moments. 

 

And no, unfortunately relentless-obsessive Goldsmith plugging isn't amply rewarded, or he could pay for all those Satan Bug etc. re-recordings that never happen himself.

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3 hours ago, Jurassic Shark said:

 

So you recommend to rather see the film then? :)


Actually yeah! If anyone is on the fence at all, instead of just blind buying the CD I highly recommend seeing the film to decide what you think of the score before buying. It’s a more subtle score than other Goldsmith work for Dante so I can understand why it’s more “under the radar” for folks or why publicist doesn’t love it. But I legitimately do. The old 38 minute album was always “just okay” to me I admit…perfectly nice but nothing that special.

 

After seeing the film and listening to the complete score (which plays much stronger with the missing quarter hour of music) on album, it’s pretty special to me now.

 

3 hours ago, Jurassic Shark said:

Do you think he gets paid for the promotion?


Not only do I not get paid, but I still have to purchase the Matinee album if I want a physical copy (which I always do of course).

 

I legit like/love the things I praise, and I’m certainly far from alone in my love of Matinee.

 

Extreme Prejudice I was never a big fan of, so I left that to two cohosts to make a Soundtrack Spotlight about. And same with Along Came a Spider.

 

US Marshals I also didn’t fawn over when it got revisited, apart from that wonderful theme in “The Pen” and three other short cues, which should have been the main theme of the score…
 

Yavar

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29 minutes ago, Yavar Moradi said:

Not only do I not get paid, but I still have to purchase the Matinee album if I want a physical copy

 

In that case you should ask for a refund! ;)

 

Seriously though, you should ask for review copies from the labels since you always speak warmly about JG releases here or on your show.

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I honestly don’t recall if I’ve seen the film but I’ve always really enjoyed the Matinee score. Delightful and charming main theme (Jerry’s abilities as a tunesmith are often underestimated I think) that is sincere but a bit whimsical when needed but has a knowing wink as needed. I can’t wait for the expanded version even if it’s only a modest amount of extra music.

 

Funnily enough, of all his Dante scores, the one I connect with least is Innerspace. I think the description of it being less than the sum of its parts is about right. The v’ger-esque stuff is good but obviously a bit derivative (and refashioned more effectively in Poltergeist). The lack of an especially memorable main theme (contrary to my above comment on Jerry themes, I admit!) feels like the biggest hindrance to it hitting the heights of his other scores for Dante which all have him more chance to write fun main themes and let his hair ponytail down a bit.

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The film is probably strongest out of all the Dante/Goldsmith collaborations - touching as fuck. Of course, I love Gremlins 1 and 2 (especially), Burbs, and co. But to me, it seemed Dante gave Jerry some real scope for scoring here, and Jerry responded. I love Matinee, as it is literally an evocation of those film screenings one reads in 70s and 80s Stephen King novels, nostalgia piled on nostalgia.

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image.jpeg

 

image.png

 

MATINEE
Composed and Conducted by JERRY GOLDSMITH

 

INTRADA ISC 479
Intrada Special Collection Volume ISC 479


Film Date: 1993
Album Date: 2022
Time: 65:59
Tracks: 30

 

Expanded release of Jerry Goldsmith soundtrack for flavorful Joe Dante movie!

 

Expanded release of Jerry Goldsmith soundtrack for flavorful Joe Dante movie! Set during the tense 1962 Cuban missile crisis when the United States and the Soviet Union became poised for nuclear war, the Universal Picture put young stars Simon Fenton, Omri Katz, Lisa Jakub alongside grownups John Goodman, Cathy Moriarty and the premiere of new horror movie from sensational producer Laurence Woolsey (Goodman). Key West, Florida is setting for combination comedy, schlock horror... and frighteningly real period picture unfolding during crucial turning point in sixties Cold War history. Director Dante melds terrific brew of entertainment both fun and serious, with Woolsey movie-within-a-movie premiere sharing time with gentle youth love story. Both play out while world - especially those inhabitants of Key West - cope with possible annilhilation and nuclear fallout. Dante turns to his favorite composer, Jerry Goldsmith, to find delicate balance between comic producer and his premiere, tender moments of young teens discovering love and WWIII. Not a simple feat but Goldsmith delivers with perfection. Album of highlights originally saw release in 1993. Intrada CD now features entire Goldsmith score from pristine stereo mixes made by veteran engineer Bruce Botnick, vaulted at Universal. Several previously unreleased cues now appear but spotlight goes to "Mobilization". Here, composer takes a moment for his signature musical military muscle, with crisp trombone fanfare-figures answered by equally crisp French horn, trumpet responses, steady percussion underneath. Also included are handful of alternate cues. Film itself places unrelated song between last score cue ("Previews") and End Credits, composed as two separate pieces. Original album beautifully joins both cues into one 8-minute suite. Intrada release features both separate and combined presentations. Colorful package design by Kay Marshall, informative notes by John Takis complete nice presentation. Alexander Courage orchestrates, Jerry Goldsmith composes, conducts. Intrada Special Collection CD available while quantities and interest remain!

 

****

 

Roger Feigelson post:

 

Intrada announces an expanded edition of Jerry Goldsmith's score to the 1993 Universal film Matinee. The film is part of the lengthy collaboration between Goldsmith and director Joe Dante (Gremlins, Explorers, InnerSpace) and is the final soundtrack in that relationship in need of an expansion. The score is centered around two themes, a whimsical one for the filmmaker/showman Lawrence Woolsey and a charming, busy theme with a tinge of nostalgia for the character of Gene. But there's more in this theme-rich score, with a love theme infused with period flavor and based on Max Steiner's A Summer Place. Combined with action and suspense, Matinee provided Goldsmith with a wealthy opportunity to create a variety of colorful ideas.

 

This expanded edition increases the runtime of the score proper to 51 minutes, including the long sought-after cue "Mobilization," representing the sparse appearance of Goldsmith's military presence in the score as the onscreen Cuban missile crisis heats up. To produce this release, Intrada had access to the 48-track scoring sessions that contained the three-channel digital stereo mixes made for the film by Bruce Botnik – all in pristine, crisp and detailed sound.

 

In the film, filmmaker Lawrence Woolsey (John Goodman) barrels into Key West, his sights set on the historic Strand Theater which he plans to trick out with “Atomo-Vision” and “Rumble-Rama” for an advance screening of his latest opus, Mant! Meanwhile, local teen and Navy-brat Gene, a dedicated fan of genre flicks, and his colorful assortment of friends navigate growing up during a frightening crisis with Cuba just a stone's throw away. This includes Gene's crush Sherry who is stalked by her ex-boyfriend Harvey, as if things weren't complicated enough. But when Gene sees through Woolsey’s promotional tricks and offers to help, the impresario takes the boy under his wing and expounds upon the cathartic power of horror pictures—a lesson that is especially poignant since Gene’s father has been deployed to the front lines of Cuba. All roads converge during the premiere of Mant! when a lust-crazed Harvey, recruited into operating Woolsey’s theater wizardry while wearing a hokey ant costume, decides to take matters into his own hands—or claws, as the case may be.

 

To hear more about this release and about Joe Dante discussing his working relationship with Jerry Goldsmith, tune in to the Goldsmith Odyssey podcast featuring director Joe Dante, film editor Marshall Harvey and the team at Intrada. 

 

https://goldsmithodyssey.buzzsprout.com ... all-harvey

 

Tracklist:

 

01. Matinee – Main Title (0:26)
02. Coming Attractions (Main Title Pt. 2) (2:10)
03. Brother To Brother (2:31)
04. Practice (0:41)
05. Mobilization (1:22)
06. Shopping Cart (1:22)
07. Hold On (3:19)
08. Harvey And Real People (2:34)
09. The Scam (4:11)
10. Halfway Home (3:48)
11. Get A Job (1:14)
12. The Timetable (1:24)
13. The Nightmare (1:07)
14. Showtime (4:35)
15. Locked In (1:39)
16. The Wrong Business (3:41)
17. What Are You Doing? (0:27
18. The Big Knife (1:02)
19. Help (0:57)
20. This Is It (3:52)
21. Previews (3:49)
22. Next Attraction (End Credits) (4:13)

 

Total Score Time: 51:00

 

THE EXTRAS
23. Rhumba Playoff (0:12)
24. Theme From A Summer Place (1:28)
25. Source (Reel 4) (1:24)
26. Twist (0:29)
27. The Nightmare (Alternate) (0:54)
28. Locked In (Alternate) (1:21)
29. Help (Alternate) (0:57)
30. Next Attraction (End Credits – Album Assembly) (7:58)

 

Total Extras Time: 14:51
Total CD Time: 65:59

 

https://store.intrada.com/s.nl/it.A/id.12562/.f?sc=13&category=-113

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On 26/05/2022 at 8:35 PM, bruce marshall said:

Any chance in Hades this will be ONE disc?

Nah!😣😒

 

Sorry to disappoint you Bruce! ;) 

 

On 28/05/2022 at 6:18 PM, bruce marshall said:

It's a charming score.

Doubt I'll buy it though.

Only so many hours and dollars😄

 

Oh so it didn't really matter to you how many discs it was, did it?

 

Yavar

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