New Jerry Goldsmith PREMIERE Kickstarter THREEfer from Leigh Phillips: PURSUIT (1972), CRAWLSPACE (1972), and THE PEOPLE NEXT DOOR (1968)

[Yavar Moradi 3,955]

Over 70% funded in the first 24 hours, the latest Leigh Phillips Kickstarter campaign to newly record two lost Jerry Goldsmith film scores has already gotten more backers than any of his three successful General Electric Theater campaigns got in their entire 30 day runs:

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/

 

It seems guaranteed to succeed, so don't miss your chance to essentially pre-order a copy. A lossless digital download with PDF liner notes is only 12 GBP while the CD edition is only 15 GBP + shipping. (There's also an option to get both for only 22 GBP, plus a bunch of other exciting perks at higher tiers.)

 

These are two wonderful scores and major holes in the Goldsmith discography and I can't wait for them to become a reality on album. Thanks to everyone here who participated in this board poll because you helped select this project for Leigh to tackle next, before he gets around to his holy grail of a new Lionheart recording. 

 

Yavar

[Yavar Moradi 3,955]

This is now only a few hundred pounds from funding!

 

Yavar

[Yavar Moradi 3,955]

Goal met this morning, less than six days into the campaign!

 

So now it’s basically just a preorder with a $3 discount on the CD.

 

Yavar

[The Score Cleaner 8,545]

42 minutes ago, Yavar Moradi said:

Goat met this morning, less than six days into the campaign!

 

So now it’s basically just a preorder with a $3 discount on the CD.

 

Yavar

[Edmilson 11,013]

Goldsmith is indeed the GOAT 

[Yavar Moradi 3,955]

Typo fixed, thanks.

 

Yavar

[Yavar Moradi 3,955]

Surprised there isn't more discussion here. I guess folks just don't know the scores? So I'll introduce them, and even link to both full films available for viewing/listening on YouTube...

 

 

First up we have Pursuit (1972), a taut thriller with some excellent action cues from Goldsmith written in his "mod" 70s style. This was famed author Michael Crichton's first foray as a director, which he made a condition of his licensing out the adaptation rights to his book (he did something similar the following year on Westworld, which Goldsmith was unfortunately unavailable to score). And this was the beginning of a strong friendship between the two men. Afterwards, Goldsmith scored every Crichton film he could fit into his schedule, with the most important pair the one-two punch of Coma and The Great Train Robbery in 1978. (Then there was Runaway in 1984 and The 13th Warrior in 1999, not to mention adaptations of his books which he didn't direct such as Congo.)

 

The other film is more obscure but I like it better, and I like the score better two... kind of a melancholy, sometimes disturbing slow suspense build rather than the outright horror picture the DVD cover art makes it look like, it's an adaptation of a bestselling book with a really sensitive and occasionally creepy score... and yes there are a couple of excellent action cues as well!

 

 

Pursuit has been confirmed lost for ages by Lukas Kendall, and Crawlspace was an independent production with the elements long since vanished. These are two very significant holes to plug in the Goldsmith discography, and the most substantial remaining unreleased feature film scores in his output (barring rejected scores, anyway).

 

Yavar

[Yavar Moradi 3,955]

STRETCH GOAL UNLOCKED! Third unreleased TV movie score (Jerry Goldsmith's first ever, not counting his contributions to the live-to-tape 90 minute anthology series Playhouse 90 during his CBS years) announced for possible addition if goal is met:

 

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4195434

 

 

Says Leigh,

Quote

Don't let this stunning, proto-Chinatown, end credits music mislead you; the score for this hard-hitting TV drama holds many surprises for the listener.  Sometimes tender, sometimes jazzy, sometimes cool, sometimes avant-garde and completely uncompromising; Goldsmith packs a heck of a lot into the 16-min runtime!

I won't go into background details re plot and production, as our good friend Joe Sikoryak will be covering it when he posts his next blog.  What I can tell you is that, for an additional €4776/ £4028/ $5265, we can capture this score by scheduling an extra session following the Pursuit & Crawlspace recordings (it would be recorded on the same day as one of these). That means the campaign stretch-goal figure will be €18,951 (convert as appropriate).

I hope you all enjoy this little excerpt of pure vintage Goldsmith.  By pushing onward we have the distinct possibility of adding yet another lost gem to our collections.  Please do keep spreading the word!  

Thanks, everyone!

 

Just to clarify: as with the bonus score "Autumn Love" last time around on the third General Electric Theater campaign, as long as the goal is met this will automatically be added at no additional cost for every backer at the base tier or above. You aren't required to add onto your pledge in order to receive it. But please do spread the word to more film music friends of yours!

 

Yavar

[thestat 496]

A happy backer here - can't wait to see what you guys end up with. Like the People Next Door credits. Very Chinatowny, totally.

 

Also, is Lionheart going to be a thing down the line? I think that could be a revelation if JG orchestrated the synth parts or if he composed them for synthesiser? In any case, love the work you do here

[Yavar Moradi 3,955]

16 hours ago, thestat said:

A happy backer here - can't wait to see what you guys end up with. Like the People Next Door credits. Very Chinatowny, totally.

 

The opening and closing cues are the most like Chinatown, but there's a surprising amount of variety in between. Leigh just shared another short sample of the score which demonstrates some of that:

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4195868

 

 

16 hours ago, thestat said:

Also, is Lionheart going to be a thing down the line? I think that could be a revelation if JG orchestrated the synth parts or if he composed them for synthesiser? In any case, love the work you do here

 

Thanks! The short answer to your question is that we are waiting for final confirmation on Lionheart, because the Academy's Margaret Herrick Library has apparently been a bit swamped with requests. So we are in their cue to get copies of Jerry's original written sketches (which might also possible reveal a bit more previously unreleased music). Leigh very much suspects that they will reveal Jerry's original intentions did not include synth brass overlays on top of real brass. He is almost certain that was improvised later to smooth some flubs in the performance of some of the brass players in Hungary.

 

The rest of the synths -- such as the lovely dreamy ones in "The Lake", or the distinctive synth serpent sound used primarily for the villainous Black Prince -- were clearly intended as part of the unique fabric of the score from the very beginning, and Leigh plans to faithfully recreate them.

 

Yavar

[Stark 764]

This may be a silly question but what extra will shipping for the current kickstarter cost in the USA?

[Yavar Moradi 3,955]

29 minutes ago, Stark said:

This may be a silly question but what extra will shipping for the current kickstarter cost in the USA?

 

Well if you're getting the lossless download w/ PDF tier at £12, there's obviously no shipping charge so you're paying about $15.70 with current exchange rate.

 

For the CD tier, it's £5 (or approximately $6.50 at the moment) to cover shipping, plus £15 for the CD itself, for a total of £20 (just over $26 at the moment), shipped. Leigh started his Kickstarter account while living in the UK, so even though he lives in Prague now (and he himself therefore sees currency amounts in euros) apparently Kickstarter doesn't let you change your home currency.... so it will fluctuate a bit based on the exchange rate.

 

I double checked Intrada and they currently charge $4.50 for shipping a single disc. If you hold out for them to release the CD from their website though, you'll not only get it a month later but their single CD price will be $23, for a total of $27.50 (not including California sales tax if you live there). So as it works out, you can basically save about $1.35 and get the CD edition a month earlier if you back through the Kickstarter. (Plus, you also make the stretch goal more likely to happen, which adds value for you and everyone else.)

 

Yavar

[Marian Schedenig 10,855]

It might be helpful to put some info about the People Next Door stretch goal on the Kickstarter campaign page.

[Yavar Moradi 3,955]

@Marian Schedenig, of course that info has started to be shared in the updates but I just nudged Leigh about updating the main campaign page — thanks for the suggestion!

 

Yavar

[johnmillions 54]

Doesn't the main theme of The People Next Door sound like The Chairman?

 

Compare 0:30-0:50...

 

...to 0:38-0:58.

 

I guess that's one of many reasons I like both!

[Marian Schedenig 10,855]

Just checked: Only €48 missing for the stretch goal!

[Raiders of the SoundtrArk 2,591]

And it's reached

[Yavar Moradi 3,955]

Attention everyone who hasn’t pledged yet: This means that NOW when you pledge at ANY tier level, you get those benefits for all THREE complete Goldsmith scores at the same price — not just the original two!

 

I just updated the thread title to reflect this.

 

Yavar

[Yavar Moradi 3,955]

On 28/09/2024 at 2:51 PM, johnmillions said:

Doesn't the main theme of The People Next Door sound like The Chairman?

 

This is a GREAT catch, and expertly spotted! Thanks for pointing it out. I think the rest of us were so distracted by the similarities of the theme to Chinatown that we missed the even more blatant melodic lift (albeit for a shorter B section) Jerry did from The People Next Door in his love theme for The Chairman!

 

Yavar

[Yavar Moradi 3,955]

 

Final 24 hours of the campaign!

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace

It presently stands at 343 backers having pledged £17,795/$23,642/€21,365. I wonder how many more will come in during these last 24 hours.

Yavar

[Yavar Moradi 3,955]

"358 backers pledged £18,531 to help bring this project to life."

Quite a step forward from Leigh's previous three campaigns, which is perhaps understandable since the scores are better known. Sadly I don't see a late pledge option like Intrada had on A&C Meet Frankenstein, but great news that three new Goldsmith premieres are coming soon!

Yavar

[Yavar Moradi 3,955]

Came back to bump this thread for Leigh's latest Kickstarter update, which features a fairly substantial and exciting excerpt of one of the score's main action cues, "Break-Out"!

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4222764

Yavar

[pete 1,257]

Groovy!

[Yavar Moradi 3,955]

Another exciting action cue excerpt from Pursuit:

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4227959

 

And the first fantastic cue excerpt from Crawlspace, my personal favorite score of these three:

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4232174

 

Yavar

[Yavar Moradi 3,955]

Today’s Kickstarter update from Leigh includes session video of one very cool and eerie cue!

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4266202

“Day #1 of recording is done and dusted, with all music from The People Next Door and Crawlspace captured with time to spare (in fact, we may have had time to record a promo cue for the next project...).

The orchestra really enjoyed performing both scores and, from a producer's perspective, two things became very clear; with excellent sonics TPND's score is unexpectedly more weird and avant garde when divorced from its visuals, and Crawlspace is far more colourful and expansive than the original audio and/or any Sibelius demos could possibly hint toward. Recording these scores, today, has been quite a revelation.

Here's a small sample from the Crawlspace session (this is raw studio audio - basically what we hear coming through the mixing desk):

 

Yavar

[Yavar Moradi 3,955]

Hey folks, how about some nicely-edited complete cue videos? Check out the latest exciting update from Leigh Phillips about these three wonderful Goldsmith TV movie score premieres which will soon be available...

 

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4309390

 

"You've heard the audio, seen the tracks placed back in their original context, so it only seems right that we finally get to see the real stars of this project, the orchestra, recording the music that they performed so beautifully under the baton of Adam Klemens.

Here are our wonderful musicians playing the cues:

 

Things will go relatively quiet from this point as the details of CD production are finalised.  It's very likely that the next communications you receive will be the credit checklist (making sure that the relevant backer names are included) and the survey for postal addresses (where applicable), sometime in March.

In the meantime, I hope you enjoy the studio videos and have a great weekend!"

 

I can't wait for you all to experience Crawlspace in particular, in complete form. Absolutely prime Jerry, and so few people know it.

 

Yavar

[thestat 496]

Amazing to hear the work Philips and Klemens have done here. So happy to be one of the supporters and look forward to getting the work out there.

 

It's amazing how Jerry's DNA was there in the early off-the-cuff works. The People Next Door / Chinatown link is clear, but there is so much in these clips that reminds me of The Public Eye score etc - just endless wonders of Jerryness.

 

While we are on this topic and if I have your attention Yavar, any clue on whether an actual complete of Under Fire is possible? The score in the film is very different from the film. The film is very good, especially nowadays. Powerful political film. Which I am sure Goldsmith would have been ok with. 

 

Goldsmith's Under Fire. There is much more in the film - to me, Under Fire is the greatest score of all time (yes, even better than Lord of the Rings). The fact that there is at least 30 minutes of Goldsmith score in the film that has never been released is astonishing.

 

This is where you need to focus next.

[Yavar Moradi 3,955]

On 18/02/2025 at 4:38 PM, thestat said:

Amazing to hear the work Philips and Klemens have done here. So happy to be one of the supporters and look forward to getting the work out there.

 

So glad to have you onboard!

 

On 18/02/2025 at 4:38 PM, thestat said:

It's amazing how Jerry's DNA was there in the early off-the-cuff works.

 

I wouldn't call these three TV movie scores "early"... the very earliest one was written the same year as Planet of the Apes... which was already his fourth Oscar nomination, so he was quite an established and respected composer by then! Jerry's DNA is very much present even in works written over a decade earlier:

 

Also, I don't think Jerry did much "off-the-cuff"... at least not since his early days writing for live television (he would often be given only a couple days to write a Climax Mystery Theater or Studio One score). Certainly he treated these TV movies as feature scores and put a lot of thought and care into them, the earliest two being written for his longtime friend producer Herb Brodkin (who he met in his early CBS days, scoring feature-length Playhouse 90s) and Pursuit being his first collaboration with his lifelong friend Michael Crichton.

 

On 18/02/2025 at 4:38 PM, thestat said:

The People Next Door / Chinatown link is clear, but there is so much in these clips that reminds me of The Public Eye score etc - just endless wonders of Jerryness.

 

Somebody at FSM pointed out that The People Next Door main theme has a melodic turn in it which is actually much closer to the love theme from The Chairman, the following year, than Chinatown:

 

On 18/02/2025 at 4:38 PM, thestat said:

While we are on this topic and if I have your attention Yavar, any clue on whether an actual complete of Under Fire is possible?

 

In theory, yes -- I don't know whether JoAnn Kane Music might have the full scores, but the Academy's Margaret Herrick Library has Jerry's original sketches in their possession, which could also be used (with some work) to create a new recording of the complete score if necessary:

https://academycollection.org/web/arena/search#/entity/academy/71303030/under-fire---music-sketches?q=jerry+goldsmith+under+fire&source=academy

Quote

1-1a "Main Title," 4 pages
1-1 "Main Title," 3 pages
1-1 "Main Title," 8 pages [full score; orchestrated by Arthur Morton]
3-2 "The Nightclub," 2 pages
4-1 "Sandinistas," 5 pages
4-2/5-1 "Under Ground," 5 pages
5-3 "The Sniper," 8 pages; "new end," 2 pages; "tag," 1 page
5-3 "The Sniper," 15 pages [full score; orchestrated by Arthur Morton
5-4 "Have We Changed," 9 pages
6-1 "No Parties," 4 pages
7-1 "Periodista," 4 pages
7-2 "The River," 9 pages
7-2 "The River (revised)," 6 pages
8-1 "The Picture," 10 pages
8-1 "The Picture (revised)," 3 pages
8-2 "Rebel Victory," 10 pages [and "new ending," 1 page]
8-2 "Rebel Victory (revised)," 7 pages
9-1 "The Pictures," 3 pages
9-1/10-1 "Link," 1 page
10-1 "The Secret Room," 5 pages
11-1 "Directions," 2 pages
11-2 "Alex's Death," 12 pages; "new tag," 1 page
11-3 "Bulletin," 1 page
12-2 "Just a Story," 1 page
13-1 "The Flag," 9 pages
13-1 "The Flag," 15 pages [full score; orchestrated by Arthur Morton]
13-3 "50 Thousand Dead," 3 pages
6-1/13-3 "Link," 1 page
14-1 "It's Over," 5 pages
14-3 "End Title," 12 pages
"Love Theme," 5 pages
"Guitar Suite," 17 pages

 

Those cues should all be in film order, at least as Jerry originally spotted the film. The two pieces at the end, labeled there "Love Theme" and "Guitar Suite", I am 100% certain are the two things Jerry composed and recorded specifically for the album (basically extended "concert arrangements"), respectively titled "A New Love" and "Bajo Fuego" there:

https://www.filmscoremonthly.com/cds/detail.cfm/CDID/398/Under-Fire/

Quote

Goldsmith wrote two standalone selections for the record (tracks 1 and 7) and after completing the recording sessions in London decided to record additional overlays and linking material in Los Angeles. The record came out so well that many of the album mixes were retroactively dubbed into the film itself.

 

I'm sorry but aside from those two tracks conceived for album, this is fairly opposed to your claim that...

On 18/02/2025 at 4:38 PM, thestat said:

The score in the film is very different from the film

 

(At least, I'm assuming you meant to write, "The score in the film is very different from the album.") The bits of unique album "linking material" referred to by FSM (probably the "new end" and "tag" sort of written stuff at the Herrick) might account for you having a different perception of the film cues, of course.

 

On 18/02/2025 at 4:38 PM, thestat said:

The fact that there is at least 30 minutes of Goldsmith score in the film that has never been released is astonishing. This is where you need to focus next.

 

I think you're a bit off in your estimate. I have the Twilight Time Blu-ray isolated music & effects track produced by Mike Matessino when a search for tapes again sadly came up empty at the time. It's somewhere between 42-43 minutes long, and it constitutes 22 film cues which seem to perfectly match up with the Herrick's cue list I shared above. It's possible that some cues may have been trimmed here and there (i.e. microedits to accommodate sync to the film) but I suspect that's not far off the full length of the score, give or take a couple minutes.

 

Now look at the album: It's almost 45 minutes long, though over 9 minutes of that is made up of the two "concert arrangement" tracks. So we are left with about 35.5 minutes of Goldsmith's film cues. By my calculation that means that the film features only about 7 minutes of Goldsmith music not represented on the album... and at least two cues of those 7 minutes were what he expanded into the "concert arrangement" tracks. So even they are sort of represented, though not in their original film form.

 

Anyhow, would I be excited to support and purchase a complete edition of Under Fire, either as a new recording or the film tracks if a music-only source can be found some day? Absolutely! (I even re-purchased LLL's edition of Magic (on sale, to be fair) to get one additional cue over the Varese which was less than half a minute long!)

 

But do I think it's a priority for rerecording, compared to many other Goldsmith scores which are either fully or substantially unreleased? No, I'm afraid it's not high on my list to be perfectly upfront with you. In terms of Goldsmith theatrical film scores that apparently don't exist in complete form, I would prioritize:

The Chairman: winner of Intrada's last poll for a future Kickstarter, this is missing a good chunk of FANTASTIC material, including cues that were truncated or omitted entirely in the film.

In Harm's Way: missing something like HALF the score, including both a lot of excellent cues that are in the film but also a lot of music that Goldsmith wrote and recorded but which went unheard both in film and on album!

The Satan Bug: only about half the score survived music-only; the FSM "Archival Edition" of the score has very intrusive effects over most of the larger orchestral highlights.

The General with the Cockeyed Id: this was only a short film, but Goldsmith's excellent music is virtually constant throughout it and it just so happens to now be the only theatrically released film with a Jerry Goldsmith score to be completely unrepresented on a commercial soundtrack album (there is a terrible sounding bootleg):

Babe, the Gallant Pig: Moving onto films which were released in theater without Goldsmith music... Goldsmith scored the original longer (and apparently darker) cut of George Miller's beloved 90s film. His work was rejected in the demo phase about a week before it was scheduled to be recorded in Australia, but he did finish writing music to picture for about three quarters of the film before he stopped. JoAnn Kane has his full written score, and the Academy's Margaret Herrick Library has sketches (which sometimes include a bit more music):

https://academycollection.org/web/arena/search#/entity/academy/71303062/babe---music-sketches

Quote

1-3r "The Drawing," 7 pages
1-4/2-1 "Lonely Babe," 9 pages
2-2r "What Dogs Do," 2 pages

2-3 "The Plan," 6 pages

3-1 "The Yarn," 4 pages

3-2 "The Sneeze," 3 pages

3-4/4-1 "Destruction," 4 pages

4-3 "Mother and Son," 7 pages

4-5 "Christmas Dinner," 2 pages

4-6 "Ferdie's Gone," 3 pages

5-2 "Mistaken Identity," 3 pages

5-3 "The Boss," 16 pages

6-1 "The Bite," 2 pages

6-2 "The Story of Rex," 11 pages

6-3 "A Tragic Day," 2 pages

7-4 "Pig of Destiny," 1 page

7-5/8-1 "Ferdie's Back," 5 pages

 

Of course there's also Goldsmith's most well-known and high profile unreleased work, which would require a nice 2CD set to present complete...

The Waltons: besides the pilot TV movie The Homecoming (which had its score survive to be released complete by FSM), Goldsmith composed a new main/end title as well as an original song and SIX wonderful complete episode scores for this series... all confirmed lost and totally unreleased on album!

 

And though all of these potential new Goldsmith recording projects are worthy of attention and effort, they barely scratch the surface of Goldsmith's unreleased output! I personally would be at least as excited for Jerry Goldsmith at The CBS Radio Workshop (which would include the above masterpiece, "1489 Words") or my idea of Three Western Premieres:

 

 

So anyhow... agree to disagree, I guess?

 

Yavar

[Stark 764]

Homecoming is a nice score, would love to hear more of the Waltons music! Babe would be interesting to compare to Westlake's excellent final score.

[Yavar Moradi 3,955]

5 hours ago, Stark said:

Homecoming is a nice score, would love to hear more of the Waltons music!

I like the actual Waltons series scoring better than the original TV movie score, personally. The iconic theme really helps! (Not that the theme in The Homecoming is bad or anything.) Here’s a complete score breakdown I did for one of Jerry’s six episode scores, “The Ceremony” (which is a Bar Mitzvah — another score where Jerry gets to channel his Jewish roots!)

https://filmscoremonthly.com/board/posts.cfm?threadID=117025&forumID=1&archive=0
 

5 hours ago, Stark said:

Babe would be interesting to compare to Westlake's excellent final score.

Indeed! Would be amazing to hear as I’m a big fan of the film.

 

Yavar

[Tom Guernsey 3,456]

Not gonna lie, the artwork for these is terrific!

 

 

[Yavar Moradi 3,955]

I quite agree! @Steffromuk is THE MAN! (Cue Jerry Goldsmith Main Title from The Man.)

 

Crawlspace in particular is some of his best work, ever, IMO... and the first time this film has ever been appropriately depicted on a commercial release of any kind. Here's what the long OOP and pricey commercial DVD release looks like, for example:

 

HORRIBLE. As in... it makes it look like an outright horror film involving a ghoul in the basement, which it very much is not. It's basically a tragedy about a troubled young man and the elderly couple that kinda take him in. He's not a monster, really, but he is harrassed and bad things happen. @Steffromuk's art correctly places the elderly couple at the center of the story, and I love the touch of having their house above and crawlspace guy underneath. Really brilliant composition! I don't think anyone else could have captured the film better than this image does.

 

Pursuit is a very different film and very different score, and I think it was also captured well here (and I know how painstaking it was for you, buddy!) in a way that conveys its extremely different vibe, but doesn't terribly clash with the cover on the other side, and similar enough to it in a way that feels very "bespoke" by the same artist/designer.

 

For anyone who wants to read Leigh Phillips's update where he shared these (and also some very different illustrated covers for all three scores done during the last Intrada RSNO sessions), check it out here:

https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace/posts/4347522

 

Yavar

[Yavar Moradi 3,955]

Anyone here get the digital released early for backers a couple days ago?

 

Yavar

[Marian Schedenig 10,855]

Not me (physical backer).

[Steffromuk 659]

1 hour ago, Yavar Moradi said:

Anyone here get the digital released early for backers a couple days ago?

 

Yavar

I just downloaded mine
And I'm listening to Pursuit right now! And loving it!

[Steffromuk 659]

I think my favorite of the three is The People Next Door. Then, CrawlSpace, and Pusruit.

 

It's funny I watched The People Next Door (all three actually) but I didn't recall the music being so rich and diverse in its themes and tones.

Leigh and everyone involved did an amazing job at recreating that sound from the 70s.

[Yavar Moradi 3,955]

It's been such a long time in editing, but the new Production Report with Leigh Phillips about his new recordings of Pursuit, Crawlspace, and The People Next Door has just been released:
https://goldsmithodyssey.buzzsprout.com/159614/episodes/17937025-production-report-pursuit-the-people-next-door-crawlspace-2024-leigh-phillips-recordings

 

We recorded all the way back in January, just one day after my old friend John Morgan sadly passed away. It was fresh in my mind and I couldn't help but dedicate the podcast episode to him, especially since Leigh Phillips had a bit of project overlap, stepping in for the Intrada's Douglass Fake on John's final album, the Abbott & Costello twofer. But my brief remembrance and dedication, thanks to the support of Leigh and my cohosts, turned into a half-hour tribute to John. It's right at the very beginning of our conversation. My thanks to folks for their patience, if they're eager to get to the Goldsmith-centric conversation, but John was such a good friend and I still miss him terribly. I’m really happy with how the tribute turned out.

 

Yavar
 

[johnmillions 54]

On 7/10/2025 at 4:29 PM, Yavar Moradi said:

It's been such a long time in editing, but the new Production Report with Leigh Phillips about his new recordings of Pursuit, Crawlspace, and The People Next Door has just been released:
https://goldsmithodyssey.buzzsprout.com/159614/episodes/17937025-production-report-pursuit-the-people-next-door-crawlspace-2024-leigh-phillips-recordings

 

Leigh Phillips continues to bring to fruition the dreams of Goldsmith fans like me. I am especially excited that he will tackle Goldsmith's scores for The Waltons. I agree that "The Ceremony" will be an undeniable highlight. However, I am particularly fond of "The Star". What are the three episodes for which the sheet music survives?

 

Again, I am grateful to Leigh and The Goldsmith Odyssey for advocating for Goldsmith's music!

[Yavar Moradi 3,955]

1 hour ago, johnmillions said:

I am particularly fond of "The Star". What are the three episodes for which the sheet music survives?

written music at Rochester: https://www.esm.rochester.edu/sibley/specialcollections/findingaids/courage/ser2/

 

The Foundling (episode 1) — basically complete

The Typewriter — four cues, only (it’s already a partially tracked score in the episode though I think some original music is still missing)

The Literary Man — one cue (“AJ’s Story”) appears to be missing, but otherwise complete

 

The others including your favorite and mine will still have to be done entirely by ear… but we do have the official cue titles at least, thanks to research Jon Burlingame did back in the 1990s.

 

1 hour ago, johnmillions said:

I am grateful to Leigh and The Goldsmith Odyssey for advocating for Goldsmith's music!

You’re welcome! 😊 

 

Yavar