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The Salamander would be between The Final Conflict and Outland, and Raggedy Man between Outland and Night Crossing.
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I can only provide Poltergeist: January 25, 26 & February 8 and 9, 1982.
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This is what I have written down so far (yeah, I file this stuff away)
1980:
Masada (April)
I'm curious, do you know when Goldsmith recorded the Masada album? Was it done when he was in London for The Final Conflict?
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Posted: |
Jan 2, 2018 - 12:18 PM
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By: |
Tom Servo
(Member)
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Cool thread.
It's fascinating to read how Goldsmith would split himself into 4 or 5 throughout the year to deliver these powerhouse scores.
Also, what with schedule changes and last minute re-shoots (and all this before todays digital mixing, mock-ups and communications systems), it's quite the balancing act to not only write and record 3-5 scores a year, but have them sound so ABSOLUTELY FU&%ING BRILLIANT to boot.
Agreed! I'm collecting this information for a particular reason, but it is interesting to chart his compositions across a year or two, what styles he was working through, what scores influenced each other, etc. Goldsmith was an admitted workaholic, seemingly happiest when writing music for a project and pretty consistently was composing for one film or another at all times. With such consistency and so much music he provided, it's fascinating to find the links between the scores, the stylistic idioms shared among them as his interests shifted, such as the Debussey-esque harmonic qualities heard in POLTERGEIST as well as THE CHALLENGE, in those string sonorities.
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Yeah Tom, absolutely.
I store my film score CD's in compositional date order (as best I can) and I love taking a handful of scores from certain periods and hearing what must have been cooking in Goldsmiths brain at those times.
You can hear trace elements of ideas spread over various scores that link them.
My favourite JG period is deffo late 60's to early 80's and hearing the influences of the stuff he must have been listening to and filtering into his scores is a blast and offers up endless joy and fun.
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The Salamander would be between The Final Conflict and Outland, and Raggedy Man between Outland and Night Crossing.
I have the impression The Salamander was recorded in Rome during April 1981, right after he finished work on Outland: the liner notes for the FSM release of the latter mentions that the reason Morton Stevens had to step in when Peter Hyams decided to make changes, was that Goldsmith was already working on "the Korean War epic, Inchon" - but Inchon was done and dusted in July 1980? Maybe someone (I won't say who) got their wires crossed, and confused one Rome recording with another.
Regarding the Masada album recording, the original sleeve notes indicate it was recorded in London by Eric Tomlinson, but edited and mixed by Frederico Savina in Rome - presumably around the same time as The Salamander was being recorded, and Masada aired on US TV?
SG
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Regarding the Masada album recording, the original sleeve notes indicate it was recorded in London by Eric Tomlinson, but edited and mixed by Frederico Savina in Rome - presumably around the same time as The Salamander was being recorded, and Masada aired on US TV?
That would seem to make sense. Thanks!
The Masada album certainly seemed to make the rounds -- recorded in London, mixed in Rome, mastered in Glendale!
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