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Hi, we'are from AsturScore, a blog of score and soundtracks in spanish, and sometimes in English.
We're going to do a special Jerry Goldsmith in AsturScore (one more time...) for the 21th of July. We only need your help. Please, send us to asturscore@gmail.com (Object: Jerry Goldsmith Special) or by private message in facebook, ir our account of AsturScore, your ten most loved score of Master Jerry Goldsmith. It's difficult, of course, but nobody says it was easy!. From one to ten (One has a value of 10, Two has a value of 9... and position Ten a value of 1).
With the votes, send us a short comment of your decission (less of a page of Word, our preference is less and a half...). We're goint to publish all them the 21th of July, along with the TOP TEN.
You have a time limit until Thursday, the 18th of July.
Thanks for your collaboration... and GOLDSMITH FOREVER.
PD: If you want, you can put your elections below this post and your comment, if you want.
You also can decide to vote 5, 6, 2 or 10, but not more of ten, please.
Thank you in advance.
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1. Underfire (ten points)
2. Star Trek - The Motion Picture
3. The Wind and the Lion
4. Prologue of The Agony and the Ecstasy
5. Masada
6. The Final Conflict
7. Alien
8. Lonely Are The Brave
9. Rudy
10. Powder (one point)
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I hope the following is considered valid for the poll. Reasons for it being deemed invalid are that I can't say "why" I like them so much, nor can I really rate them in a Top 10 way. Come to think of it, there are a few more that I'm forgetting at the moment, but off the top of my head, ten absolutely top-notch Jerry Goldsmith scores for me are...
1) THE ILLUSTRATED MAN
2) PLANET OF THE APES
3) THE BLUE MAX
4) THE OMEN
5) LOGAN'S RUN
6) POLTERGEIST
7) A STEP OUT OF LINE
8) THE BROTHERHOOD OF THE BELL
9) THE MEPHISTO WALTZ
10)100 RIFLES
I'm going to click "Post Message" now. After I click, another five or six titles will come to mind. So...
"click" (it's done now).
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While it's hard to list just ten, it's almsot impossible to give them a rating where it goes from best of least best (or:" from amazing to least amazing", more properly described). I'll try.
1. "Capricorn One"
Yes, that's right, out of so much goodness to pick from, this goes to number one. Why? Simply because Jerry took what could have just been serviced a very fine average score, and went a step beyond creating a widly inventive, colorful, and intricate score, the likes of which not heard since the effort (though "Contract on Cherry Street" is a similar score).
Somebody here mentioned a film reviewer who saw the film a second time just to hear what the score was doing because it was so fascinating.
2. "Rudy"
The glorious themes, warm, full orchestration, variations, all make this simple one of his finest, and one of the greatest film scores. I don't recall exactly, but the story was that after the recording of one of the cues (I think "Tryouts"), the orchestra applauded and cheered Jerry for like ten minute, until Courage could get them quiet. then they stood up and cheered again after all the score was finished. Even they knew they had been a part of something special.
Jerry once commented in an interview he prefered to score movies like this, as opposed to action music (despite being so gifted at action material). It's a shame he didn't get to do "The Game of the Their Lives", as that had the markings of the kind of score he was born to do and loved so to make.
3. "Planet of the Apes"
Again, Jerry was not afraid to do something different. The harsh dissonent score isn't to everybody's likings, but it's still a top notch score, especially if you enjoy listening to it.
4. "The Wind and the Lion"
The sweeping and sometimes odd score was perhaps one of the last breaths of a score of it's kind, and perhaps an example of what Jerry might have done, had he ever been hired for a film like "Lawrence of Arabia".
5. "First Blood"
The edgy, manly, driving score partly made this movie. It created a theme which Rambo fans could easily identify, and was used later by Brian Tyler (would have been better if I could have said "used later by Joel Goldsmith", but what can you do?).
Goldsmith could flex a musical muscle like few ever could; you have you're real efforts, then you have you faux immitators, and for two mree films he was an original.
6. "Explorers"
The 1980's. It had magic in the air. Not everything that came out was quality of memorable, but when it was good, it was good. Jerry's score came as a last gasp of breath to the wishful and imaginative scores that sailed and gave hope during that time, as the 1980's petered out. The montage set to "The Contruction", is pure '80's magic alone, and something not many composers I've heard, were able to capture
7. "Baby: Secret of the Lost Legend"
This interesting and colorful blend of orchestrations and synths proved to be one of his last efforts where he gave so much in the combo. Playful, sometimes aggressive, action packed, and bouncy, the oft whimsy and lyrical nature of the theme drove the score is a way few efforts by him would. Later vague hints can be found in his rejected score to "Legend".
8. "Star Trek: First Contact"
With a majestic theme opening the film, you know you're in for a treat. Not only did he bring Joel along for the ride, but he provided what was I believe was his uniquely dark score, accentuated by eerie dark synths. It was slow, darkly seductive, elegant in a way, and when you got action, you got it well done. It didn't have the frenetic edge of "First Blood", but it did have it's own way.
The stately retelling of the main theme in the closing track as the Vulcan's make first contact with Earth, ends the film gloriously (and also pretty much closes out Jerry's such efforts).
Dennis McCarthy would later go on to pay homage to this cue in an episode of the awful spin-off series, "Enterprise", where a mirror universe of this event happens, only things take a terrible turn and Jerry's cue suddenly becomes dark.
9. "Basic Instinct"
I'm not sure what to say about this.
10. "Patton"
One of the greatest film themes every written. It's patrioctic, a little hopeful, and a reminder of what great scoring can stir up in you.
One of my favorite radio show hosts, among the preeminent thinkers of recent time (right up there with Thomas Sowell and the late Milton Friedman), sometimes, when dispelling half-truths or just out-right plain lies by the media, groups, newspapers, the Congress, will go on a passionate speech patrioctically set to the theme, looped. It really works wonders.
It became so iconic that you can find it parodied nad even used in other projects. Bart famously waged war against school bully Nelson in "The Simpsons", with hints of an echoplex trumpet. Not the first time the show would pay homage to great scores.
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1) STAR TREK - THE MOTION PICTURE
2) ALIEN
3) LEGEND
4) POLTERGEIST
5) ISLANDS IN THE STREAM
6) OUTLAND
7) THE OMEN
8) GREMLINS
9) PLANET OF THE APES
10) SUPERGIRL
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In no particular order:
The Blue Max
A Patch of Blue
The Chairman
Breakheart Pass
Chinatown
Wild Rovers
Patton
QB VII
Planet of the Apes
Islands in the Stream
I suppose.
The preference is for the '60s/'70s era, when Goldsmith was less self-conscious about full compositional expression, and when he contributed a whole new ambience of slightly dissonant post-impressionistic scoring, and could show off his unique orchestrational groupings picked up in quick-turnover TV music ensembles.
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Hey, we're all voting in the wrong place. Presumably it should be on their site.
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Poltergeist
Gremlins
Psycho II
Extreme Prejudice
Rambo: First Blood Part 2
Explorers
Star Trek: The Motion Picture
Total Recall
First Blood
Hoosiers
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1.Papillon
2 The Cassandra Crossing
3 The Russia House
4 Medicine Man
5 A Patch Of Blue
6 Islands In The Stream
7 The Wind And The Lion
8 The Sand Pebbles
9 Ransom
10 Rambo- First Blood- Part 2
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