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Posted: |
Jun 10, 2009 - 11:41 AM
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By: |
Bill Cooke
(Member)
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There are big reasons the FSM is superior to the old LP presentation. Only by listening to the complete score in chronological order do you come to understand Goldsmith's concept for this score. The score begins in the cold electronic world of the dome city and then, over a series of cues, makes a very gradual transformation where strings and percussion and other acoustic instruments are added. The closer Logan gets to the outside world, the more orchestrated the music becomes until it bursts into full orchetral glory when Logan sees the sun for the first time. Then, after Logan decides to return to the city, the music begins tranforming again, back into cold electronica. The total effect of this is something like a big paper fan gradually opening... and then closing again (the same effect that Bartok's music has, compositionally, in the first movement of his "Music for Strings, Percussion & Celesta").
Another feature of the score that is lost in the old album presentation is Goldsmith's development of the villain's motif and a recrring chase/fight cue that remains msuically the same but becomes more instrumentally dense with each pass, until finally it erupts into a shocking fury of brass and persussion as Logan faces his old friend/nemesis for the last time.
Conceptually this is one of Goldmsith's strongest works, and only by listening to the complete and chronological presentation does one fully realize this.
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Posted: |
Jun 10, 2009 - 1:40 PM
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By: |
Thor
(Member)
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There are big reasons the FSM is superior to the old LP presentation. Only by listening to the complete score in chronological order do you come to understand Goldsmith's concept for this score. The score begins in the cold electronic world of the dome city and then, over a series of cues, makes a very gradual transformation where strings and percussion and other acoustic instruments are added. The closer Logan gets to the outside world, the more orchestrated the music becomes until it bursts into full orchetral glory when Logan sees the sun for the first time. Then, after Logan decides to return to the city, the music begins tranforming again, back into cold electronica. The total effect of this is something like a big paper fan gradually opening... and then closing again (the same effect that Bartok's music has, compositionally, in the first movement of his "Music for Strings, Percussion & Celesta"). .
Yeah, that makes perfect sense in the film, of course. Outside, not so much. The synth noise bits just drag on for too long in the middle.
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There are big reasons the FSM is superior to the old LP presentation. Only by listening to the complete score in chronological order do you come to understand Goldsmith's concept for this score. The score begins in the cold electronic world of the dome city and then, over a series of cues, makes a very gradual transformation where strings and percussion and other acoustic instruments are added. The closer Logan gets to the outside world, the more orchestrated the music becomes until it bursts into full orchetral glory when Logan sees the sun for the first time. Then, after Logan decides to return to the city, the music begins tranforming again, back into cold electronica. The total effect of this is something like a big paper fan gradually opening... and then closing again (the same effect that Bartok's music has, compositionally, in the first movement of his "Music for Strings, Percussion & Celesta").
Another feature of the score that is lost in the old album presentation is Goldsmith's development of the villain's motif and a recrring chase/fight cue that remains msuically the same but becomes more instrumentally dense with each pass, until finally it erupts into a shocking fury of brass and persussion as Logan faces his old friend/nemesis for the last time.
Conceptually this is one of Goldmsith's strongest works, and only by listening to the complete and chronological presentation does one fully realize this.
Beautifully put, Bill. Listening to this score as FSM presented is like embarking on a wonderful journey. I have to do my penance with "The Assignment" and "Love shop" before experiencing the glories of "The Sun".
I suppose I enjoy many of Morricone's scores for the same reason. Having gorgeous cues surrounded by challenging material only makes the gems sparkle brighter.
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I do like the LOGAN'S RUN score but I have a lot of trouble with the pure electronic tracks like Love Shop and always have to program them out or skip them. The rest of it is perfectly fine; it's just those few tracks that really don't work for me as separate listening.
I just wish there was a decent DVD of this movie (the UK release is in the wrong ratio). 
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LOGAN has a good score but I hardly think it is Goldsmith's best. THE WIND AND THE LION the previous year had twice the score Logan contained. It didn't help that LOGAN'S RUN was not a good movie by any stretch. Still, I do like it.
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I usually program "Love Shop" out but I find the other electronic cues very interesting listens (on the other hand I find most of the electronic material in The Illustrated Man too grating). And Thor, I get the point, but what's the use of further discussion? My question would be is there any expanded score presentation that you DO enjoy? Otherwise we can simply assume that you would prefer the album presentation of any score that's been released in that format and leave it at that.
I agree the electronics in both "Logan.." and "Ilustrated.." are an annoying listen in the films themselves they are fine.
This is why I've never really gotten into Goldsmith  . I will have to check out the FSM sales this summer though for some purely orchestral stuff...though I guess I should make an exception for Illustrated Man.
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Timing is EVERYTHING.
Look, BABY: SECRET OF THE LOST LEGEND sold out within days.
And, while I liked it fine, it's nowhere near as good as LOGAN'S RUN. Not even in the same ballpark.
If FSM issued LOGAN'S RUN with today's "buy it now, or miss out" mentality, it'd be gone within a week. I'm pretty sure of it.
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Well if you confine your Goldsmith faves to good movies you're going to have a very small collection! I love both Logan and Wind and the Lion--could you quantify exactly how W&TL contains 'twice the score' compared to Logan's Run? Have you counted the actual number of notes, are you basing it on total running time, what? I always enjoy these scientific assessments...
It's easy. I base it like this. LOGAN'S RUN is a bad movie with a good score. TWATL is a better movie with a fantastic score. Subjective? Yes.
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If people are basing their judgment of Islands In The Stream on the Intrada recording, then I understand some of these posts. Goldsmith's original soundtrack recording makes Islands one of his all-time masterworks, a score of sublime beauty and sensitivity and, for me, one of the most beautiful and heartfelt film scores of all time.
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Thumbs up for LOGAN'S RUN, which is certainly amongst my top-10 Goldsmiths of all time. It's a breathtaking work, exciting, challenging... but I'm sounding like an advert. Why is it still available? Well, as some have mentioned, a percentage of fans or collectors will already have the earlier release and, whilst really really wanting the expanded one will tend to put off buying it "until my cheque comes in at the end of the week." Then they go and order something completely new. So stuff like LOGAN'S RUN is eternally pending.
I also think that, for some folk at least, the early "high-shoe waterproof Wellington" releases of both 100 RIFLES and THE ILLUSTRATED MAN were probably damaging to a certain extent regarding sales of the FSMs. The sound quality on those old beermats was terrible, really awful, but I'll bet there are two or three of you out there who put up with them, with the eternal intention of getting the lovely FSM releases "one day".
As regards Jerry Goldsmith's comment that he didn't care so much for LOGAN'S RUN, well, I always took his comments with a pinch of salt. He kind of seemed to shrug off a lot of things, but I think that was just his diffident personality coming through. He had stock answers for some questions, but mostly he seemed very uncomfortable when speaking, especially as he got older. I mean, imagine a geeky fan asking him "Mr Goldsmith, what is your favourite film score?" and awaiting the answer "Oh, certainly PLANET OF THE APES, LOGAN'S RUN, THE ILLUSTRATED MAN..", only to hear him say "Well, this new one I'm working on is shaping up to be the best", and then you find out he was talking about DEEP RISING.
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