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I think we get too caught up in this selling out thing. It's almost become a measure of the composer's worth.
Ref: Escape From The Planet Of The Apes ... I didn't see it so rabidly requested, most of the music was already out and it's really not very long.
A better example is Logan's Run, which hasn't sold out despite being a sci-fi classic from one of Goldsmith's most creative periods.
Let's not wish film music unavailability on ourselves too quickly.
Cheers
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This was in the latest batch I got - and I just have to say that it could well be my favourite release of 2010. Absolutely riveting from start to finish. It's not often I sit for a whole hour without my mind drifting, but these scores are just so inventive and compelling that when the CD finished I didn't react for a few seconds, then discovered that my mouth was hanging open.
Simply amazing - and a perfect pairing too.
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Glad you like it too, Mark! One thing I'll add is that, although Jerry Goldsmith is among my favourite film composers, his output was SO large and diverse that there is a fair percentage of dull or annoying scores in there. That's why after twiddling my thumbs to a couple of his lesser efforts, something like BROTHERHOOD and STEP OUT OF LINE can't help but remind me of what a brazen genius he could be.
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Posted: |
Dec 28, 2010 - 1:55 PM
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By: |
Hurdy Gurdy
(Member)
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I played this CD a few times when I first received it and generally liked it.
I was vaguely familiar with both scores from my old TV Tapes, and it was great to hear the music without the dialogue and sound FX and sounding so great.
I remember initially preferring the 'easier listening' sound of STEP OUT OF LINE, but later digging the 'icy depression' that permeates BELL.
Already having CD's of MEPHISTO WALTZ and SECONDS certainly dilutes the sound of BELL, and casts an overly familiar feeling to proceedings.
Likewise, STEP OUT OF LINE sails close to LAST RUN and others by Jerry, cut from similar cloth.
Anyway, my main point typing here, is that I will never LOVE these scores the way I love his recent expanded scores of ST5 or INNERSPACE, or scores like LONELY ARE THE BRAVE or ONE LITTLE INDIAN.
These (BELL/LINE) are scores I admire and almost listen to in a technical way, while the others are ones I immerse myself into and flow along with, on a wave of love and emotion.
It's cool that Jerry could do this while writing his movie and TV scores and offer me a variety of listening choices and emotions.
These are good scores, but not what I would call essential to my collection. I'm glad I have them, but I'm never gonna truly love them, the way I do many other scores by him.
But technically, they are a bloody marvel!
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Posted: |
Dec 28, 2010 - 2:11 PM
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By: |
Jim Phelps
(Member)
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Face it Kev, you're a warm-hearted sap! 
What you find off-putting on these scores is exactly what I've grown to enjoy the most in recent years. I prefer scores like BELL/LINE, Mandel's POINT BLANK, and Fielding's THE MECHANIC. My tastes have changed a great deal since I became obsessed with Fielding, though I've always loved the experimental side of Jerry Goldsmith--I count the HAWKINS/WINTER KILL/BABE among my all-time favorite FSM releases. It's odd, but I used to despise scores without discernable melodies, sweeping strings, and triumphant end titles. I can barely listen to stuff I used to like such as Rambo, Star Wars, et al. Maybe it's burn out, but I believe I've just experienced a "sea change" in what I like.
As for familiarity in a composer's work, I like being able to hear the genesis of a future theme or cue in an earlier work.
I always thought that ONE LITTLE INDIAN's main title sounded like the first few bars of the Hawaii Five-O theme!
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Posted: |
Dec 29, 2010 - 5:53 AM
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By: |
Jim Phelps
(Member)
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"As for familiarity in a composer's work, I like being able to hear the genesis of a future theme or cue in an earlier work."
-----------------------------------------
You and me both mate!
That's a trait I have. I'm always hearing the odd chord progression or key changes, maybe three notes here, that instantly take me to another score from before or after. It used to bug me, but now I've learned to let it flow. Apart from one thing...being a Horner fan, it damn near drove me INSANE!!!!
It goes way back with Goldsmith. As much as I love the CAIN'S HUNDRED scores, I've said that if John Rambo's father was a crusading-against-the-mob attorney, his theme would be that of Cain's Hundred. Listen to it, it's there!
It's probably just me, but I prefer the experimental/less known Jerry G. scores over the better-known work that gets this board so...excited. Hold the First Blood, pass the Winter Kill! 
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If Jerry Goldsmith had ever scored one of those ITC action series from the 60's....this is what it would have sounded like 
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