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 Posted:   Oct 6, 2010 - 7:46 AM   
 By:   Maleficio   (Member)

Mmm, the two of you gave perfectly reasonable explanations.
Yet I have some doubt. Think about:

Escape From The Planet Of The Apes

highly requested, over-the-top jerry's score, never before released and still available after many months (400 copies).


I don't think it was that highly requested, and a suite featuring more than have of the music was already available on CD.

 
 Posted:   Oct 6, 2010 - 7:47 AM   
 By:   Stephen Woolston   (Member)

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

 
 Posted:   Oct 6, 2010 - 7:57 AM   
 By:   Loren   (Member)

I don't think it was that highly requested, and a suite featuring more than have of the music was already available on CD.

Right, I forgot this element (I shouldn't, since I have that CD).

 
 
 Posted:   Dec 18, 2010 - 12:06 PM   
 By:   Graham S. Watt   (Member)

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.

 
 Posted:   Dec 18, 2010 - 12:27 PM   
 By:   mark ford   (Member)

Definitely my favorite Goldsmith release of 2010! Hearing scores such as these, while adding them to the mix of his other diversely styled scores, does much to show what an incredibly talented composer he was. His range was so vast and his superb abilities nearly always rose to meet or exceed expectations, especially when there was a big challenge or a chance to experiment and push the envelop. No other film composer comes close to awing me like Goldsmith does and scores such as these are just a small reason why.

 
 
 Posted:   Dec 18, 2010 - 1:05 PM   
 By:   Graham S. Watt   (Member)

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.

 
 Posted:   Dec 18, 2010 - 2:30 PM   
 By:   Loren   (Member)

I received these Jerry's soundtracks two days ago and I am amazed.

Together with Kritzerland Whisperers/Equus they are the most corageous releases of the year. Not at all easy listening but, for once, we can take a break off easy tunes and restore the spirit.

Everybody should have a copy in his own collection.

 
 
 Posted:   Dec 18, 2010 - 4:36 PM   
 By:   filmusicnow   (Member)

Both BROTHERHOOD OF THE BELL and THE MEPHISTO WALTZ were directed by Paul Wendkos.

Wendkos evidently was happy with Goldsmith's BELL score and asked him to score MEPHISTO the very next year for him.

I believe they possibly first met and worked together in early TV, on PLAYHOUSE 90, STUDIO ONE, G.E. THEATRE or CLIMAX.


Paul Wendkos also directed the 1968 Pilot for HAWAII FIVE-0 - he also directed the 1972 TV movie, "The Strangers In 7A", that starred Andy Griffith and featured a wonderful score by Morton Stevens...:-)


Goldsmith first met Stevens at Revue Television, and was a mentor of sorts to Stevens.

 
 
 Posted:   Dec 18, 2010 - 5:15 PM   
 By:   peterproud   (Member)

I received these Jerry's soundtracks two days ago and I am amazed.

Together with Kritzerland Whisperers/Equus they are the most corageous releases of the year. Not at all easy listening but, for once, we can take a break off easy tunes and restore the spirit.

Everybody should have a copy in his own collection.


Courageous... I like that! Shows how much passion these labels have for releasing music by this brilliant composer. All I can say is that after I listened to this release, the Step Out Of Line jazz theme was running through my head for DAYS - which amazingly is simply a riff on a minor triad but Goldsmith makes it so much more than that! This happened for me many times when Jerry was alive and a new score of his appeared - I'd listen and be captivated again and again. I've never understood those that thought Goldsmith wasn't one of film scoring's better melody writers - his tunes may not have instant appeal (on occasion), but given a chance I find they resonate with me as much as any classic Mancini, Barry or Williams melody that has captured me from first listening.

 
 Posted:   Dec 27, 2010 - 8:26 AM   
 By:   Jim Phelps   (Member)

I was overwhelmed with "stuff" back when this was announced in September, so I didn't get around to ordering it until now.

This is Goldsmith in my favorite mode: experimental, the "Baroque Jazz Melncholy" sound, lots of keyboards, shifting sound textures, eerie atonalities, and swinging breaks. I've heard the samples, but will discuss this score in more detail once I get it.

It's hopelessly outdated and old fashioned to talk about the actual music on this tired old board, but I'll keep on plugging away. big grin

 
 Posted:   Dec 27, 2010 - 10:27 AM   
 By:   wayoutwest   (Member)

Excellent Jim was also overwhelmed with releases earlier in the year and gave up buying any cds for awhile four months in fact where I had ordered nothing from SAE,but I have sinned since. lol
Many thanks to Graham for bumping this thread had not even listened to the samples of this one before and after checking them out knew this one was for me too.

The main title is very Lovely and those other tracks have a Schifrin flavour with a touch of darkness almost like an Italian giallo score.Or at least that is what I'm feeling really looking forward to hearing it in full.
Certainly sounds like one of his most interesting scores.

 
 Posted:   Dec 27, 2010 - 10:42 AM   
 By:   Jim Phelps   (Member)

The main title is very Lovely and those other tracks have a Schifrin flavour with a touch of darkness almost like an Italian giallo score.Or at least that is what I'm feeling really looking forward to hearing it in full. Certainly sounds like one of his most interesting scores.

There's more than a touch of that wonderful The Last Run in Step Out of Line and coming from Jerry's fertile early '70s period, I'm not surprised.

Speak o' the devil! Intrada just sent my "fulfilled" email! smile

 
 Posted:   Dec 27, 2010 - 11:07 AM   
 By:   wayoutwest   (Member)

Lucky you my order is waiting for Casino Royale I'll probably not get to hear this for another two or three weeks.

What's with that old fashioned nonsense I'm glad I got stuck in one of the good Grooves. wink

 
 
 Posted:   Dec 28, 2010 - 12:55 PM   
 By:   Kev McGann   (Member)

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!

 
 Posted:   Dec 28, 2010 - 1:11 PM   
 By:   Jim Phelps   (Member)

Face it Kev, you're a warm-hearted sap! wink

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!

 
 
 Posted:   Dec 28, 2010 - 1:18 PM   
 By:   Kev McGann   (Member)

"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!!!! wink

 
 Posted:   Dec 29, 2010 - 4:53 AM   
 By:   Jim Phelps   (Member)

"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!!!! wink


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! cool

 
 Posted:   Jan 4, 2011 - 6:11 AM   
 By:   Jim Phelps   (Member)

The solo piano rendition of "A Step Out of Line" (track 6) has shades of Joe Harnell's Incredible Hulk "Lonely Man" theme and is as haunting a piece as I've ever heard.

On top of that, there's no crap Dan Hill vocal with wretched lyrics to destroy the melody!

 
 Posted:   Apr 17, 2011 - 9:51 AM   
 By:   Jim Phelps   (Member)

It bears repeating, kids: I simply love the jaunty, stop-and-start, quasi Baroque style of these two scores. It's what Derek Flint music would sound like if he continued into the glory of the early '70s, with all those Neo-Edwardian clothes styles, but with a sense of melancholy that the 1960s were now over.

 
 
 Posted:   Apr 17, 2011 - 11:12 AM   
 By:   Simon Morris   (Member)

If Jerry Goldsmith had ever scored one of those ITC action series from the 60's....this is what it would have sounded like big grin

 
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