 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Thanks for posting this, LC - I had been searching for this every so often, but I guess it had been more than a year since I had last looked.
By the way, the used CD is on Amazon for cheap (or at least no more expensive than when new). I love this kind of Goldsmith, and the album has been getting a regular spin every so often since its release.
|
|
|
|
|
|
|
|
|
|
My new copy plays fine in my blu ray machine - no problems. Perfectly adequate picture and sound (my standard is anything that looks like an upgrade from vhs). I find I enjoy this movie more each time I see it, even though I'm mixed at best on conspiracy thrillers. This is the only one I find even moderately persuasive.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I dont think you'll see William Conrad or Glenn Ford in another film looking as grotesque as in the talk show scene.
Haha! Great scene. Very prescient.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I can't believe I've posted so little in this thread. (though it started back in the days when I posted rarely if at all - I skulked around here for a decade before I started adding my own fabulous insights.  )
Just gotta say these are a couple of my favorite Goldsmith scores released in the last decade or so. And I was just astonished when they were released. Would never have guessed that such obscure TV movies would ever get released - but that's Goldsmith for you. I kinda picked the perfect favorite composer, as it happens!
Brotherhood is also my favorite, and in many ways for me one of his spookiest scores - probably because it accompanies such superficially banal proceedings (with such an ugly undertone).
Great fun every time I give it a virtual spin.
|
|
|
|
|
|
I enjoyed the Goldsmith Odyssey Interviews podcast with Bruce Broughton, who recalls visiting the recording sessions for Bell, and marveling at how innovative the techniques that Goldsmith used were.The notes for the copyist were bewildering!
Step Out of Line featured Peter Falk prominently, and it occurred to me that the score would actually fit Columbo very well. Maybe not perfectly, but it gives you a good idea I think what a Goldsmith-scored Columbo might have sounded like. Maybe a little less abstract.
Would these scores have been recorded in mono? Or is that just what survived?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Getting on ten years ago (!) I posted on this very thread that this release was possibly my favourite score CD of 2010. Ten years later it's one of my favourite score releases of all time! Such a perfect pairing, a wonderful listen from beginning to end.
It's amazing (for me anyway) to listen to JG's output from around that period of time. Apart from BROTHERHOOD and STEP (which were well above average anyway for TV Movies), he did so much amazing stuff for the small screen, and very often for less than inspiring series. I suppose the same could be said of the music he wrote for big-screen dross, but in the case of (off the top of my head) POLICE STORY (cops on the telly), BARNABY JONES (milk-supping old geriatric), HAWKINS (stuttering old geriatric)... to hear the amount of intricate work that went into the writing of what would have been (then) seen once on a tiny little TV by the tone-deaf billions, it boggles my mind. He could so easily not have bothered.
JG's output was so huge over a whole spectrum of genres and a fairly large span of time that it's unsurprising that he wrote a fair amount of average stuff. But just centering on those '70s telly years alone shows that when he was at the peak of his powers he could be a brazen genius.
I'm gonna listen to that BROTHERHOOD/STEP CD again right now. It's so freakin' astounding!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
