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Which takes me back to the title I referred to... Fierce Creatures... I hear NONE of Goldsmith's "trademarks" in that score! I guess that's what I was aiming for in this thread.
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Absolutely true, Yavar, that City of Fear has some prototypical Goldsmith approaches, as do all these early scores. Just not as fully his own sound, that's my take. I already said Messenger is one of the earliest pure forms of JG to my ears.
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But Jim, you must hear "some" of Goldsmith's trademarks even in FIERCE CREATURES. It may not be typical of his output in general, but if you know enough of the composer's work, you wouldn't NOT guess that it was him.... would you?
I'm not comparing you (Jim) to a casual listener, but I'm reminded of my sister-in-law, who knew the name "Lalo Schifrin" because of "Mission Impossible", and was surprised when his name came up on the credits of "The Four Musketeers."
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Posted: |
Jun 7, 2015 - 3:39 PM
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By: |
mgh
(Member)
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I don't get you guys. I.Q. Is my least favorite Goldsmith score on album, but I can still tell Goldsmith wrote it.
I enjoy this score very much and I too can hear Goldsmith very clearly in it.
Also don't get the people who say Goldsmith's voice wasn't fully formed until the mid 60s. Really? Lonely Are the Brave sounds pretty mature to me.
Yes, it does to me too. This is probably his first great score and his fingerprints are all over it. It is pure Jerry.
And is someone going to claim that City of Fear, the earliest available feature score, doesn't have his indisputable fingerprints all over it? I'll grant Studs Lonigan and Adrian Messenger have *parts* that are a bit more atypical of his style perhaps, but even they have a lot of music that screams Goldsmith--particularly the fox hunt in the latter which looks forward to the hunt in The Final Conflict.
It seems to me in City of Fear was Jerry beginning to find his voice. The same for Studs Lonigan. Jerry is in there, but so are some other folks too. Messenger does sound like Jerry to me all the way through it.
The one that caught me off guard was Powder. That, to me, is his most un-Goldsmithian score. But then, in listening to it again, I hear a lot of Jerry in it.
I guess what I am trying to say is that Goldsmith was a master composer, and he was able to unclothe himself of his own trademarks at times and do something to surprise the hell out of us. And that was one of his trademarks.
And, Jim, this was a great idea for thread. Thanks.
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But Jim, you must hear "some" of Goldsmith's trademarks even in FIERCE CREATURES. It may not be typical of his output in general, but if you know enough of the composer's work, you wouldn't NOT guess that it was him.... would you?
I'm not comparing you (Jim) to a casual listener, but I'm reminded of my sister-in-law, who knew the name "Lalo Schifrin" because of "Mission Impossible", and was surprised when his name came up on the credits of "The Four Musketeers."
Tha's a very interesting question, Graham! There's still quite a bit of Goldsmith that I've NEVER heard(astonishing, but TRUE! ), and without knowing what the person was up to, I would love for someone to say, "Hey, Jim... listen to this and see if you can guess who it is", put on some of that aforementioned un-heard Goldsmith, and see if I CAN guess it's him!
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