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 Posted:   Dec 31, 2017 - 5:16 PM   
 By:   Tom Servo   (Member)

I'm looking for the recording dates for Goldsmith's scores in 1982 and out of the five films released that year - POLTRGEIST, NIMH, THE CHALLENGE, FIRST BLOOD, NIGHT CROSSING - I've only been able to locate this information for three of them, mainly from the helpful liner notes. Is anyone aware of the recording dates for NIGHT CROSSING and FIRST BLOOD?

 
 Posted:   Dec 31, 2017 - 5:43 PM   
 By:   Adam B.   (Member)

Don't forget Inchon.

 
 Posted:   Dec 31, 2017 - 6:08 PM   
 By:   Tom Servo   (Member)

Don't forget Inchon.

Oh shoot, was INCHON also 1982? I totally forgot about that one! Interestingly enough, according to IMDB, it had a premiere in May 1981 in D.C., which if true means that Goldsmith must have written and recorded its music in early 1981.

 
 Posted:   Dec 31, 2017 - 6:12 PM   
 By:   Tom Servo   (Member)

Oh, and checking Doug Fake's comments on their expanded edition, it looks like Goldsmith actually scored this film in July 1980, but then the wide release was delayed 2 years. So it seems I can't really count INCHON as having 1982 recording sessions.

 
 Posted:   Dec 31, 2017 - 6:28 PM   
 By:   Adam B.   (Member)

So it seems I can't really count INCHON as having 1982 recording sessions.

This is why I don't make my living writing liner notes. smile

 
 Posted:   Dec 31, 2017 - 6:45 PM   
 By:   Basil Wrathbone   (Member)

Is anyone aware of the recording dates for NIGHT CROSSING and FIRST BLOOD?


They were both recorded at Abbey Road Studios. They probably get plenty of questions about historic recording dates, from writers, students, musicians etc. Maybe an email to them would be helpful, if you can't find the info anywhere else.

 
 
 Posted:   Dec 31, 2017 - 7:13 PM   
 By:   connorb93   (Member)

This is what I have written down so far (yeah, I file this stuff away)


1980:

Masada (April)
Inchon (June)
The Final Conflict (September)

1981:

Outland (February/March)
Night Crossing (June)
The Challenge (November)

1982:

Poltergeist (January/February)
The Secret of NIMH (May)
First Blood (No idea on the date, but the movie came out in October so I'll put it here)
Psycho II (December)

 
 
 Posted:   Jan 1, 2018 - 8:03 AM   
 By:   DavidCorkum   (Member)

The Salamander would be between The Final Conflict and Outland, and Raggedy Man between Outland and Night Crossing.

 
 
 Posted:   Jan 1, 2018 - 2:02 PM   
 By:   connorb93   (Member)

The Salamander would be between The Final Conflict and Outland, and Raggedy Man between Outland and Night Crossing.

That would have left him very little downtime between assignments then. I'm amazed this guy had such a schedule and still had 5 kids.

 
 Posted:   Jan 1, 2018 - 4:35 PM   
 By:   Mike Matessino   (Member)

I can only provide Poltergeist: January 25, 26 & February 8 and 9, 1982.

 
 
 Posted:   Jan 1, 2018 - 7:06 PM   
 By:   Paul MacLean   (Member)

This is what I have written down so far (yeah, I file this stuff away)


1980:

Masada (April)


I'm curious, do you know when Goldsmith recorded the Masada album? Was it done when he was in London for The Final Conflict?

 
 Posted:   Jan 1, 2018 - 10:00 PM   
 By:   Tom Servo   (Member)

I can only provide Poltergeist: January 25, 26 & February 8 and 9, 1982.

Thanks Mike!

 
 
 Posted:   Jan 2, 2018 - 9:17 AM   
 By:   Kev McGann   (Member)

Cool thread.
It's fascinating to read how Goldsmith would split himself into 4 or 5 throughout the year to deliver these powerhouse scores.
Also, what with schedule changes and last minute re-shoots (and all this before todays digital mixing, mock-ups and communications systems), it's quite the balancing act to not only write and record 3-5 scores a year, but have them sound so ABSOLUTELY FU&%ING BRILLIANT to boot.

 
 Posted:   Jan 2, 2018 - 11:18 AM   
 By:   Tom Servo   (Member)

Cool thread.
It's fascinating to read how Goldsmith would split himself into 4 or 5 throughout the year to deliver these powerhouse scores.
Also, what with schedule changes and last minute re-shoots (and all this before todays digital mixing, mock-ups and communications systems), it's quite the balancing act to not only write and record 3-5 scores a year, but have them sound so ABSOLUTELY FU&%ING BRILLIANT to boot.


Agreed! I'm collecting this information for a particular reason, but it is interesting to chart his compositions across a year or two, what styles he was working through, what scores influenced each other, etc. Goldsmith was an admitted workaholic, seemingly happiest when writing music for a project and pretty consistently was composing for one film or another at all times. With such consistency and so much music he provided, it's fascinating to find the links between the scores, the stylistic idioms shared among them as his interests shifted, such as the Debussey-esque harmonic qualities heard in POLTERGEIST as well as THE CHALLENGE, in those string sonorities.

 
 
 Posted:   Jan 2, 2018 - 1:19 PM   
 By:   Kev McGann   (Member)

Yeah Tom, absolutely.
I store my film score CD's in compositional date order (as best I can) and I love taking a handful of scores from certain periods and hearing what must have been cooking in Goldsmiths brain at those times.
You can hear trace elements of ideas spread over various scores that link them.
My favourite JG period is deffo late 60's to early 80's and hearing the influences of the stuff he must have been listening to and filtering into his scores is a blast and offers up endless joy and fun.

 
 
 Posted:   Jan 2, 2018 - 1:58 PM   
 By:   Simon Gomersall   (Member)

The Salamander would be between The Final Conflict and Outland, and Raggedy Man between Outland and Night Crossing.

I have the impression The Salamander was recorded in Rome during April 1981, right after he finished work on Outland: the liner notes for the FSM release of the latter mentions that the reason Morton Stevens had to step in when Peter Hyams decided to make changes, was that Goldsmith was already working on "the Korean War epic, Inchon" - but Inchon was done and dusted in July 1980? Maybe someone (I won't say who) got their wires crossed, and confused one Rome recording with another.

Regarding the Masada album recording, the original sleeve notes indicate it was recorded in London by Eric Tomlinson, but edited and mixed by Frederico Savina in Rome - presumably around the same time as The Salamander was being recorded, and Masada aired on US TV?


SG

 
 
 Posted:   Jan 3, 2018 - 5:25 PM   
 By:   Paul MacLean   (Member)


Regarding the Masada album recording, the original sleeve notes indicate it was recorded in London by Eric Tomlinson, but edited and mixed by Frederico Savina in Rome - presumably around the same time as The Salamander was being recorded, and Masada aired on US TV?


That would seem to make sense. Thanks!

The Masada album certainly seemed to make the rounds -- recorded in London, mixed in Rome, mastered in Glendale!

 
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