The fact that he had some kind of arrangement with Yamaha - leading to a "Digital keyboards by Yamaha" credit in the closing titles of several of his 80s films - probably played a part too.
Like Company Business a few months ago, this was always going to be an immediate purchase for me.
Probably the first Intrada album I bought (originally on cassette, then CD). And though I did also buy the LLL expansion, I just had to triple dip for this one. For the expansion, arrangement, and the original very effective album.
And now I'm listening to the samples, and as with Company Business, I am surprised that an already good-sounding album sounds even better. I know this one by heart, and I'm still hearing new things.
So great to show Intrada more support for a soundtrack I've long loved. As I love every period of Goldsmith, first score to last, acoustic or electric. He's numero uno in my book (and I've got a mighty thick book!).
Like Company Business a few months ago, this was always going to be an immediate purchase for me.
Probably the first Intrada album I bought (originally on cassette, then CD). And though I did also buy the LLL expansion, I just had to triple dip for this one. For the expansion, arrangement, and the original very effective album.
And now I'm listening to the samples, and as with Company Business, I am surprised that an already good-sounding album sounds even better. I know this one by heart, and I'm still hearing new things.
So great to show Intrada more support for a soundtrack I've long loved. As I love every period of Goldsmith, first score to last, acoustic or electric. He's numero uno in my book (and I've got a mighty thick book!).
I just received Company Business today and I’ve been really digging it. Sounds like a hybrid Die Hard score. The sound quality is outstanding.
The fact that he had some kind of arrangement with Yamaha - leading to a "Digital keyboards by Yamaha" credit in the closing titles of several of his 80s films - probably played a part too.
Goldsmith was an official spokesperson for Yamaha during that time. He went to conventions representing them. But I don't think that created an obligation to use them in his work, he just honestly liked them. Personally, I wish he never gave up using the echoplex!
I played my whittled edition of this score last night (8 tracks totalling around 30-35 minutes). It has always reminded me of a RAMBO sequel score with some UNDER FIRE thrown in for good measure...and it still does. But I'd forgotten how much the synth blasts recall INNERSPACE. Since I enjoy all three of the scores listed above, I quite like EXTREME PREJUDICE too. It's nothing groundbreaking or earth shattering, but it does its job and makes for a decent listen on its own. Can't say fairer than that.
Arrived today. As you can see from the above pic, it looks great, very nice liner notes as well. And it sounds fantastic. I've always enjoyed the score , it captures that steamy, humid sun-baked feel of the movie. It is synth heavy, that's what Walter Hill wanted from Goldsmith, not dominant orchestra, ( if Ry Cooder had stayed on the film it would have been another bluesy styled score I guess) and for me it works great. The Plan is one of his best cues ever, a great example of building tension and suspense over 7 or so minutes and finally exploding in 90 seconds of hammering action writing. Well done, Intrada, a triple dip for me, but worthwhile. Good to see others who also dig this one.
