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My friend David Lichty did a bit of math on this… totaling up just the previously unreleased Goldsmith here, it’s longer than the entire Shamus album, which cost $2 more. Now Shamus is an awesome score and worth every penny despite its brevity, don’t get me wrong. It’s just amazing that there was so much unreleased from this. When I interviewed Robert Townson a couple years ago he’d estimated there were maybe 15-20 minutes unreleased from the score.
Yavar
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Do we have a cue breakdown? Just wondering if some of the album tracks might be comprised of multiple cues…
Here you go:
1-1 "Family Album (revised)," 2 pages
1-2 "The Posters," 2 pages
1-4/2-1 "The Assassination," 2 pages
2-3 "The Note (second revision)," 2 pages
3-1 "On the Bus (revision)," 2 pages
3-2/4-1 "You Win (second revision)," 2 pages
4-2 "The Accident," 4 pages
4-3 "First Words," 1 page
4-3a "The Photos," 2 pages
5-1 "Lost Luggage," 12 pages
6-1 "Repairs," 2 pages
7-1 "I Don't Mind," 1 page
7-3 "The Map," 1 page
8-1 "What's Going On?," 2 pages
8-2 "Roadside Incident," 4 pages
9-1 "The Visitors," 2 pages
9-3 "Pretending," 2 pages
10-1 "We're Not Alone (revised)," 3 pages
10-2 "Staying Behind," 2 pages
11-1/12-1 "The Motel," 10 pages
12-2 "The Locket," 2 pages
12-3 "Return Visit," 5 pages
Source: http://collections.new.oscars.org/Details/Archive/71302980
https://docs.google.com/spreadsheets/d/1QYA6aHxWNAfm5LarLdJyNpHZaoKQIra3hu_BOsDpbzQ
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What the H- never even heard of the movie. 90's Goldsmith-blech.
Have fun Jerry "Action Music" Goldsmith freaks!!
While there is indeed some good 90s Goldsmith action in this score, more of it is along the lines of the Varese write-up: "Goldsmith composed a tender Americana score for Love Field, with 'b]lyrical strings and bluesy piano offering warmth and period flavorings, not unlike his gentle, humanistic music for actual 1960s dramas."
Actually this score has a ton of variety in it. Should appeal to fans of his action music and fans of stuff like Rudy... but for me the most unique thing about it is the bluesy writing which is really cool.
Wouldn't "never even heard of the movie" apply to like 85% of Goldsmith? Why would that matter? (I've heard this movie is actually good, though -- I'm going to watch it this weekend and will report back for anyone interested.)
So you're getting a little over 20 minutes of unreleased Goldsmith and about 15 minutes of the Payne stuff. Most of the Goldsmith unreleased cues are about 1 minute to a minute and 1/2. Maybe one is 3 minutes plus.
Look again, my friend. It's a little over 26 minutes of previously unreleased Goldsmith (the original album was only 28.5 minutes). The Payne stuff is almost 17 minutes. The previously unreleased cues are mostly between 1 and 2 minutes in length, but aside from the 3:24 important cue "The Accident" which you point out, the real biggie is that "Lost Luggage" here is 10:33 instead of the 3:26 it was truncated to on the original album. It's over seven minutes *longer* of sustained Jerry now...
Yavar
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Kinda reminds me of his later Bad Girls score for the same director: there are a few parts where the theme can get a bit too sickly sweet in that for me too, in a dated 90s way. (Maybe director Jonathan Kaplan liked this kind of sound; may have put something similar sounding in the temp?) But then the rest of that score (the vast majority of it) I think is awesome (especially The Ambush).
This score similarly has a lot of variety and I don't think the stuff you hate is a particularly large percentage of it. But as soon as I listen I will report back and let you know how many of the new tracks have similar music to that.
Yavar
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Wow! Another Goldsmith. Crazy times. Very happy to order another JG from Varese. Would have left off the Bill Payne stuff. Remember being angered by the piano source music replacing JG. Very insulting in my opinion. Awful in the film. Lounge music.
The problem is that not everyone agrees, though -- Roger at Intrada wrote the following 3.5 years ago:
"I just finished revisiting this film, and I admit having completely forgotten what this film was about. The score is what I imagine Goldsmith would have written had he scored To Kill a Mocking Bird. It's full of tenderness, pain and human warmth. Something you don't hear much these days. Interestingly, I infer the film was partially rescored, as throughout the film there is a piano score that is clearly not Goldsmith. Turns out it was written by Bill Payne. Some very nice piano music, in fact. It was used over the end credits instead of what Goldsmith wrote. There's some pretty stuff there and I imagine if you were an average Joe picking up the soundtrack after seeing the film and not hearing Payne's work on the album you'd be mighty disappointed. Naturally the CD has a lot of the Goldsmith music cut from the film. There are some wonderful Goldsmith cues in the film not on the album. Given the album is only 29 minutes long...there was definitely room to include them, but probably another victim of AFM fees at the time. Not knowing how much music was recorded and not in the film or CD, it's hard to say how long the score really is. But an expanded edition would be great, including a separate section for the Payne score. Should all fit on one CD. I checked...it's still controlled by Varese. But everyone is clamoring for expanded issues of Air Force One, Small Soldiers, The Mummy, US Marshalls (as am I), but let's not forget this small gem. It's every much as worthy."
http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=7704
It's not as if the Bill Payne music would ever get released on its own, so the only way it was ever going to come out was on this release. I'm happy for the people who wanted it and I'm curious to hear it. And in my iTunes, I'll just make it a separate album (if I decide to keep it imported at all). People who play off the CD can always press stop after Track 22. IMO Varese deserves kudos for going the extra mile to include other score that's in the film. I don't think it's about disrespecting Jerry. They released the Brian Tyler score to Timeline as well as Jerry's, and it wasn't an insult to Jerry. And unlike the Tyler score, the Bill Payne stuff wouldn't have sustained an album on its own.
Goes both ways, too: I was glad when Intrada included the Jarre River Wild score along with the expansion of Goldsmith's replacement music. Don't think that was about being disrespectful to either composer. I would've been happy for Varese to include the Randy Newman Air Force One along with the Goldsmith/McNeely score Deluxe Edition, and if they ever work out a deal with Disney to expand The 13th Warrior, I personally would love it if they included the Graeme Revell score.
Yavar
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Do we have a cue breakdown? Just wondering if some of the album tracks might be comprised of multiple cues…
Here's another version. Jason's may have been just what you wanted, but in case this different view helps, here you go. These titles, and their sequence, exactly match the Academy list Jason posted, and aside from Lost Luggage, the cues shared by both albums are exact matches, with Luggage now being three times longer. Here's the list with new stuff in bold:
1. FAMILY ALBUM (1:48)
2. THE POSTERS (1:38)
3. THE ASSASSINATION (2:28)
4. THE NOTE (1:16)
5. ON THE BUS (1:56)
6. YOU WIN (1:52)
7. THE ACCIDENT (3:24)
8. FIRST WORDS (1:08)
9. THE PHOTOS (1:17)
10. LOST LUGGAGE (10:33) (7:11 of this is new)
11. REPAIRS (1:02)
12. I DON'T MIND (:36)
13. THE MAP (1:05)
14. WHAT'S GOING ON? (1:08)
15. ROADSIDE INCIDENT (2:44)
16. THE VISITORS (1:43)
17. PRETENDING (2:07)
18. WE'RE NOT ALONE (2:32)
19. STAYING BEHIND (1:34)
20. THE MOTEL (6:29)
21. THE LOCKET (1:22)
22. TOGETHER AGAIN (5:37)
Original varese ~28:30
New release is ~ 55 min.
New Goldsmith ~26:30
Plus the 17-ish minutes of music not by Goldsmith, but from the film and never available to those who fell in love with it when they saw the thing.
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