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Indeed James it is.
But it's probably down to his exposure and availability of scores available.
I played everything I have by him on CD this week and I was done in 2 hours!!
That was Duel, Busting and the stuff on the FSM TV Omnibus.
I even ordered a copy of Around The World In 80 Days, but it ain't arrived yet.
So until the labels re-issue those old LPs or dig up some premiere releases (and his name doesn't start with Jerry or end in Goldsmith, so don't hold your breath) it looks likely to stay that way.
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Hey don’t forget his three Amazing Stories scores, Kev!
Yavar
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Thanks Yavar, I forgot about the Amazing Stories* anthology!
Will dig them out this week, that might take me to two and a half hours!! 
*and there's some more annoying JG synth use...Boo!!!
Kev - on August 5 you replied that you had all the ones I mentioned in my post, and I included the Amazing Stories scores, even naming the episodes. How could you "forget" so quickly? Unless you didn't really read my post. Few people do, but they don't know what they're missing.
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I'm mostly familiar with this work for the "Around The World In Eighty Days" re-make (which was on TV when I was a youngster) and his stuff for "Columbo." Hopefully, the "Columbo" gap will be filled sooner or later. It has been requested by fans again and again...
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I was wondering if that very recognisable Goldenberg sound of the '70s (usually denoting some kind of mysterious or supernatural background) had ever really been influential on other composers' output.
There's actually only one thing that comes to mind. Unfortunately it now seems to have disappeared from YouTube, but I posted a link months ago asking if the music used in some copies of the 1968 Boris Karloff/ Christopher Lee film CURSE OF THE CRIMSON ALTER (or THE CRIMSON CULT) actually WAS lifted directly from a Goldenberg score. The Peter Knight score which was attached to the film that I had been familiar with all my life had been replaced by an uncredited composer. It was SO like Billy Goldenberg!
The answer was that it was a Kendall Schmidt concoction. Full marks to him for copying "that" style of Goldenberg's so well. But I can't think of anything else which seemed to mimic those same chordal changes and intervalic leaps.
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Aye Graham, you did mention the Amazing Stories scores in that thread, and I did read it, but, by the time I arrived in my soundtrack den (many, many minutes later) I didn't venture near my VAST John Williams section, which is where the 3 Amazing Stories collections are kept (for reasons that only make sense to me).
And now, the G-kids are en route to our humble abode (for a sleep over too, no less), so it's gonna be Tuesday before I get anywhere near my soundtrack den again.
I'm currently planning the back garden with ladders, chairs and obstacles and all manner of madness, so they can play The Floor Is Lava (it will actually be the grass that is lava), something they watch on Netflix and love.
Good Times 
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I regretfully join you in booing Boo!, Kev.
I guess it’s not exactly awful, but it’s probably my least favorite score on the three Intrada Amazing Stories sets (ones left off the sets might be worse).
It’s certainly and easily my least favorite score Jerry ever wrote for Joe Dante.
It’s probably on my Jerry Goldsmith bottom five, I’m sad to say. Such a shame it was his episodic TV scoring swansong (pretty sure he only did three TV works afterwards, all themes)...when early in his career he had written such consistently brilliant works for anthology series the likes of Playhouse 90, Twilight Zone, Thriller, etc. The difference is stark.
Billy Goldenberg’s Amazing Stories scores are far more interesting.
Yavar
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Just this week I ripped my copy of the Domino Principle LP onto my iTunes. I think I'd been planning to do it even before Goldenberg passed away. (I only just noticed that the front cover says "Sung by Shirley Eikhard" but doesn't mention Goldenberg's name)
I was lucky enough to see The Last of Sheila in a theater (on film!) earlier this year, before the shutdown. "Heathers" screenwriter Dan Waters came up to me before the film and said something like "Why isn't this score available?"
I have always especially loved his Banacek theme, decades before I knew who wrote it (I actually thought it might be Shire, who wrote McCloud).
TV Omnibus Vol. 1 is still one of my favorite FSM releases, because it has obscurities like Goldenberg's High Risk, a score I'd never heard before but is definitely one of those "who else would ever release this?" items.
Having just rewatched the entire original run of Columbo, more than ever I would love a boxed-set of its music, though I certainly understand how the audience might be limited, to say the least.
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And I was also thrilled to also see Busting for the first time this year, in a theater. It reminded me of when Peter Hyams seemed like a promising filmmaker, something hard to say after The Presidio and everything that came after, though Gene Hackman and Bruce Broughton make Narrow Margin palatable (if still an inferior and unnecessary remake). It is nice that Hyams reunited with Goldenberg for his Amazing Stories episode, a segment I remember as not being terrible, at least compared to the rest of that ill-begotten series.
Busting is an odd film. We're supposed to feel bad for our cop heroes, but considering that their jobs seem to consist of harassing sex workers and the patrons of gay bars, maybe they have sh*tty jobs in the first place and would be better off doing something else. Anything else, frankly.
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