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Onya has very specific tastes.  But Caboblanco is one I think he might like.
Onya, have you ever tried City Hall?
Yavar
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Yes, I played the Prometheus edition last night and was surprised at how short the actual, dramatic score is, when you take out the song, source cues and 'The Very Thought Of You' renditions.
There's only about 25 minutes of 'prime' Goldsmith score.
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And unless Onya gets the latest Intrada CD edition (OOP now alas, but by far the best sounding release) he will be missing two of the source cues he's so interested in (plus one 90 second score cue).
Yavar
You're absolutely right, Yavar; I was off-track in predicting earlier that two HARM'S WAY underscore cues would be Onya's favorites, since all this started with his taste for Hawaiian source music. And at that, it's Goldsmith's 2nd Hawaiian cue (which we never had until Intrada's revised CD edition) that became one of my favorite pieces from the score when I finally saw the picture again in 1993.
But as promised, Yavar, I did return to the neglected CABOBLANCO this morning for the first time in many years. I confess finding it easily better than I remembered -- including both your "Beckdorf's House" and "The End of Beckdorf." I suspect that as time elapsed, my impression of the score got unfairly influenced by remembering my dislike of the film, for its being such a lazy, unimaginative reworking of the superior CASABLANCA (as well as for my subjective aversion to seeing my favorite actor, Jason Robards, cast as a villain). I think the underrated FOREVER YOUNG (1992) made a much more effective use of Billie Holliday's rendition of "The Very Thought of You" than by Goldsmith's working the melody into his CABOBLANCO material. Last, "Heaven Knows" is a rare original Goldsmith song that I didn't like -- and still don't.
But in a noticed contrast to ISLANDS IN THE STREAM (one of my favorite movies and Goldsmith scores), I find I now appreciate how the composer depicts a sense of the ocean as a dangerous, malevolent environment in CABOBLANCO's frogmen sequences.
I blew off the LLL expansion when I saw it... but now I have to reconsider it. Even if I don't go for its new issue, Yavar, I thank you for redirecting me to a score that I certainly will listen to more in the future than I have made time for in decades!
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You're welcome -- I'm glad you decided to reassess the score and ended up getting so much enjoyment out of it!
If you haven't listened to them in a while, I would also recommend a revisit to High Velocity and Breakout, which I regard as even better "sister scores" to this one.
Yavar
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Yes I agree with YAVAR. This is like one part of a trilogy score.
CABOBLANCO_HIGH VELOCITY and BREAKOUT.
All three are fantastic
CABOBLANCO is a lot bigger score than HIGH VELOCITY and BREAKOUT. National Philharmonic Orchestra as I recall.
The action music is more akin to PAPILLON than HIGH VELOCITY or BREAKOUT. Do love the Hispanic element in all three, but the over-the-top Flamenco main title in CABOBLANCO is Goldsmith at his explosive best. It does for tango what THE BOYS FROM BRAZIL did for waltz!
One of my top ten Goldsmith favorites.
SCOTT
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Yes I agree with YAVAR. This is like one part of a trilogy score.
CABOBLANCO_HIGH VELOCITY and BREAKOUT.
All three are fantastic
CABOBLANCO is a lot bigger score than HIGH VELOCITY and BREAKOUT. National Philharmonic Orchestra as I recall.
The action music is more akin to PAPILLON than HIGH VELOCITY or BREAKOUT. Do love the Hispanic element in all three, but the over-the-top Flamenco main title in CABOBLANCO is Goldsmith at his explosive best. It does for tango what THE BOYS FROM BRAZIL did for waltz!
One of my top ten Goldsmith favorites.
SCOTT
Nicely put.
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You're welcome -- I'm glad you decided to reassess the score and ended up getting so much enjoyment out of it!
If you haven't listened to them in a while, I would also recommend a revisit to High Velocity and Breakout, which I regard as even better "sister scores" to this one.
Yavar
Not sure about better, but fantastic works to be sure. Your earlier enthusiastic commentary on these scores motivated me to give them a spin. They do not disappoint,
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I have the Prometheus disc and like the score. Is the LaLa release expanded ? Without a significant expansion, I see no need to go for this new release.
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CABOBLANCO is a lot bigger score than HIGH VELOCITY and BREAKOUT. National Philharmonic Orchestra as I recall.
Actually while Breakout is Hollywood studio musicians, I'm pretty sure High Velocity is National Philharmonic:
http://www.movie-wave.net/titles/high_velocity.html
I think it gets pretty big in sound at times. High Velocity is my favorite of the three. Breakout took the longest to grow on me (it's a lot of suspense music) but at some point it just really clicked and now I love it almost as much as High Velocity. Caboblanco is great too; I just don't love it quite as much as the other two for whatever reason.
Not sure about better, but fantastic works to be sure. Your earlier enthusiastic commentary on these scores motivated me to give them a spin. They do not disappoint,
Yeah I'm not making a case that they are objectively better than Caboblanco; they're just better *to me* (hence my taking care "which I regard as"). Did you lose part of your sentence there, or was your comma at the end supposed to be a period?
I have the Prometheus disc and like the score. Is the LaLa release expanded ? Without a significant expansion, I see no need to go for this new release.
From the comments by Neil and Jeff who worked on this release, it sounds like in terms of original score this is only slightly expanded, but if taking into account previously unreleased source music (including one original piece by Jerry) this will be a substantially longer disc.
Yavar
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CABOBLANCO is a lot bigger score than HIGH VELOCITY and BREAKOUT. National Philharmonic Orchestra as I recall.
Actually while Breakout is Hollywood studio musicians, I'm pretty sure High Velocity is National Philharmonic:
http://www.movie-wave.net/titles/high_velocity.html
I think it gets pretty big in sound at times. High Velocity is my favorite of the three. Breakout took the longest to grow on me (it's a lot of suspense music) but at some point it just really clicked and now I love it almost as much as High Velocity. Caboblanco is great too; I just don't love it quite as much as the other two for whatever reason.
Not sure about better, but fantastic works to be sure. Your earlier enthusiastic commentary on these scores motivated me to give them a spin. They do not disappoint,
Yeah I'm not making a case that they are objectively better than Caboblanco; they're just better *to me* (hence my taking care "which I regard as"). Did you lose part of your sentence there, or was your comma at the end supposed to be a period?
I have the Prometheus disc and like the score. Is the LaLa release expanded ? Without a significant expansion, I see no need to go for this new release.
From the comments by Neil and Jeff who worked on this release, it sounds like in terms of original score this is only slightly expanded, but if taking into account previously unreleased source music (including one original piece by Jerry) this will be a substantially longer disc.
Yavar
Period.
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Someone should put together an album specifically of Jerry's Latin/Hispanic/Spanish cues.
They pop up everywhere -- even in SOARIN' OVER CALIFORNIA -- and they're always very good, possibly because Jerry was a native Angelino.
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Oh, totally -- I've often thought about making that playlist. Let's see...the specific scores those could be pulled from:
Hallmark Hall of Fame (radio show) "Simon Bolivar" (1954)
CBS Romance (radio show) "Cordova" / "Cordoba" (1954)
CBS Romance (radio show) "The Guitar" (1956 -- we think this was Jerry's first collaboration with the great Laurindo Almeida)
Hour of the Gun
Bandolero!
100 Rifles
Breakout
High Velocity
Caboblanco
Under Fire
Medicine Man
Soarin' Over California (just for a moment, really)
Those are off the top of my head...trying to remember if there are really Hispanic sounding cues in Rio Conchos or any other westerns... does Bad Girls maybe have a bit?
Yavar
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