 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Played this today. Has to be the blandest Goldsmith score I've heard.
|
|
|
|
|
|
Of all the accusations one could level at this score, "bland" is the most surprising I've heard so far...
Yavar
|
|
|
|
|
|
I'm digging this. The electronic "pulsations" and brass rumblings are very SATAN BUG. I love this kind of stuff, but it's also nice when we get lyrical tracks like "No Trouble #2" and "Our Last Night."
Despite the comparisons to THE GODFATHER in the excellent liner notes, the film itself is more like conventional gangster pictures such as THE BROTHERHOOD. Both that and THE DON IS DEAD are nifty entertainments, but not on the level of the grandeur of the GODFATHER films.
|
|
|
|
|
|
|
|
|
|
Oh, I agree that Contract on Cherry Street is better, but that’s honestly one of my favorite Goldsmith scores, a 10/10 for me. Don is more like 7.5/10 in my book, but “bland” just seems like a weird description to level at this. There are three varied lyrical themes in this score that I find very appealing, but apart from that the synth element (which I enjoy less) just seems so unique and frankly experimental in terms of Jerry’s work that I find this a very distinctive score and would never confuse it with any other. I see “bland” as also indicating some degree of being generic, but that’s not the impression I get from this score at all.
Yavar
|
|
|
|
|
|
"how about John Williams' music for Pa Kent's (Glenn Ford) final moments.."
----------------------------
Great memory zoob, but I never considered that Williams was scoring the heart attack, certainly not in the way Horner tackled the event/experience full on in Brainstorm.
Williams feeds off the outer emotions of the whole sequence, from the lovely, gentle then jaunty moments of a father and son chat, his glorious tolling bell (so brilliant I started a whole thread about them) to mark the tragic moment, then the beautifully solemn music to follow the family funeral in Americana-tinged Smallville.
It's a tour De France of exceptional film scoring, a world away from Horner's more visceral take on the subject.
But yes, so many glorious ways to skin a cat.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Played this today. Has to be the blandest Goldsmith score I've heard.
And now you can thank Intrada for bringing Another Jerry Goldsmith's Great Score out in the open!!!
?hose guys would release anything by Jerry Goldsmith no matter what-
?hey would have released Jerry singing in his bathtub for all they care.....
Don't buy these scores, they are not worthy.
Try to buy Essential Scores. Be smart be eclectic and don't let them feed you what
they want you to eat.
There is so much good music out there by great composers of the last 40 years
which remains to be discovered but that ain't gonna happen- at least not as long as Intrada
Is scratching the bottom of the (empty) barrel to release another obscure lame
Score by the most highly celebrated composer....
Intrada SUCKS!
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 9, 2020 - 11:18 AM
|
|
|
|
By: |
.
(Member)
|
I love Intrada. I have dealt with them for many years and have gotten many cherished CD's from them, but I have to agree completely that this release is only for a Goldsmith completist. No surprise that it hasn't been released until now.
I surprise myself by disagreeing. Few here can be as anti-synth as me, especially corny synth from Goldsmith. But I have been playing selected tracks from this CD many times since I received it and, shorn of all the synth cues, the majority of the remainder, with a bit of re-ordering, makes a nicely-balanced and very enjoyable suite in its own right. Yes, only 21-minutes long, but if it was a 20-minute TV episode score, it would be getting some praise I think. Sounds to me that Goldsmith created a neat, brief acoustic score and then added a few anonymous-sounding synth-laden tracks with no specific thematic connection to anything.
Perhaps try out this selection (in the order indicated) before you write it all off:
Our Last Night (vocal version)
No Trouble #2
The Meeting
The Beating
Angie's Home
The Set-Up
Anything She Wants
Final Meeting
End Title
Our Last Night (instrumental version)
|
|
|
|
|
|
|
?hose guys would release anything by Jerry Goldsmith no matter what-
Thank goodness! (And so would any other label in their right mind...same goes for anything by John Williams or Bernard Herrmann too, by the way.)
?hey would have released Jerry singing in his bathtub for all they care.....
I would totally buy that! Whatever it lacked performance-wise would be made up in priceless historical value. 
Don't buy these scores, they are not worthy.
This is one score. You, yourself, judge it not to be "worthy" (what IS "worthy" then?) Or are you saying that scores by Jerry Goldsmith in general are not worthy? Just Jerry Goldsmith scores that Intrada releases?
Try to buy Essential Scores.
Such as? The Don Is Dead IS an essential score to some, hard as it is for you to realize.
Be smart be eclectic and don't let them feed you what they want you to eat.
Oh yeah, Intrada is really holding a gun to people's heads to make them order The Don Is Dead. Here's a hint: if people want something, they order it. If they don't want it, they don't order it. Intrada knows what they want to release, but they also know what sells. You seem really butthurt about the fact that Jerry Goldsmith put out music of such consistently high quality in the minds of the majority of film music fans, that typically all a release needs in order to sell is to have his name on it. Believe me, if he didn't sell they wouldn't be putting out his music so much.
I love Elmer Bernstein almost as much as Jerry Goldsmith. He was similarly prolific and varied in his output, over a career which stretched even a little longer than Jerry's. Ever think about why there are less frequent Bernstein releases, when his catalogue is so vast? (There are so many unreleased Bernstein feature film scores, and even plenty that got LP releases that have never made it to CD, like Billy Jack or Legal Eagles.) Well sadly, it's largely because he doesn't sell as well (I was shocked to find out from Lukas that the premiere release of his lovely score to The Great Santini sold something like 500 copies). It's not because the label folks aren't fans, but would "feed you what they want you to eat" if they were so inclined. That's not how it works. You act like the labels can (and do?) BULLY us and force us to buy things, when WE the fans determine what is financially feasible for labels to release.
There is so much good music out there by great composers of the last 40 years
which remains to be discovered but that ain't gonna happen- at least not as long as Intrada
Is constantly scratching the bottom of the (empty) barrel to release another obscure lame
Score by the most highly celebrated composer....
The sense of entitlement you feel is just off the charts. I would probably agree with you about a lot of that "so much good music out there by great composers of the last 40 years" being worthy of release, but newsflash: the labels are a business, and to stay afloat and keep releasing ANYTHING they have to make money. To make money, they have to release stuff that sells. And WE, the consumers, decide what sells, not them. I'm sure they WISH they could just release everything they wanted and have it be a financial success. I'm sure Doug Fake would love to produce a new recording of Joan of Arc by Hugo Friedhofer, for example. If only things worked like you seem to think they do, and the labels had power over *making* people buy stuff. Your attitude of throwing off the shackles imposed by the evil Intrada corporation is just...beyond laughable.
Yavar
|
|
|
|
|
|
|
Thank you for your reasonable response to the troll, Yavar. I was getting ready to bash that post with a temper tantrum - which would not have been productive!
|
|
|
|
|
|
|
|
|
|
Thank you for your reasonable response to the troll, Yavar. I was getting ready to bash that post with a temper tantrum - which would not have been productive!
My pleasure. In all seriousness, I’d love for him to start his own record label and start releasing these mysterious superior scores by superior though less-loved composers he thinks he can somehow, as a record label, force people to buy at greater sales numbers than any obscure Goldsmith score. I mean, maybe his salesmanship powers are just that good. Lord knows when I worked in music retail I convinced customers to take a chance on many an obscure work. Maybe he’ll put out some stuff other labels wouldn’t touch but I would love to get.
Yavar
|
|
|
|
|
|
Do you think Goldsmith hummed his theme from The Stripper BEFORE he stepped into his bathtub?
And where do you think Carol Heather hid the microphones in their bathroom ... in their house ... that Total Recall bought?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
