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Posted: |
Jul 22, 2019 - 3:17 PM
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By: |
Graham Watt
(Member)
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I've been relistening to the whole thing recently, and my previous comments still stand. Having said that, without being a Goldsmith fruit-and-nutcase I am beginning to hear his work for BARNABY JONES as being on a really different wavelength to most of the other stuff on the set. The Broughton score is good too, when he was still channelling both Goldsmith and Williams (aren't there some flute lines in there which are "unconsciously inspired by" CE3K or something?) The other stuff's fine and fun, and I've praised the Grusin scores a lot. However, I'm always being told to "turn the TV down" by my mother, I mean wife, I mean girlfriend - as if they are identifying it as music for TV series. Nothing wrong with that, because that's what it is, and part of - or the main - reason I like it. But the Goldsmith BARNABY JONES score transcends those boundaries. I was "caught" listening to it again, and no derogatory "telly music" comments were made. It's amazing stuff. I was then inspired to relisten to the wonderful release (on Prometheus) of POLICE STORY, and it's absolutely freakin' genius. I love the Richard Shores adaptations too (they're "fine and fun") on the same CD, but you can hear the difference between his more generic-sounding takes and the real Jerry McCoy. Then I thought, Jerry Goldsmith, TV Movies and shows from the early-to-mid-'70s, let's try the Intrada A STEP OUT OF LINE/ THE BROTHERHOOD OF THE BELL yet again. And by golly it's absolutely astounding! Where on earth did he find the inspiration to do all those amazingly intricate and complex sounds for something that nobody was going to pay much attention to on the telly back then? So, in a nutbag, my hasty re-evaluation of Queen Martin is - "Great stuff, lots of fun with some dull patches and vaguely annoying stretches, but the Goldsmith score stands head and shoulders above the rest".
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Kev, You must have missed the earlier post in which I asked the same question, and which Yavar answered. En resumen, Yavar went to that Bookface thing and John Burlingame said that they were alternate takes which John Elizalde thought would be useful for later re-trackings. They're pretty similar to the original takes, but Burlingame decided to include them all, because if those JG nuts discovered he'd deliberately left off any recorded seconds, they might have petrol-bombed him. d. Right! I know.for a ' fact'.Moradi threatened.his family!
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Just thought I'd bump this thread in the wake of Vol. 2 (The Invaders) announcement -- folks who are picking that up soon should consider adding this fantastic volume to their order as well! Yavar
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I'm really enjoying this set. I bought it for Barnaby Jones, but there is a lot of other great music as well. It also sounds great, I can't believe TV scores from the 1970s have such clarity and wide frequency response.
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Cannon so-so? Pfft! Perish the thought! Why Cannon was the swiftest, smartest, gravity challenged P.I. of the seventies. That guy could move!
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Cannon so-so? Pfft! Perish the thought! Why Cannon was the swiftest, smartest, gravity challenged P.I. of the seventies. That guy could move! The only thing worse than 70s cop shows ( COLUMBO was a mystery, not a cop show) are 70s P.I. shows. I never watched them which might be why I'm not responding more enthusiastically to this set. Unlike say, Riotengine, who has cherished personal memories of these ' classic' shows.
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