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Roger posted over on the Intrada board that they actually HAD the entire score IN MONO, and seriously considered making this a 2-CD set, but knew that people would complain about the price.. something like that! Maybe he'll see this and elaborate further! 
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That's why I traded TSB .
Sacrilege!
That is the second time this week i have been called a heretic!
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That's why I traded TSB .
Sacrilege!
I wouldn’t go so far as to call it sacrilege,...
You call that a defense?!
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James has been known to drastically revise some of his early opinions...I’d be very curious to hear what he thinks of the new Intrada issue.
Yavar
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One of the many nice things about this CD (which I'm playing for the 4th or 5th time right now) is that because of the weird synth sounds Goldsmith uses in this particular score, the tape anomalies seem almost part of a deliberate soundscape and not a glitch.
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He is a regular Pete Townshend!
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Was this the first Goldsmith score with "wall-to-wall" music? Goldsmith had developed a reputation at this time for being judicious to an extreme with spotting. Apparently he felt that this film (probably in part due to the overlong New England travelogue footage) needed extra help.
Well...the film Lonely Are the Brave (1962) was his first lengthy film score at over an hour long, whereas his first four feature scores were all under 40 minutes in length. ("A Marriage of Strangers," the longest Playhouse 90 score we were able to find and cover for The Goldsmith Odyssey, was just over 35 minutes long...I suppose it's possible than one of the many apparently lost Playhouse 90s like "Made in Japan" might possibly exceed the 40 minute mark as these were essentially feature-length programs.)
I checked on the film lengths and Lonely Are the Brave is almost exactly as long a film as Peter Proud, with a score almost exactly as long. The Spiral Road (also 1962 but later in the year) is over 65 minutes long, so an even longer score than Peter Proud, although with the film being over half an hour longer than either Lonely or Proud, I guess you could say it's more sparsely scored than they are.
Still, even with his lengthiest scores like The Mummy, I wouldn't say Jerry Goldsmith ever scored a film "wall-to-wall". He always left room for silence...the amount of it just varied.
EDIT: Well, I think I just remembered one exception that was scored wall-to-wall: The Artist Who Did Not Want to Paint. But then that was a short film, through-composed like a concert work.
Yavar
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Posted: |
Dec 13, 2018 - 4:43 PM
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By: |
Brundlefly
(Member)
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Was this the first Goldsmith score with "wall-to-wall" music? Goldsmith had developed a reputation at this time for being judicious to an extreme with spotting. Apparently he felt that this film (probably in part due to the overlong New England travelogue footage) needed extra help.
Well...the film Lonely Are the Brave (1962) was his first lengthy film score at over an hour long, whereas his first four feature scores were all under 40 minutes in length. ("A Marriage of Strangers," the longest Playhouse 90 score we were able to find and cover for The Goldsmith Odyssey, was just over 35 minutes long...I suppose it's possible than one of the many apparently lost Playhouse 90s like "Made in Japan" might possibly exceed the 40 minute mark as these were essentially feature-length programs.)
I checked on the film lengths and Lonely Are the Brave is almost exactly as long a film as Peter Proud, with a score almost exactly as long. The Spiral Road (also 1962 but later in the year) is over 65 minutes long, so an even longer score than Peter Proud, although with the film being over half an hour longer than either Lonely or Proud, I guess you could say it's more sparsely scored than they are.
Still, even with his lengthiest scores like The Mummy, I wouldn't say Jerry Goldsmith ever scored a film "wall-to-wall". He always left room for silence...the amount of it just varied.
EDIT: Well, I think I just remembered one exception that was scored wall-to-wall: The Artist Who Did Not Want to Paint. But then that was a short film, through-composed like a concert work.
Yavar
Goldsmith's records was 85 minutes, I think (Air Force One and The Mummy). Every other composer exceeded that length several times or on a regular basis. Just look at the special editions of various composers - mostly the complete score has a running time between 90 and 120 minutes! That's one reason why Goldsmith is the most effective film composer. He knows, better than anyone else, how to use the absence of music.
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Herbert Spencer orchestrated instead of Arthur Morton. Interesting.
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delightfully, remarkably smutty in that inimitable ‘70s manner. Casual nudity, serial monogamy, self pleasuring and crypto-incest... all this and Goldsmith too.
All true, and I'll also point out the "fudge topping" that got laid over the top: paranormal experience, a hot-hot topic in the mid-70's (as I recall it, anyway).
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