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The percussion rhythm is slightly different. It’s covered on a Production Report about this release with Leigh we recorded early in the year which was unfortunately delayed in editing. I hope it’ll be out in the next week or two.
Yavar
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Posted: |
May 26, 2025 - 3:38 PM
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By: |
jkheiser
(Member)
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INTRADA Announces:
PURSUIT/CRAWLSPACE/THE PEOPLE NEXT DOOR
Composed by JERRY GOLDSMITH
Conducted by ADAM KLEMENS
INTRADA INT 7184
Intrada in association with Klassik Film Music announces the CD release of three Kickstarer-funded Jerry Goldsmith scores: Pursuit, Crawlspace and The People Next Door. This new collection of television scores from the late 1960s and early 1970s, reconstructed and re-recorded by Leigh Phillips, showcases the composer’s special touch with character-based dramas. The state-of-the-art recording is performed by The City of Prague Philharmonic Orchestra conducted by Adam Klemens. The packaging is complemented by brilliant notes by renowned film music historian Jon Burlingame, with further in-depth cue notes by Yavar Moradi.
Pursuit (1972) takes place over the course of a single day, as government agent Steven Graves (Ben Gazzara) trails political extremist James Wright (E.G. Marshall), who has stolen a shipment of top-secret nerve gas and plans to release it in San Diego during the Republican National Convention, potentially killing millions. Goldsmith delivered an exciting, memorable score that propelled the action. He employed just 19 musicians: nine brass players, a flute, a harp and an extended rhythm section that included two keyboards, Fender bass, acoustic guitar and electric guitar, drums, vibes and a timpanist. It appears Goldsmith himself added the synthesizer parts in his studio.
Crawlspace (1970) is a 75-minute thriller for The New CBS Friday Night Movies. In the film, Arthur Kennedy and Teresa Wright play a childless, middle-aged couple who discover they’ve been adopted by a withdrawn drifter (Tom Happer) who arrives one day to fix their furnace. Learning that their young friend is homeless, the couple reach out and show him kindness even when they discover that he is occupying the crawlspace under their house and refuses to leave. Goldsmith composed a lean 20 minutes of music, plus adapted another 10 minutes of Vivaldi’s The Four Seasons. Goldsmith’s theme effectively employs harpsichord, harp, woodwinds and a few strings to establish the pastoral New England setting and the quiet life of Albert and Alice. A growing sense of unease permeates the drama, as Goldsmith adds dark piano notes to the worried woodwinds and strings; yet the music remains sympathetic overall.
The People Next Door (1968) was the opening installment of the second season of CBS Playhouse, the network’s revival of the Playhouse 90 concept.The story portrays a typical middle-class American couple who discover that their 16-year-old daughter is experimenting with drugs; a bad trip sends her to the hospital and they eventually discover her supplier is the presumably nice teenage boy next door. Lloyd Bridges and Kim Hunter played the clueless parents; Fritz Weaver and Phyllis Newman were the neighbors. Deborah Winters made her TV debut with a remarkable performance as the wild child. Goldsmith composed around 15 minutes for the entire show, with a main theme reminiscent of his later score to Chinatown. The melancholy solo trumpet over keyboards and strings reflects the mood of both households, whose adults are sad, confused and perplexed about how to deal with this family crisis.
Watch the album trailer here: https://www.youtube.com/watch?v=Qml9WiHoAig
INTRADA INT 7184
Retail Price: $22.99
Bar Code: 7 20258 71840 2
AVAILABLE NOW
For track listing and sound samples, please visit the Pursuit soundtrack page at https://store.intrada.com/s.nl/it.A/id.13183/.f
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Posted: |
Jun 4, 2025 - 2:15 PM
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By: |
Sartoris
(Member)
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My friend Pascal Dupont from the french Jerry Goldsmith dedicated website THE MUSICAL LAW has just written in both french and english a new essay on PURSUIT/CRAWLSPACE/THE PEOPLE NEXT DOOR within the context of the new recording, now released by Intrada.
https://filmmusiccreator.wixsite.com/goldsmith-musicallaw/single-post/intrada-in%C3%A9dits-goldsmith-tv
Here is the english text only.
A MUSICAL RENAISSANCE: JERRY GOLDSMITH’S TELEVISION SCORES REVIVED THANKS TO LEIGH PHILLIPS AND A SUCCESSFUL KICKSTARTER CAMPAIGN
A remarkable adventure has reached its culmination with the release, by Intrada Records, of a long-awaited album featuring three rare television scores by Jerry Goldsmith: Pursuit (1972), Crawlspace (1972), and The People Next Door (1968). But this release is far more than just a new entry in a composer’s discography — it’s a labor of love, a tribute to memory, and a passionate act of cultural transmission, brought to life by orchestrator and score reconstructor Leigh Phillips, a devoted champion of Goldsmith’s legacy.
This extraordinary undertaking was made possible through the resounding support of a global community via a successful Kickstarter campaign. Fans and backers from around the world rallied behind a deceptively simple idea: to breathe new life into forgotten music, rarely heard yet vital to understanding the stylistic and creative evolution of one of the 20th century’s greatest film composers.
Jerry Goldsmith: The boundless sound architect
Any conversation about this project must begin with Jerry Goldsmith himself. A composer who defies categorization, Goldsmith never saw television as a secondary medium. Whether scoring a Hollywood blockbuster or a late-night TV movie, each assignment was an opportunity for him to fully immerse himself in the sonic fabric of a story.
To Goldsmith, film music was total art - an expressive medium uniting intellect, instinct, form, and emotion. Each score carried a distinct sonic identity built around a central theme — always memorable, always rich with nuance. These themes were not mere ornaments; they were the emotional nucleus of the work, the heartbeat of the score.
What set Goldsmith apart was his rare ability to express highly sophisticated musical ideas with astonishing clarity and impact. His complexity never served complexity alone, it was always in the service of narrative, sensation, and storytelling. His music didn’t just resonate emotionally; it activated the listener’s entire sensorium, instinct, memory, emotion, even the body’s physical response, through writing that was vivid, organic, and profoundly human.
Goldsmith was a paradox: the scholar who moved audiences without ever lecturing them. His music is never simplistic, but its emotional clarity is immediate and undeniable. Beneath this clarity lies a dazzling architectural sophistication — a wealth of details and harmonic intricacies that only a trained ear might fully grasp. Yet nothing feels academic. His virtuosity never demands explanation; it simply feels right.
He composed like a master of invisible language. His structures often bordered on contemporary art music (as in The Illustrated Man) or chamber-like experimental textures (see Gremlins), transforming instrumental color into a theater of timbre. And yet what strikes us first is not the technique, but the emotion - the sudden shiver, the vivid mental image, the pulse of raw feeling.
Goldsmith mastered the art of concealing complexity within immediacy. His writing was learned but never obscure. He could twist harmony, fracture tonality, weave global musical idioms into classical forms and yet always with integrity, always in the service of narrative clarity and emotional truth.
His music touches both our lyric core and our nervous system, through thrilling rhythmic writing, incisive orchestration, and startling invention. He succeeded where many fail: making musical brilliance feel completely natural, even inevitable. That’s his unmistakable, inimitable hallmark, timeless and unique.
Above all, he preserved the soul of the score. Goldsmith didn’t just underscore a scene, he expanded it, breathed into it, created sonic spaces that altered the atmosphere of a film. His music changed the temperature of an image. Each score contained an unexpected sonic gesture, a signature motif, a texture that became the film’s emotional DNA.
To discover a “new” Goldsmith score is like stepping into an undiscovered Lascaux cave, a revelation of mystery and artistry, a reminder of what music can still achieve.
A master of bold modulations, inventive rhythms, and timbral experimentation, Goldsmith composed with the rigor of an architect and the instinct of an expressionist painter.
The 1970s: an era of artistic expansion
As the 1970s unfolded, Goldsmith embraced increasingly experimental languages. He merged orchestral tradition with electronic soundscapes, drew from global idioms, and remained fiercely true to his own artistic voice. He didn’t imitate, he absorbed, transformed, and reinvented.
Rebuilding Goldsmith: A monumental artistic challenge met by Leigh Phillips
Reconstructing a lost Goldsmith score is no mechanical task. It’s a high-stakes artistic endeavor — part analysis, part recreation, and wholly interpretive. When the original sheet music is missing or fragmentary, as is often the case with forgotten television work, the challenge becomes formidable: one must hear what is no longer audible, rewrite what no longer exists.
In this light, the reconstructing artist becomes a sonic archaeologist, a historian, and a composer in their own right. The work involves not merely transcribing music obscured by dialogue or outdated sound design, but restoring orchestral color, rhythmic articulation, harmonic inflection, and phrasing and, above all, capturing the gesture of Goldsmith’s compositional style.
Where many composers can be “reconstructed” through stylistic conventions, Goldsmith resists such shortcuts. His language is too fluid, too unpredictable. He shifts textures in a heartbeat, weaves in synthetic sounds within acoustic frameworks, and plays with silence and resonance in ways that defy formula. One must recognize, and respect - these elusive decisions.
Today’s analytical tools can isolate frequencies and model entire sound spectra. But no machine can intuit hidden intentions or interpret the dramatic role of a motif whispered in the background. That’s the irreplaceable power of a trained, passionate, historically informed human ear.
And that’s the artistry Leigh Phillips brings to this project.
Phillips doesn’t merely transcribe sounds, he understands the thinking behind them. He knows how Goldsmith would make a vibraphone tremble in a moment of suspense, how a harp might bridge ambiguous harmonies, or how an analog synth could subtly counterpoint a tense scene. This is not reconstruction, it is faithful re-creation, built on knowledge, reverence, and emotional insight.
To reawaken a Goldsmith score is to affirm that a musical work can outlive its original medium — if it’s revived with honesty, rigor, and a love of detail. It’s a reminder that film music is an art form in its own right, and that every score, even one written for a 75-minute TV drama, deserves study, respect, and preservation.
The Intrada album: A testament to legacy
The result of this journey is now available as a beautifully produced album from Intrada Records, performed by the City of Prague Philharmonic Orchestra under the baton of Adam Klemens. The care brought to the interpretation, recording, and sonic detailing reflects a deep respect for Goldsmith’s genius.
The album is accompanied by a richly informative booklet. Film music historian Jon Burlingame contributes a compelling overview, while Yavar Moradi offers an incisive musical analysis, texts that allow listeners to enter these scores as living, breathing works of art.
Why this album matters
This release is more than a collector’s item. It’s a key, a key to a transitional moment in Goldsmith’s career, a key to reevaluating the artistry of television music, and a key to remembering that artistic greatness knows no format. Whether written for a movie theater or a living room screen, music can reach poetic, powerful, and profound heights.
This project is also an homage, to Goldsmith, yes, but also to all those who refuse to let fragile, beautiful works of the past fade into oblivion. It is proof that, with passion, expertise, and a mobilized community, it is still possible to resurrect greatness.
©2025 Pascal Dupont
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Posted: |
Jun 4, 2025 - 4:19 PM
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By: |
rickO
(Member)
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I just wanted to shout out. This album will surely become a classic. Is this eligible for Grammy nomination? Doug and Jerry would both be so proud of this, no doubt.
I am enjoying, in particular, the witty, strange string progressions and the flurries of Goldsmith genius all over the place. Any Goldsmith fan can rejoice knowing they will be hearing three small, little known gems, all written with the precision of a fine brush and conducted and performed beautifully by the City of Prague Philharmonic.
I also thoroughly enjoyed the art layout and liner notes. Jon Burlingame serves up wonderfully detailed analysis and Yavar Moradi's Cue Notes are descriptive and incisive. Thank you to all of worked on this fine release.
And yes, the small Easter egg at the end is a beautifully rendered version of The Waltons Main Title, enough to give me goose-pumps.
This album is for the ages, and bring on The Waltons and The Chairman!
-Rick O.
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I wonder what Leigh Phillips and Intrada are like at printing?
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I wonder what Leigh Phillips and Intrada are like at printing?
Couldn't be any worse.
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Posted: |
Jun 5, 2025 - 6:17 AM
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By: |
MichaelM
(Member)
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Jerry Goldsmith: The boundless sound architect
Any conversation about this project must begin with Jerry Goldsmith himself. A composer who defies categorization, Goldsmith never saw television as a secondary medium. Whether scoring a Hollywood blockbuster or a late-night TV movie, each assignment was an opportunity for him to fully immerse himself in the sonic fabric of a story.
To Goldsmith, film music was total art - an expressive medium uniting intellect, instinct, form, and emotion. Each score carried a distinct sonic identity built around a central theme — always memorable, always rich with nuance. These themes were not mere ornaments; they were the emotional nucleus of the work, the heartbeat of the score.
What set Goldsmith apart was his rare ability to express highly sophisticated musical ideas with astonishing clarity and impact. His complexity never served complexity alone, it was always in the service of narrative, sensation, and storytelling. His music didn’t just resonate emotionally; it activated the listener’s entire sensorium, instinct, memory, emotion, even the body’s physical response, through writing that was vivid, organic, and profoundly human.
Goldsmith was a paradox: the scholar who moved audiences without ever lecturing them. His music is never simplistic, but its emotional clarity is immediate and undeniable. Beneath this clarity lies a dazzling architectural sophistication — a wealth of details and harmonic intricacies that only a trained ear might fully grasp. Yet nothing feels academic. His virtuosity never demands explanation; it simply feels right.
He composed like a master of invisible language. His structures often bordered on contemporary art music (as in The Illustrated Man) or chamber-like experimental textures (see Gremlins), transforming instrumental color into a theater of timbre. And yet what strikes us first is not the technique, but the emotion - the sudden shiver, the vivid mental image, the pulse of raw feeling.
Goldsmith mastered the art of concealing complexity within immediacy. His writing was learned but never obscure. He could twist harmony, fracture tonality, weave global musical idioms into classical forms and yet always with integrity, always in the service of narrative clarity and emotional truth.
His music touches both our lyric core and our nervous system, through thrilling rhythmic writing, incisive orchestration, and startling invention. He succeeded where many fail: making musical brilliance feel completely natural, even inevitable. That’s his unmistakable, inimitable hallmark, timeless and unique.
Above all, he preserved the soul of the score. Goldsmith didn’t just underscore a scene, he expanded it, breathed into it, created sonic spaces that altered the atmosphere of a film. His music changed the temperature of an image. Each score contained an unexpected sonic gesture, a signature motif, a texture that became the film’s emotional DNA.
To discover a “new” Goldsmith score is like stepping into an undiscovered Lascaux cave, a revelation of mystery and artistry, a reminder of what music can still achieve.
A master of bold modulations, inventive rhythms, and timbral experimentation, Goldsmith composed with the rigor of an architect and the instinct of an expressionist painter.
This has to be one of the best analyses of Goldsmith's artistry and the appeal of his music that I've ever read. Kudos to writer Pascal Dupont!
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My friend Pascal Dupont from the french Jerry Goldsmith dedicated website THE MUSICAL LAW has just written in both french and english a new essay on PURSUIT/CRAWLSPACE/THE PEOPLE NEXT DOOR within the context of the new recording, now released by Intrada.
https://filmmusiccreator.wixsite.com/goldsmith-musicallaw/single-post/intrada-in%C3%A9dits-goldsmith-tv
Here is the english text only.
A MUSICAL RENAISSANCE: JERRY GOLDSMITH’S TELEVISION SCORES REVIVED THANKS TO LEIGH PHILLIPS AND A SUCCESSFUL KICKSTARTER CAMPAIGN
A remarkable adventure has reached its culmination with the release, by Intrada Records, of a long-awaited album featuring three rare television scores by Jerry Goldsmith: Pursuit (1972), Crawlspace (1972), and The People Next Door (1968). But this release is far more than just a new entry in a composer’s discography — it’s a labor of love, a tribute to memory, and a passionate act of cultural transmission, brought to life by orchestrator and score reconstructor Leigh Phillips, a devoted champion of Goldsmith’s legacy.
This extraordinary undertaking was made possible through the resounding support of a global community via a successful Kickstarter campaign. Fans and backers from around the world rallied behind a deceptively simple idea: to breathe new life into forgotten music, rarely heard yet vital to understanding the stylistic and creative evolution of one of the 20th century’s greatest film composers.
Jerry Goldsmith: The boundless sound architect
Any conversation about this project must begin with Jerry Goldsmith himself. A composer who defies categorization, Goldsmith never saw television as a secondary medium. Whether scoring a Hollywood blockbuster or a late-night TV movie, each assignment was an opportunity for him to fully immerse himself in the sonic fabric of a story.
To Goldsmith, film music was total art - an expressive medium uniting intellect, instinct, form, and emotion. Each score carried a distinct sonic identity built around a central theme — always memorable, always rich with nuance. These themes were not mere ornaments; they were the emotional nucleus of the work, the heartbeat of the score.
What set Goldsmith apart was his rare ability to express highly sophisticated musical ideas with astonishing clarity and impact. His complexity never served complexity alone, it was always in the service of narrative, sensation, and storytelling. His music didn’t just resonate emotionally; it activated the listener’s entire sensorium, instinct, memory, emotion, even the body’s physical response, through writing that was vivid, organic, and profoundly human.
Goldsmith was a paradox: the scholar who moved audiences without ever lecturing them. His music is never simplistic, but its emotional clarity is immediate and undeniable. Beneath this clarity lies a dazzling architectural sophistication — a wealth of details and harmonic intricacies that only a trained ear might fully grasp. Yet nothing feels academic. His virtuosity never demands explanation; it simply feels right.
He composed like a master of invisible language. His structures often bordered on contemporary art music (as in The Illustrated Man) or chamber-like experimental textures (see Gremlins), transforming instrumental color into a theater of timbre. And yet what strikes us first is not the technique, but the emotion - the sudden shiver, the vivid mental image, the pulse of raw feeling.
Goldsmith mastered the art of concealing complexity within immediacy. His writing was learned but never obscure. He could twist harmony, fracture tonality, weave global musical idioms into classical forms and yet always with integrity, always in the service of narrative clarity and emotional truth.
His music touches both our lyric core and our nervous system, through thrilling rhythmic writing, incisive orchestration, and startling invention. He succeeded where many fail: making musical brilliance feel completely natural, even inevitable. That’s his unmistakable, inimitable hallmark, timeless and unique.
Above all, he preserved the soul of the score. Goldsmith didn’t just underscore a scene, he expanded it, breathed into it, created sonic spaces that altered the atmosphere of a film. His music changed the temperature of an image. Each score contained an unexpected sonic gesture, a signature motif, a texture that became the film’s emotional DNA.
To discover a “new” Goldsmith score is like stepping into an undiscovered Lascaux cave, a revelation of mystery and artistry, a reminder of what music can still achieve.
A master of bold modulations, inventive rhythms, and timbral experimentation, Goldsmith composed with the rigor of an architect and the instinct of an expressionist painter.
The 1970s: an era of artistic expansion
As the 1970s unfolded, Goldsmith embraced increasingly experimental languages. He merged orchestral tradition with electronic soundscapes, drew from global idioms, and remained fiercely true to his own artistic voice. He didn’t imitate, he absorbed, transformed, and reinvented.
Rebuilding Goldsmith: A monumental artistic challenge met by Leigh Phillips
Reconstructing a lost Goldsmith score is no mechanical task. It’s a high-stakes artistic endeavor — part analysis, part recreation, and wholly interpretive. When the original sheet music is missing or fragmentary, as is often the case with forgotten television work, the challenge becomes formidable: one must hear what is no longer audible, rewrite what no longer exists.
In this light, the reconstructing artist becomes a sonic archaeologist, a historian, and a composer in their own right. The work involves not merely transcribing music obscured by dialogue or outdated sound design, but restoring orchestral color, rhythmic articulation, harmonic inflection, and phrasing and, above all, capturing the gesture of Goldsmith’s compositional style.
Where many composers can be “reconstructed” through stylistic conventions, Goldsmith resists such shortcuts. His language is too fluid, too unpredictable. He shifts textures in a heartbeat, weaves in synthetic sounds within acoustic frameworks, and plays with silence and resonance in ways that defy formula. One must recognize, and respect - these elusive decisions.
Today’s analytical tools can isolate frequencies and model entire sound spectra. But no machine can intuit hidden intentions or interpret the dramatic role of a motif whispered in the background. That’s the irreplaceable power of a trained, passionate, historically informed human ear.
And that’s the artistry Leigh Phillips brings to this project.
Phillips doesn’t merely transcribe sounds, he understands the thinking behind them. He knows how Goldsmith would make a vibraphone tremble in a moment of suspense, how a harp might bridge ambiguous harmonies, or how an analog synth could subtly counterpoint a tense scene. This is not reconstruction, it is faithful re-creation, built on knowledge, reverence, and emotional insight.
To reawaken a Goldsmith score is to affirm that a musical work can outlive its original medium — if it’s revived with honesty, rigor, and a love of detail. It’s a reminder that film music is an art form in its own right, and that every score, even one written for a 75-minute TV drama, deserves study, respect, and preservation.
The Intrada album: A testament to legacy
The result of this journey is now available as a beautifully produced album from Intrada Records, performed by the City of Prague Philharmonic Orchestra under the baton of Adam Klemens. The care brought to the interpretation, recording, and sonic detailing reflects a deep respect for Goldsmith’s genius.
The album is accompanied by a richly informative booklet. Film music historian Jon Burlingame contributes a compelling overview, while Yavar Moradi offers an incisive musical analysis, texts that allow listeners to enter these scores as living, breathing works of art.
Why this album matters
This release is more than a collector’s item. It’s a key, a key to a transitional moment in Goldsmith’s career, a key to reevaluating the artistry of television music, and a key to remembering that artistic greatness knows no format. Whether written for a movie theater or a living room screen, music can reach poetic, powerful, and profound heights.
This project is also an homage, to Goldsmith, yes, but also to all those who refuse to let fragile, beautiful works of the past fade into oblivion. It is proof that, with passion, expertise, and a mobilized community, it is still possible to resurrect greatness.
©2025 Pascal Dupont
Really quite touched at Pascal’s appraisal of the new album. Not only does he nail the summary of Goldsmith’s technique but he also seems to totally “get” the motivation behind these projects and why I’ve always enjoyed doing them (since starting with Tadlow back in 2009) and why I feel it’s important to *keep doing them*.
…one thing’s for sure, it ain’t to get bloody rich! 
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Glad you love the album and thanks for the kind shout-out to my notes, Kev! Why not follow the link in the booklet to Leigh's website and read the full untruncated 15,000+ word version? There's a lot of fascinating extra detail in there, including a much more thorough rundown of what's going on in "Sarah's Laughter" (based on having access to the script itself), as well as the dramatic behind-the-scenes story about the HUAC propaganda that is "My Dark Days"!
Yavar
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And I'll add that the recording is top notch. Jerry's 70s tv was certainly some of the catchiest around.
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