Seriously, there is some cool Schifrin-esque Goldsmith here. And there's a nifty eerie bit when Burt Reynolds breaks into and explores a warehouse: Goldsmith employs an odd Doppler-echo effect, for lack of a better term.
Of course, once the baddies find Burt we're treated to an awesome kick-ass action cue.
Seriously, there is some cool Schifrin-esque Goldsmith here. And there's a nifty eerie bit when Burt Reynolds breaks into and explores a warehouse: Goldsmith employs an odd Doppler-echo effect, for lack of a better term.
Of course, once the baddies find Burt we're treated to an awesome kick-ass action cue.
I'd say one of Jerry's most overlooked scores, and sadly one still waiting for a first issue.
Seriously, there is some cool Schifrin-esque Goldsmith here. And there's a nifty eerie bit when Burt Reynolds breaks into and explores a warehouse: Goldsmith employs an odd Doppler-echo effect, for lack of a better term.
Of course, once the baddies find Burt we're treated to an awesome kick-ass action cue.
I'd say one of Jerry's most overlooked scores, and sadly one still waiting for a first issue.
Perhaps a SATAN BUG Archive approach could be taken if the original recordings are truly lost. Most of the cues are dialogue-free scenes.
I think it's been established long ago that the tapes for SHAMUS were considered damaged beyond repair, if not lost outright. Although what today's technology and someone like Mike Matessino could do now is something to ask about.
I love the music in that warehouse scene. Goldsmith had such a unique take on Jazz.
