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Posted: |
Jan 22, 2020 - 8:27 AM
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By: |
leagolfer
(Member)
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(Casting an eye towards Jeff Bond, Yavar... )
Was informed by a friend who's a professor at UMKC (University of MO - Kansas City), that he was told that sometime in the 1970's - after LOGAN'S RUN - that Goldsmith did some sort of artist in residence at UMKC at some point, and gave the conservatory the synthesizer that was used in the picture, which is still there.
No idea as to the veracity of this story - he's going to check out the synth and any info he can gather on his end. Since Goldsmith was friends with Leonard Slatkin, who was assistant conductor of the St. Louis Symphony at the time, it could be possible... but who knows?
Is there anyone who could verify that it was possible? Depending what my friend finds, I may get over there sometime in February to follow up.
Thanks in advance!
Thanks very-Interesting, I have no idea about this story, but i'm guessing that Jerry gave the synth away coz he wasn't that impressed with Logan's overall finish, where would you rank it in Goldsmith's creativeness placing it at what # overall. I'd say outside his top 50 & Runaway.
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I don't know anything about this but I could check in with Leonard Slatkin and see if he knows anything, if it's important...
Yavar
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Thanks very-Interesting, I have no idea about this story, but i'm guessing that Jerry gave the synth away coz he wasn't that impressed with Logan's overall finish, where would you rank it in Goldsmith's creativeness placing it at what # overall. I'd say outside his top 50 & Runaway.
LOGAN'S RUN is among the top drawer Goldsmith scores in my book, probably even top ten.
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I do love Logan & Runaway great synth scores I just find there similarities like twins at times, its not a knock-on Goldsmith but his earlier work was classier in my opinion.
Whoa, I find Runaway and Logan's Run are completely different entities.
I think Logan's Run really ranks up there with the best of Goldsmith's scores, like Chinatown, Planet of the Apes, The Wind and the Lion, Star Trek - TMP etc. It's an exceptionally well done combination of Synthesizer and acoustic instruments/orchestra, and it's one of those film scores that really works well apart from the movie as a listening experience in its full FSM released state, where it has flow and sounds as if Stravinsky and Stockhausen had collaborated on a symphonic tone poem.
Runaway, on the other hand, is a nice synth score, but it's drop in the bucket in Goldsmith's output and I always thought Runaway is mostly interesting to already converted Goldsmith fans (of which I am obviously one).
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Thanks very-Interesting, I have no idea about this story, but i'm guessing that Jerry gave the synth away coz he wasn't that impressed with Logan's overall finish, where would you rank it in Goldsmith's creativeness placing it at what # overall. I'd say outside his top 50 & Runaway.
When interviewed in Keyboard Magazine, Goldsmith revealed that most of the time, when he acquired a new synth, he'd get bored with it after a year or two, and give it to his son Joel.
Personally I think Logan's Run is one of his best scores. Most of Goldsmith's best work was created in the 1970s and early-mid 80s.
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Posted: |
Jan 22, 2020 - 11:05 AM
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By: |
leagolfer
(Member)
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I do love Logan & Runaway great synth scores I just find there similarities like twins at times, its not a knock-on Goldsmith but his earlier work was classier in my opinion.
Whoa, I find Runaway and Logan's Run are completely different entities.
I think Logan's Run really ranks up there with the best of Goldsmith's scores, like Chinatown, Planet of the Apes, The Wind and the Lion, Star Trek - TMP etc. It's an exceptionally well done combination of Synthesizer and acoustic instruments/orchestra, and it's one of those film scores that really works well apart from the movie as a listening experience in its full FSM released state, where it has flow and sounds as if Stravinsky and Stockhausen had collaborated on a symphonic tone poem.
Runaway, on the other hand, is a nice synth score, but it's drop in the bucket in Goldsmith's output and I always thought Runaway is mostly interesting to already converted Goldsmith fans (of which I am obviously one).
If you listen too those two carefully you'll notice what I mean, I reckon Goldsmith's peak & projects was 63 too 75, of course after that JG was still flourishing most-folk The Omen is my favourite score that combined approach spoke amazing factors it still has that wow today, The Great Train Robbery total opposite manifesto that English symphony is beautiful it could be one of Goldsmiths best for orchestration that score is amazing as you watch that movie its a great movie but it needed that exact musical preference.
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