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Posted: |
Jul 14, 2010 - 9:07 AM
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By: |
Rnelson
(Member)
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It was always Williams for me until Star Trek TMP came along and then old Johnny had some competition. They've been pretty neck and neck ever since (Horner came along on the outside rail and rocked my world for awhile - I still really like Horner's music and haven't given up on him). There's been Elfman, Broughton, Poledouris, Holdridge et al all vying for my attention but it's mainly been John and Jerry with Williams always just ahead based on the movie moments (a lot of my fave films are Williams scored whereas most of Goldsmith's movies suck and the ones that are great, well, the music plays a more psychological role).
This is pretty much me. FSM is very conscious of Goldsmith but I've always considered that the correct amount of exposure for him. I mean, look at what the man has done over the decades. Some may think it's overkill but I think there's a sensitivity to Goldsmith being such a topic of conversation on the part of some who wonder why he is so recognized. But I used to think the same about Williams. In the larger circles he was always the one who got all the recognition and accolades (And this was before I discovered FSM back when it was essentially a xerox flyer).
FSM also brought a number of other lesser known and somewhat ignored composers to the fore such as Leonard Rosenman, Jerry Fielding, John Scott, Lalo Schifrin, Christopher Young and others. But I do think FSM has been instrumental, not so much in exposing people to Goldsmith, but in framing context to his place in film music history. Maybe that amounts to "worship" in some people's minds but I don't think it is. I also think there's a generational factor. For people of my era and earlier it makes perfect sense that Goldsmith be regarded as a legend. For those of later generations it may be a struggle to appreciate him as he's often measured by contemporary sensibilities of what film music is. But Goldsmith, even at the peak of his powers, was not a voice the casual movie-goer would appreciate or even admire because he was nearly always ahead of the curve.
In regard to FSM's role in popularizing Goldsmith or not I cannot say. But I do remember other filmscore fan mags like "Cinemascore" and "SOUNDTRACK!" which almost never had an issue without a major Goldsmith presence. If those mags had survived till today I can imagine that they would be just as active in recognizing Goldsmith. FSM has been VERY critical of Goldsmith over the years (for those who may not know or remember) so I don't think it's blind adoration. Long story short, It's pretty hard to NOT have lots to say about one of the most prolific, productive, controversial and brilliant composers who ever graced the art.
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Posted: |
Jul 14, 2010 - 10:10 AM
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By: |
MusicMad
(Member)
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I was a fan of Mr. Goldsmith's music long before I'd heard of FSM; even my father knew his name and we'd smile when we saw his name appear in the credits of a film - sometimes after guessing it was scored by him.
I suppose the first time I saw his name on an album sleeve was for his theme from Hour of the Gun - it remains my favourite JG Western score - included on the UA album Great Western Film Themes 1972 or 73, I think; it was a year or two later when I bought my first JG score: Ransom as I'd loved the music score in the film. I didn't get the same reaction from my family who thought it was too noisy, etc... And then came The Cassandra Crossing - another great theme but oh, so noisy and boisterous. Our Man Flint was far more acceptable.
But by this time JG was well behind in the LP stakes (but then so were nearly all other composers ...) and it was a few years later, in the mid-80s, when I started hearing a lot more of his material. I corresponded with a collector from Liverpool (stand-up Darren, wherever you are these days) who - like many others on this board - was/is a great fan of JG's and John Williams' scores and he supplied me with a number of albums. A lot I liked, Legend, First Blood, Rambo II, Islands in the Stream are examples ... all of which I subsequently purchased on CD. Even scores which I didn't like as much I replaced with CDs ... I must be a fan (or mad)!
My first purchase from FSM was three CDs by JG; there have been many more since. But I can't claim FSM influenced me in my liking for JG's music ... I'm far too long in the tooth for that. Highly impressed with the quality, etc. but that applies to all of their product. And, if anything, it is some of their other releases which have influenced me more:
I'd given up on Lalo Schifrin but FSM's The Wrath of God - over which I hesitated quite some time - and, less so The Liquidator and Gone With The Wave opened my ears to him again; similarly Dave Grusin's The Yakuza. I was already a fan of Elmer Bernstein's music but the FSM range (I don't have everything - yet) has been wonderful.
I wish I liked JG's music more ... if anything, the more I hear - or, perhaps: the more I hear of other composers' works - the less I'm inclined to say that that once well-liked score is still well-liked. And I still don't like Patton, Planet of the Apes, Poltergeist I*/II, ... despite numerous plays. Perhaps it's an age-thing ...
* not strictly true as I do like some of the score but as a whole album ... no thanks.
NP: The Cassandra Crossing [RCA] ... and it's still noisy 
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