BAD GIRLS - This is a great score, every bit as good as his vibrant 60s westerns work. The overly tranquil first track may put some people off, but in context it's a very pertinent version of the more rollicking material - and rollicking it is. A great score.

THE STRIPPER - What a lovely score. The Alex North-isms are everywhere. It's the kind of style Goldsmiith never really revisited, at least not to this extent.

MACARTHUR - Everybody talks about PATTON, which is brilliant, but as a listening experience I actually find MACARTHUR more varied and enjoyable. Gotta love those "inside the piano" bits!

SEBASTIAN - Listened to it again today. You all know FLINT. This is even better. Gotta love those Beatles 60s trumpety bits! Loads of good stuff on this brief score (jazzy Bach takes, very freaky PLANET OF THE APES trippy reverb, jolly pop Jerry-style...) GREAT!

quote:

---

Originally posted by Graham Watt:
BAD GIRLS - This is a great score, every bit as good as his vibrant 60s westerns work. The overly tranquil first track may put some people off, but in context it's a very pertinent version of the more rollicking material - and rollicking it is. A great score.

---

I only know the bits on the Varese Box so far, but those are among my favourites from those CDs.

Let me add:

• Hollow Man - Wonderful minimalistic science music, excellent action writing (might seem generic at first, but there are so many details to discover). Plus the hidden Gremlins quote.

• Night Crossing - highly regarded among those who know it, I think, but probably not well-known enough. Wonderful flying music, one of his best scores.

• Star Trek: Insurrection - this shouldn't be judged by the official album, but the full score as represented on the boot flows wonderfully well, and is IMHO better than First Contact.

• Fierce Creatures - wonderful little chamber-like score.

  And finally:
  

• The Final Conflict - this is of course generally listed among his best scores, but I still think it's even better than that. One of the most amazing scores I've heard.

Also re-watched Star Trek: The Motion Picture the other day. The scoring of the "Spock Walk" sequences is freaking awesome. That's all I had there.

S*P*Y*S - A beautifully wacky score that never fails to bring a smile to my face. The electronics in this are just astounding, as are the orchestrations. God bless Varese for including so much of it on the Fox box set.

Clayton

ST: Nemesis - whether it's derivative of other action scores of his or not, it just feeeeeeeeeeeels epic - like battles in space. I love the little tip of the hat to Logan's Run in 'The Box' as well. And the simple five-note theme is a lovely final thematic idea for the series, increasing the impact of the hated film to a higher level.

But I am particularly fond of many of his early and mid 60s work. Things like Stagecoach, In Harms Way, Rio Conchos, Lonely are the Brave, Stripper, List of Adrian Messenger and Morituri, Satan Bug, Seconds, etc. In these early years there are so many good and varied scores as he exploded onto the screen with his style.

I love the short action cues in In Harms Way, not on the recording. The PT boat action cue and the one where battleship swings guns around to fire and the music for the enemy ships coming through the fog. Great score.

I don't really know a lot of Goldsmith's earlier scores, particularly his Westerns (Disc 2 of the FoxBox is a great sampler of these, though), but am more familiar with his work from the mid-70s onwards. I played a few tracks earlier today from A PATCH OF BLUE, though, and I think the Intrada release of that score will be my next JG purchase (replacing that Mainstream CD).

I'd forgotten what a good listen LEVIATHAN is. Some ferocious action music, and (perhaps appropriately, considering the movie) a rather cheesy final track ("A Lot Better").

Like many others, I admire LOVE FIELD a lot. Very short (I think it comes in at just under 29 minutes), but a joy to hear. And I like CRIMINAL LAW. It's a wonderfully atmospheric disc to play in the car on a night drive, though . Another one that probably doesn't get the accolades I think it deserves is EXTREME PREJUDICE, and in particular the wonderful 9-minute-plus cue "The Plan", which for me has practically infinite repeat value.

I must also second John C.'s judgement of the missing cues of IN HARM'S WAY--they are exactly the ones that I miss from the album version. I would especially love to hear the P.T. boat cue clear of the sound effects, and the actual continuation of "The Attack" cue.

Aside from these, I harbor a yen to have his great little electronic main title from the busted TV pilot from ARCHER someday.

I also have a secret hope that Varese, with their 20th Century Fox connection,
might someday gift us with a collection of cues from THE WALTONS.

The truly unattainable would be the release of LONELY ARE THE BRAVE from Universal and, perhaps finding the complete THE SATAN BUG among Goldsmith's personal tapes--hope springs eternal.

(And, yes, this does seem all very premature and, somehow, inappropriate at the moment.)

CABO BLANCO (some stunning action writing)
LINK (admit you love the main theme)
ANGIE (such a fine, Mancini-esque theme)

The Mine and The Message are my 2 favorite Goldsmith tracks.

Richard, his early scores are very, very good. And the Rio Conchos score and Lonely are the Brave are super scores. One of my favorite cues in Lonely is the barroom fight where Kirk D takes on the onearmed man. Great cue. Action writing at its best.

Richard and Vinylscrubber - yes, EXTREME PREJUDICE is on my list of underrated gems. I didn't like it at first (I thought the electronics were too up-front), but in retrospect it's one of Jerry's more interesting scores from the late 80s. I now love that irregular synthesized beat in the Main Titles (and the very regular thud of it in the End Titles).

Moviescore, I just re-listened to CABO BLANCO the other day in my A to Z Jerry G homage (as you see, I just got to the letter C). It's got some great stuff on it. That second track, "The Diving Bell" or something, is just hypnotic! And yes, great action cues. Plus my favourite Jerry G song, the one done with a 40s orchestration.

John, I too love LONELY ARE THE BRAVE, though I wouldn't call it underrated. That's an acknowledged classic, so there's no room for it in this thread! But as you bring it up, I always thought that the bar-room brawl cue you mention was extremely like the Main Titles for TARANTULA (50s hairy horror classic - you know it). Now, I think that was actually written by Herman Stein, but it was conducted by Joseph Gershenson, who conducted... LONELY ARE THE BRAVE. Listen to that track again and see if you agree that something funny's going on.

Must add one or two more -

INCHON - great war score nobody ever talks about.

To me they dont sound similiar at all. To me its Goldsmith all the way.

Yes, I do have several cues from Tarantula by Stein and by Mancini and all are good.

quote:

---

Originally posted by scoreaholic:
Is it likely that the music to The Burbs would be released, or am I so out of it that it has been released? I also wish that I might be able to find the score to the first Gremlins movie. I hear that it's good. I know that The Burbs has a ripoff of Patton in it and I think that's what makes it great.(Plus it's a great movie)

---

Yep! The Burbs was an early varese CD club release that is hard to find now without having to pay extortionate prices, and it's only about 30 minutes at that.

I believe there's a boot out there too.

*********************************************************************

quote:

---

Originally posted by Timmer:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by scoreaholic:
[b]Is it likely that the music to The Burbs would be released, or am I so out of it that it has been released? I also wish that I might be able to find the score to the first Gremlins movie. I hear that it's good. I know that The Burbs has a ripoff of Patton in it and I think that's what makes it great.(Plus it's a great movie)<HR size=1></BLOCKQUOTE>

Yep! The Burbs was an early varese CD club release that is hard to find now without having to pay extortionate prices, and it's only about 30 minutes at that.

I believe there's a boot out there too.

[/B]

---

There is indeed a boot for the score...it pops up on EBay from time to time. Don't know any tracklistings.

I hope they re-release this score though in some capacity. It is my favorite Dante/Goldsmith score and the themes he created for it were just perfect. Some laugh out loud moments in the actual score (the end of the End Credits) and just a wonderful levity graces the music. It's used nicely in the film as well.

(The boot of THE 'BURBS is a real piece of crap, BTW -- highly un-recommended!)