Whenever he was asked to name his own personal favorite within his long and distinguished oeuvre, Jerry Goldsmith inevitably cited his work on 1977's obscure Ernest Hemingway adaptation Islands in the Stream. A lush, often melancholy score evoking both the serenity and the treachery of the sea, it is undoubtedly Goldsmith's most intimate effort, eschewing the larger-than-life drama and suspense of his best-known soundtracks. Islands in the Stream is above all a showcase for the composer's consummate ability to vividly communicate both the physical and emotional landscape in such simple yet precise strokes – employing little but a lone French horn, Goldsmith's main theme captures the immense loneliness and solitude of George C. Scott's protagonist, while gentle woodwinds suggest the ocean waves lapping the shore of his island home.
One of Jerry Goldsmith’s greatest sci-fi/fantasy scores comes to CD in complete form: Twilight Zone: The Movie, the 1983 anthology film inspired by the classic Rod Serling TV series. No composer was better suited to score the big-screen Twilight Zone adaptation than Jerry Goldsmith. By the early 1980s Goldsmith was a master in every genre of film, from intimate dramas to large-scale adventures, but he was particularly noted for his landmark scores for science fiction: Planet of the Apes, Star Trek: The Motion Picture, Alien and more—including Poltergeist (1982), for Twilight Zone: The Movie producer and co-director Steven Spielberg, and the original Twilight Zone series, for which Goldsmith scored classic episodes like “The Invaders”.
For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies.
La-La Land Records, Sony Music Entertainment and Paramount Pictures boldly go where no soundtrack reissue has gone before with this deluxe 3-CD set of 1979's STAR TREK: THE MOTION PICTURE, composed and conducted by Jerry Goldsmith. The first big screen voyage of Captain Kirk and Mr. Spock was a high budget and ambitious undertaking that introduced Goldsmith's famous and enduring Star Trek march (later used as the main theme for Star Trek: The Next Generation) as the cornerstone of an epic science fiction musical odyssey. This 3-CD set presents the score for the 1979 theatrical release (filling disc 1 and part of disc 2) and also premieres the legendary early "rejected" cues that Goldsmith recorded prior to composing his famous main theme. The 1979 album program (much of which is performed and edited differently as compared to the film) completes disc 2, with disc 3 offering additional alternates (including those heard on the previous Sony expanded release) along with a wealth of bonus material.
Cool disc for Jerry Goldsmith fans! World premiere release in any format of complete original soundtrack from 1968 mod-era spy tale set within British Intelligence, directed by David Greene, starring Dirk Bogarde, Susannah York, Sir John Gielgud. World of then-high tech computers, soaring IQ's, secret codes and staff of crackerjack decoders captured by composer with meld of snappy rhythm, cool melody. Main theme, rooted firmly in major key, remains one of Goldsmith's most infectious. In balance is richly expressive trumpet line for more romantic side of tale. Mystery, suspense also plays solid role, especially in latter cues. Entire score presented from mono elements as heard in picture, courtesy Paramount Pictures. CD also offers cool extra treat! After exhaustive search, actual multi-track stereo masters for original 1968 Dot label album surface, courtesy UMG and Geffen, allowing first ever licensed release on CD.
World premiere 2-CD release of complete Jerry Goldsmith soundtrack to Russall Mulcahy film with Alec Baldwin as famed and flawed crime fighter, co-starring John Lone, Penelope Ann Miller, Ian McKellen, Peter Boyle. Dark, edged action plus stunning period design inspire Goldsmith to create one of his most involved, exciting (and longest) scores of his later career. Powerful French horn main theme imposes but is mere stepping stone to ferocious action music, mysterious ideas, tender love theme. Latter melody is especially pretty on piano, amongst composer's most beautiful - and barely heard from on original 1994 album.
Ross Bodine and Frank Post are cowhands on Walt Buckman's R-Bar-R ranch. Bodine is older and broods a bit about how he will get along when he's too old to cowboy. Post is young and rambunctious and ambitious for a better life than wrangling cows. When one of their fellow cowboys is killed in a corral accident, Post suggests a way into a better life for himself and his friend: robbing a bank. Bodine reluctantly joins in the plan and the two contrive to rob the local bank…
The original 1968 recording is short by CD standards – under 30 minutes – but the production is crisp and dynamic. Jerry Goldsmith employs an array of exotic percussion plus artfully arranged strings, brass, woodwinds and his trademark echo effects to create one of the most evocative science fiction soundtracks ever recorded. From the first eerie moments of the "Main Title" to the simian outcry of "No Escape," he sets us in a harsh, inhuman world. Too many science fiction film scores, with their use of sweeping symphony orchestras and soon-clichéd electronics, sound disappointingly earthbound. Goldsmith's music makes you believe you are on a truly alien planet – which makes the film's payoff even more effective. A template for what a science fiction score can be.