Kudos for keeping this an utter surprise. Although I´m still nervous because of the date. I have ordered it, of course, but I still worry about getting an e-mail saying it was all a joke. Or a dream. Or...
Damn. Intrada really pulled out the rug from me. THANK YOU!
cant remember anything beyond the tender lyrical main theme...
... which is an integral part and incorporated throughout the score in the most delicious (and malicious) manner. Try the samples - this is really one of the great scores in film history.
I meant... the expansion worths it or that high enthusiasm (is it me or it's eclipsing Broughton's?) are mostly just because it's a long-time OOP Jerry 80s title?
(and, yeah, I can only determine that too... but this is a message board... opinions... suggestions... points of view...)
I meant... the expansion worths it or that high enthusiasm (is it me or it's eclipsing Broughton's?) are mostly just because it's a long-time OOP Jerry 80s title?
(and, yeah, I can only determine that too... but this is a message board... opinions... suggestions... points of view...)
Psycho II is not for all Goldsmith fans; aside from the IMO excellent main theme, my sober mind tells me the rest is mainly suspense and psychological thriller material that harkens back in light fashion to Freud and Reincarnation of Peter Proud or what he'd later do on something like The Vanishing; add to this the intrusive (but IMO here effective) synth sound that Goldsmith is known for in the 80s... you get my point. To say it's a one trick pony that works on that Norman main title theme alone... I'm not sure how far off I'd be, as I can't see anyone liking this score when not taking to the Norman theme. It is the essence of that score.
I happen to like the theme because it is so perfect for the character of Norman Bates and I'm more fond of the score for Psycho II because of how it works in the movie and supports the narrative than how it does on album per se. But there have always been cues I wanted that weren't on the short Varese album so I look forward to making a playlist out of the new program.
I'm surprised no one (aside from the first post that had the description) mentioned or compared it to Bernard Herrmann's highly identifiable original? Guess it is to Goldsmith's credit that he and his sequel score stand well on its own (at least in the film score community)!
Psycho II is not for all Goldsmith fans; aside from the IMO excellent main theme, my sober mind tells me the rest is mainly suspense and psychological thriller material that harkens back in light fashion to Freud and Reincarnation of Peter Proud or what he'd later do on something like The Vanishing; add to this the intrusive (but IMO here effective) synth sound that Goldsmith is known for in the 80s... you get my point. To say it's a one trick pony that works on that Norman main title theme alone... I'm not sure how far off I'd be, as I can't see anyone liking this score when not taking to the Norman theme. It is the essence of that score.
I happen to like the theme because it is so perfect for the character of Norman Bates and I'm more fond of the score for Psycho II because of how it works in the movie and supports the narrative than how it does on album per se. But there have always been cues I wanted that weren't on the short Varese album so I look forward to making a playlist out of the new program.
I'm surprised no one (aside from the first post that had the description) mentioned or compared it to Bernard Herrmann's highly identifiable original? Guess it is to Goldsmith's credit that he and his sequel score stand well on its own (at least in the film score community)!
IMO, the suspense material you mention belongs to Goldsmith´s best writing. The whole package is simply magnificent, capturing the solitude and sadness of the main character, as well as the sardonic cruelty of his surroundings that influence him.
IMO, the suspense material you mention belongs to Goldsmith´s best writing. The whole package is simply magnificent, capturing the solitude and sadness of the main character, as well as the sardonic cruelty of his surroundings that influence him.
I'm not disagreeing with you, I'm just saying it's not the most accessible Goldsmith score.
