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 Posted:   Sep 4, 2013 - 7:17 AM   
 By:   JB Fan   (Member)

Very difficult question, Yor!

I love Mr. Goldsmith music. But I'm not his fan #1, so all scores, that I have, were ordered after I listened them.
So if I found that samples sounds good for me - I ordered that CD, if not - I didn't.
And that's why I can't name any worst score in my collection - they all satisfy my taste wink

 
 Posted:   Sep 4, 2013 - 7:40 AM   
 By:   David Sones (Allardyce)   (Member)

I think I just read somewhere in this thread that Goldsmith's score to Psycho II was "a low point". Umm. No. I can't even fathom the thought processes that reach that conclusion. Gives me a headache.

 
 Posted:   Sep 4, 2013 - 7:53 AM   
 By:   YOR The Hunter From The Future   (Member)

Some very interesting opinions all around.

Most of them YOR does not agree, but is nice to know different points of view about master Goldsmith work.

As someone mentioned above, it is very hard to pick a Goldsmith score that actually did not fit the movie well.

That is why YOR chose "I.Q.". Honestly, it is the only score from Goldsmith that YOR remembers no helping the movie, on the contrary...

BTW, YOR loves those funny GIFs. Sometimes, it says something better than a thousand words!

YOR does not understand why one gets mad at it. Very strange!

Well, YOR likes to party while listening to Goldsmith's "Night Fight". Maybe others are just too serious.

 
 Posted:   Sep 4, 2013 - 8:16 AM   
 By:   mstrox   (Member)

I only have 10 Goldsmith scores but I have never been the biggest fan, TBH. The way I consume film scores is, mostly, on album - I don't view them as connected to the movie itself. And for whatever reason, it hasn't been for me so far. Gremlins is a score that carries a lot of sentimental value for me, and I found ST:TMP and The Mummy to be really good. The others were all blind buys based on reputation and/or price that never really clicked with me. Least favorite would have to be "Planet of the Apes," with "First Blood" being a distant next-to-last.

 
 
 Posted:   Sep 4, 2013 - 8:32 AM   
 By:   OnyaBirri   (Member)

Anything from the ponytail era.

 
 
 Posted:   Sep 4, 2013 - 9:00 AM   
 By:   Kim Tong   (Member)

NONE GOLDSMITH RULES

Well, I have to agree with you a little. I do really care for his 60's scores like SEBASTIAN, reminds me of Mancini and I have liked very few Mancini scores. The Goldsmith TWILIGHT ZONE TV episodes are great.

Kim Tong

 
 Posted:   Sep 4, 2013 - 9:23 AM   
 By:   First Breath   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend

 
 
 Posted:   Sep 4, 2013 - 9:32 AM   
 By:   Kim Tong   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


What? AIR FORCE ONE, TOTAL RECALL and LEGEND?

 
 Posted:   Sep 4, 2013 - 9:33 AM   
 By:   YOR The Hunter From The Future   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


 
 Posted:   Sep 4, 2013 - 9:42 AM   
 By:   YOR The Hunter From The Future   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


What? AIR FORCE ONE, TOTAL RECALL and LEGEND?


Kim, our friend First Brests is just kidding!

No one with a half-working brain would trash such glorious scores, yes?

 
 Posted:   Sep 4, 2013 - 9:52 AM   
 By:   Sirusjr   (Member)

Displeasure for that 1980's synth-dom period seems to be more of a shared experience than I thought.

Few things have aged as poorly as 80's electronic music. That's why the all (or mostly) 80's synth efforts of Goldsmith and Alan Silvestri are so unlistenable today. It was one thing when the synths were used merely as support to a primarily orchestral effort, like Under Fire or Legend or Twilight Zone: The Movie, but once Goldsmith started going primarily synth around '86 or so, his scores from that period are seriously diminished.


Exactly. I can appreciate Forever Young and Explorers despite the synth because they have good material mixed in (though it took a while before I really appreciated Explorers).

I can't even listen to the mostly synth scores from start to finish to determine which one I like less. I think we have enough good choices in this thread for worst though.

 
 Posted:   Sep 4, 2013 - 9:52 AM   
 By:   BackToTheFutureFan   (Member)

Mr. Baseball
U.S. Marshalls
Criminal Law

I know I'm going to get lynched for this but I just can't enjoy his Omen scores.


Every composer has their duds.

 
 Posted:   Sep 4, 2013 - 9:55 AM   
 By:   Tester   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


What? AIR FORCE ONE, TOTAL RECALL and LEGEND?


Kim, our friend First Brests is just kidding!

No one with a half-working brain would trash such glorious scores, yes?



Well, Legend has some annoying synths...

 
 Posted:   Sep 4, 2013 - 9:57 AM   
 By:   YOR The Hunter From The Future   (Member)

I know I'm going to get lynched for this but I just can't enjoy his Omen scores.

 
 Posted:   Sep 4, 2013 - 9:58 AM   
 By:   YOR The Hunter From The Future   (Member)

Well, Legend has some annoying synths...

 
 Posted:   Sep 4, 2013 - 10:06 AM   
 By:   mgh   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


I agree and to go on with the worst list:

Patton
Planet of the Apes
The Wind and the Lion
Lilies of the Field
Lonely Are the Brave

and so many others. Just pure crap.

 
 Posted:   Sep 4, 2013 - 10:07 AM   
 By:   YOR The Hunter From The Future   (Member)

Air Force One
LA Confidential
Malice
Total Recall
Leviathan
Legend


I agree and to go on with the worst list:

Patton
Planet of the Apes
The Wind and the Lion
Lilies of the Field
Lonely Are the Brave

and so many others. Just pure crap.


 
 
 Posted:   Sep 4, 2013 - 10:09 AM   
 By:   Ado   (Member)

It is a really easy answer.

Angie

 
 Posted:   Sep 4, 2013 - 10:12 AM   
 By:   YOR The Hunter From The Future   (Member)

YOR does not understand what people have against the 90's!

It was such a cool period, yes?

 
 
 Posted:   Sep 4, 2013 - 12:23 PM   
 By:   Spymaster   (Member)

Criminal Law is incredibly creative.

How?


By not taking the obvious, boring, tinkling piano approach - instead employing a unique assortment of synthesized sounds to create a cold, whirring, mechanical sound to sit threateningly and purposefully behind Kevin Bacon's psycho antics and a smooth but sparse and shapeless melody for Gary Oldman's flawed but well-meaning lawyer.

It's a neat score. You have to see the film.d

 
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