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 Posted:   Apr 1, 2014 - 6:35 AM   
 By:   Dana Wilcox   (Member)


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.


I agree with your point, Francis. This is far from my favorite Goldsmith score, strictly from a listening standpoint, but I respect how well it worked in the context of the film. Even though I have the Varese version and seldom listen to it, I've ordered this one because I've discovered with some scores, the added cues and sound improvements have actually transformed the whole listening experience and raised my enjoyment of the music for itself. Almost like hearing something I've never heard before. Listening to the clips (which sound pretty amazing), I suspect that this will be the case as well with PSYCHO II.

 
 Posted:   Apr 1, 2014 - 6:37 AM   
 By:   David Sones (Allardyce)   (Member)

My first thought . . . ALLARDYCE!



Hey that's a nice photo of me! big grin

 
 Posted:   Apr 1, 2014 - 6:46 AM   
 By:   Grecchus   (Member)

Yeah. That's one feller who can go home with his . . . holy grail? big grin

 
 Posted:   Apr 1, 2014 - 6:59 AM   
 By:   Francis   (Member)


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.


I agree with your point, Francis. This is far from my favorite Goldsmith score, strictly from a listening standpoint, but I respect how well it worked in the context of the film. Even though I have the Varese version and seldom listen to it, I've ordered this one because I've discovered with some scores, the added cues and sound improvements have actually transformed the whole listening experience and raised my enjoyment of the music for itself. Almost like hearing something I've never heard before. Listening to the clips (which sound pretty amazing), I suspect that this will be the case as well with PSYCHO II.


Yeah, that it will be an improvement I have no doubt, it nearly doubles the running time of the previous album and the alternates will be nice to have as well.

 
 
 Posted:   Apr 1, 2014 - 7:35 AM   
 By:   theMaestraX   (Member)

WOW! my psychotic state is over...must have this reissue! cheers INTRADA!
MR GOLDSMITH'S BEST HORROR SCORE IMO!

 
 Posted:   Apr 1, 2014 - 7:52 AM   
 By:   Perky_Norm   (Member)

Holy Mothherrrrrrrrrrrrrrrrrrr of God!!!

Ordered, and then some!!!

Can't believe this! I was expecting an April Fools day message when I added it to the cart!

THANK YOU To everyone at Intrada for making this utter dream of a soundtrack release a reality!

Wow. Happy days! smile

 
 Posted:   Apr 1, 2014 - 7:56 AM   
 By:   Justin Boggan   (Member)

Well, I finished listening to all the clips to "Psycho II".

Whiel it didn't leap out and grab me like the top tier Goldsmith efforts, this would indeed earn a very good second tier spot and I can easily see one day owning this.

I was also surprised at the experimentation for this sequel film, Jerry did. The compositional ideas from "Capricorn One" were all over the place, especially one cue. It was like CO light in some ways, with electronics thrown in.

 
 
 Posted:   Apr 1, 2014 - 8:06 AM   
 By:   Ado   (Member)

A fine score, Jerry could write a touching and melodic horror score that was both beautiful and horror too. A fine work, and finally accessible again at a reasonable price with more music. Great work on the part of Intrada. Likewise for Young Sherlock Holmes, both ordered today.

 
 
 Posted:   Apr 1, 2014 - 8:07 AM   
 By:   emusician   (Member)

Weird thing is I was just listening to the original CD in my car yesterday morning thinking on how I would love to see a complete version of this score released...

Guys, I have the gift!!! What should I listened to next???

 
 Posted:   Apr 1, 2014 - 8:11 AM   
 By:   The Mutant   (Member)

Weird thing is I was just listening to the original CD in my car yesterday morning thinking on how I would love to see a complete version of this score released...

Guys, I have the gift!!! What should I listened to next???


Air Force One!

 
 Posted:   Apr 1, 2014 - 8:20 AM   
 By:   Burk Whittenburg   (Member)

My first thought . . . ALLARDYCE!



Haha, that's a scene from Kingdom of the Crystal Skull, right?

But yea, this release is an absolute dream, I was utterly surprised when I checked the boards this morning. Placed my order along with Yound Sherlock Holmes immediately!!

 
 
 Posted:   Apr 1, 2014 - 8:23 AM   
 By:   GoblinScore   (Member)

I also, with shaking fingers, ordered instantly....then remembered that
LaLa Land is announcing something tomorrow too. Dammit dammit dammit!!!

I shoulda sold that old Varese, but it was too good to part with. I never realized
how much editing and monkeying around was done with the album, classic as it is.

One of those, IMO, perfect horror scores that balances pathos, sadness, action and
suspense equally.

 
 Posted:   Apr 1, 2014 - 8:33 AM   
 By:   Advise & Consent   (Member)

Not to put too fine a point on it, but OMG OMG OMG! FAN-FREAKING-TASTIC!

 
 Posted:   Apr 1, 2014 - 8:52 AM   
 By:   Mike Skerritt   (Member)



"Director of Photography DEAN CUDNEY"? Really? wink

 
 Posted:   Apr 1, 2014 - 9:34 AM   
 By:   Dana Wilcox   (Member)

"Director of Photography DEAN CUDNEY"? Really? wink

Ooops. Think Mr. Cundey will notice?

 
 
 Posted:   Apr 1, 2014 - 9:51 AM   
 By:   Kev McGann   (Member)

I love this film and I've always loved the original MCA album (and Varese CD) programme.
It was a perfect 30 minute distillation of the score.
But as it's from an era of Goldsmith music where his music was endlessly fascinating to me, the upgrade should be well worth the effort.
I think it's one of the most effective character themes I've ever heard (it ranks alongside Williams' Superman in that regard) and it adds so much to what was/is, for me, a very, very good film already.

 
 Posted:   Apr 1, 2014 - 9:53 AM   
 By:   Mike Skerritt   (Member)

"Director of Photography DEAN CUDNEY"? Really? wink

Ooops. Think Mr. Cundey will notice?


Not sure but Dean Cudney is going to be getting a lot of fan mail now. "I don't know what's so special about me, I'm just an accountant," he says to his wife. "Oh but honey," she says lovingly, "can't you see it's just taken them this long to value the work you do? Tax shelters are very important to an awful lot of people." They embrace before adjourning to a celebratory dinner at Olive Garden.

 
 Posted:   Apr 1, 2014 - 10:12 AM   
 By:   SchiffyM   (Member)

"Director of Photography DEAN CUDNEY"? Really? wink

Did you know that Christopher Walken's name is misspelled "Wlaken" on the credits to "Annie Hall," and it has never been corrected!

 
 Posted:   Apr 1, 2014 - 10:18 AM   
 By:   SchiffyM   (Member)

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)!

That's what's always impressed me so much about this score. The original score is one of the all-time classics, among the very most influential, most identifiable scores of all time. Rather than compete with that, or try to expand on that, Goldsmith chose (with the filmmakers, I'm sure) to go a completely different route. And a fantastic choice it was.

 
 Posted:   Apr 1, 2014 - 10:35 AM   
 By:   Grecchus   (Member)

I've never owned any of the scores, but the ending is just as clear and familiar to me now, as it was when first seeing the film.

You've got the triangulation of Norman standing watch by the house, mother silhouetted against the window and the closing bars to JG's score reminding us that everything is back to normal.

That scene with the shovel is one of the most violently black comedic moments I know. The twang when mom is clipped, followed by Norman whistling (harmless as a fly) while he works (whistler's mother?) seems like a unique shocker of a moment. I feel certain Hitch would have approved.

 
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