My 2017 JG wish-list includes expanded editions from those titles: - Timeline - 13th Warrior - The Haunting - US Marshall - L.A. Confidential - Small Soldiers - Air Force One - City Hall - Rudy - Medecine Man Lionheart should be reissued too... (from VS perpetuity-owned titles).
And also: - The Last Castle - The Mummy - Mulan (what about the 'Legacy Collection' from WDR by the way? Is it dead?)
I would also love a remastered reissue of Masada re-recording, from the Universal calatogue. I know Intrada released the complete original soundtrack as a double CD set, but the re-recording, done by Goldsmith, is still my favorite presentation of this score.
You guys will have to forgive me but I have a specific question. I lOVE jerry and have a massive collection here. That being said and I haven't read the entire thread except for the first post, did the score for ' The wind and lion' get any expansion or re recordings?
While I think the last reissue was already a big sonic improvement over Intrada's original expansion, if this new "facelift" includes extended liner notes like the first two scores, I'm in for that alone. If the notes are by Jeff Bond or John Takis, even better. And if they uncover any unused/unreleased music (ie. alternates) to include, then every score in Jerry's action trilogy could have a two disc deluxe set! (And after all, this is the longest of the three, so if the first two warrant it, why not throw in every last extra they can for his final Rambo?)
Nice summary, Yavar! So I would say the only disappointing Goldsmith release in 2016 was The Mephisto Waltz / The Other. And there's perhaps not much hope for a deluxe type release in the foreseeable future! But otherwise a great year for Goldsmith.
Agreed. That was a big missed opportunity, especially since the complete score for The Other had already been restored for the Twilight Time isolated track. And Mephisto Waltz would benefit from the missing sweeteners being added back in.
I really hope Varese gets back on the ball with releasing DEs of the other Goldsmith titles they hold in perpetuity, especially the Flint scores (both already restored for Twilight Time as well), Small Soldiers, The Haunting, Medicine Man, and The 13th Warrior.
And Henry, I'm with you in wishing for a reissue of the Masada album recording (with fixed mastering since the old Varese had issues). That wasn't a Varese title so they don't hold it in perpetuity, but perhaps it might still be a title they'd consider for their 500 series (though I'm sure they could sell at least 1000, maybe more since the Intrada is OOP).
I wonder what the first Goldsmith release will be, this year...LLL's The Swarm? Intrada's Rambo III? Tadlow's Thriller? Or something totally unexpected, perhaps from Varese?
Scott Bettencourt revealed the following tantalizing information in his latest Film Score Friday column:
"When writing liner notes or working on any other form of film history, I find that one of my best sources of information is the Academy's Margaret Herrick Library in Beverly Hills. Their "Special Collections" (which can only be viewed by appointment and require a specific research purpose) feature papers donated by many top film professionals.
One especially useful collection for film music historians is the Jerry Goldsmith Music Sketches, which even features his cue sketches for such unused scores as Babe (the pig, not the golfer), Disney's The Kid and The Public Eye."
We'd previously seen pictures of the written score sheets to Babe (1995) here on the forum, but this is additional confirmation that this probably-never-recorded score does exist in written form and could be given a recording premiere if the funds were raised.
Additionally, The Public Eye was said to be recorded by frequent Goldsmith collaborator, Mike Ross-Trevor. Sadly that recording's whereabouts are unknown, but it is good to know that at least the written scores do survive and in lieu of Goldsmith's own recording could furnish a new complete recording.
And lastly, I don't remember getting clear confirmation before that more than demos were written by Goldsmith for Disney's The Kid, so I guess I'll need to add it to the main list when I get a chance. This would seem to be that confirmation, though I don't think we've ever had an indication one way or another about whether anything was recorded before the score was rejected.
"The Kid" was only a handful of synth demos. Not exactly his best musical moments.
Are you sure about that? What Scott wrote makes it sound like there was a full (or mostly full) score written, and he's seen it physically. What's your source on it only being a "handful of synth demos"?
The score may have been fully written -- that part I never looked into -- but it was never recorded. Goldsmith had planned to work with a guitarist (who I can't recall the name of at the moment), but ultimately things never got that far. It's also covered in the book Torn Music.
Sounds like The Kid may be in roughly the same place as Babe -- some mega Goldsmith fan out there (Robert? Doug?) should really fund premiere recordings of these unheard works which only survive in written form. (Plus -- The Public Eye, if the recording that was done was lost as it seems to be.)
Anyways, this thread is worth a bump to promote Tadlow's new Goldsmith Thriller CD, apparently the last Goldsmith recording James Fitzpatrick is going to ever produce (unless it sells like gangbusters, in which case he has said that a further Thriller volume is possible).
Also, Intrada's clues for their next release point most assuredly towards another issue of Poltergeist II. Apparently they found even more unreleased material than Bruce was able to locate for his Kritzerland release, which presented the complete score as heard in the film. Quoting Roger's clue: "Some collectors may be perplexed that this score is getting reissued yet again, but the previous release had sold out quickly showing there continues to be a perpetual market for it, plus it's an important score to Intrada and we wanted it back! Three CDs this time if that isn't enough to make your head spin. Disc 1 and 2 feature the same program with a major difference -- the first is taken from the analog film mix, featuring a crisp, detailed recording, but designed for the film's needs, including louder electronics. The second disc features the entire score from the digital recording, mixed by the composer and engineer specifically for consumer listening in mind. It's a clean recording since it's digital, but the production team also added reverb taking away some of the details. Neither recording therefore is perfect, so pick your preference. I myself prefer the analog version. Disc 3 includes the extras, including some significant previously not released stuff. Great new cover art (a bit reminiscent of Nightmare on Elm Street strangely enough)"
Hi Yavar, I had posted a similar question in the Intrada "Clues" thread. We'll all find out Monday, but I was thinking up some possibilities:
-- Cues originally composed for deleted scenes? There is a mythical "Longer cut" out there that has never been seen (since it doesn't exist most likley), but who is to say that there might not be music out there for it? I find this unlikely but possible. More possible would be, Goldsmith composed music for the existing cut of the picture, but the music was not used. Sort of like Total Recall's cue "The Aftermath." Scenes were also purpotedly shifted around and re-sequenced, so maybe Goldsmith composed music for a different cut of certain scenes.
-- Completely different versions of familar cues. "It's No Use" (also known as "They're Back). Isn't it true that Goldsmith did not want to use a choir for this movie? Perhaps he was persuaded to use the Omen-esque chanting for the scene of Carol Anne's phone erupting spirits. Maybe there is a different version. Maybe a version of some cues that include more material from Poltergeist I, like the theme for The Light.
-- I am also hoping that the Intrada team put together the movie edits of "Reaching Out" and "Back to Cuesta Verde." I definitely prefer the cues as Goldsmith conceived them originally, but wouldn't it be neat to hear them the way they were put together for the final edit (for bonus tracks)?
Either way it will be interesting to get a fully curated released of this phenomenal score!
I just updated the main post to remove Papillon, thanks to the amazing new Quartet Records release (go get it NOW, it's only 1000 copies for one of Jerry's best scores!)
Here are details from John Takis who worked on this release:
"One question-where are the tracks 'Arrest' and 'Survival' (tracks 9 and 14) off the previous release ,017179-2.
Fear not: you get everything! Absolutely none of Goldsmith's score is missing. "Arrest" on the Universal France CD was an edit of "The Pearl" and the final part of "Gift From the Sea." "Survival" from the first album was a cut-down edit of "Farewell–Part 1," "Farewell–Part 2" and "End Title," all of which are on the Quartet release. (You didn't mention it, but "Theme (Short Version)" from the previous CD was a reprise of material from "Farewell–Part 2." Quartet's "Papillon (Theme Variation)" is actually the previously unreleased insert that replaced the end of "Hospital" in the film.)
Not only is the whole score here, but folks who buy this release are going to be able to enjoy passages of music that they've NEVER HEARD before! What was available at the time of the previous expansion was the cues as they had been edited for the film. This time around, Quartet had access to the full score in the form of a recently located pristine 8-track element, which Mike Matessino has beautifully mastered! There is about 1:23 of previously unreleased material in "Catching Butterflies." "The Dream" is about 30 seconds longer, as is "Farewell–Part 2." "Gift From the Sea" has a bit of material restored, and "The Pearl" appears as its own track. "The Garden," which did not appear on the original album or in the final film, is entirely unreleased and previously unheard! And then there are the alternates and source music.
As for the songs, the Nicoletta recording remains exclusive to the UMG France CD, I believe for licensing reasons. But we should bear in mind that Goldsmith did not personally work on either this song or the Engelbert Humperdinck recording; other arrangers simply adapted his melody. These are merely two of many international covers of the tune, and can be regarded as nice extras.
Working on this release was a revelation for me. To hear the music in its fullness, as it was recorded, and in such superb sound is extraordinary. I hope Goldsmith fans won't hesitate to pick it up! It is the definitive version of one of his great masterpieces."
I had no idea there was an unused cue, or such substantial cuts in some of the released cues like Catching Butterflies! Incredible news -- thanks Quartet for another Goldsmith surprise out of left field!
I'm ecstatic that Varese is giving us a full CD of this score at last, and I just learned on Facebook that Jeff Bond wrote the liner notes, so even more good news!
This was already 100% confirmed by Roger some days ago, but Doug Fake recently wrote the following about the imminent Intrada release of Damnation Alley, giving further details about just what has survived:
"For Goldsmith fans, this is a really cool project. A world premiere of an incredible score in its entirety featuring some of his most ferocious 70's era sci-fi action writing! It began as a pipe dream of Roger's who wondered if we could get Fox on board and then get Nick to dig deep into the vaults and find every roll and then get Mike to do ambitious restorations of the entire orchestral multi-track session masters for the first time ever and then locate Jerry's sketches and scores and engage a synth expert like Leigh Phillips to newly perform the long missing electronics and then somehow have me find a way to pay for everything (haha!) and yet somehow it all came together so everyone could finally enjoy Jerry's most elusive big action score in it's entirety at last... with several previously unreleased tracks including a riveting never-before-heard cue for a scene dropped from the finished film. I sure hope you fans find the efforts worthwhile. I did. It's truly an exciting listen!"
So all of the orchestral tapes survived (and judging from the sound clips Roger posted, they did so in amazing condition) and none(?) of the original synths did, I suppose. I remember a cue or two on the Varese Goldsmith at Fox box having synths, but those may have been cues that played in the film without dialogue or sound effects.
Even with re-performed synths, this is the release of the year for me! I have updated the Damnation Alley entry in the first post, but not removed it since I suppose there is still some possibility that the original synth recording may be uncovered in some poorly labeled box some day. I had written: "Damnation Alley -- Until someone either finds or re-records the missing synth parts, this will almost certainly remain unreleased. I recently did a complete score breakdown upon watching the film and wrote "advance liner notes" to boot, concluding that there is almost 10 minutes of fantastic unreleased music in the film (and possibly more that was recorded): http://filmscoremonthly.com/board/posts.cfm?threadID=117082&forumID=1&archive=0"
It's so exciting for me to hear that there was indeed more music recorded than was used in the film, and that it will be included on the Intrada album!
One final note: in the December 5th announcement thread regarding Intrada's release of Damnation Alley, user spielboy parenthetically wrote, "and another expanded Goldsmith score is coming in a few days, be prepared..." If he indeed has some inside knowledge, perhaps Quartet (outside chance of some other label like Kritzerland or BSX) does have a final Goldsmith surprise for us this year.
Yes indeed! I can't say I'm too surprised, since Quartet has several times tackled a definitive Goldsmith release that others didn't consider worth doing (Total Recall, Basic Instinct, King Solomon's Mines were all very slight expansions). They've worked with UMG a number of times recently (ie. Mancini's Sometimes A Great Notion) and MGM has always been very cooperative with labels so the extra unreleased material probably wasn't too complicated to license.
I had previously written the following in the original post, assuming Intrada at the time because I don't think Quartet was working with UMG yet when I originally started this thread: "The Russia House (MCA --> UMG) -- Goldsmith famously already considering this album way too long, but presumably Intrada could give it a sonic upgrade, fill in the few bits of missing score, and get Jeff Bond to write some great liner notes...not a huge priority but I could see another version of this coming out, and there was an excellent recently-updated runmovies.eu article which lays out the 7-8 minutes of missing music (six cues) and why it deserves to be released: http://www.runmovies.eu/?p=7846"
What I'm especially intrigued by about this: Quartet includes over 15 minutes of previously unreleased music, whereas the film itself (and therefore the Twilight Time Blu-ray isolated score track) has less than that. Was some stuff written for but unused in the film, or where are the extra minutes coming from? Dirk Wickenden who did the notes on this Quartet release even claimed only the small amount of missing music on his complete score breakdown (at runmovies, linked above).
Very intriguing and I really look forward to reading the notes on this as well as hearing all the extra music, which according to Dirk adds some much-needed variety to the score which actually makes it play better.
Amazing to realize that after this, setting aside Varese-controlled titles, every Goldsmith score from the 90s on has been released complete except for Mulan, The Mummy, and The Last Castle...and the unused scores to Babe, The Kid, The Public Eye (if they survive/were recorded), and Two Days in the Valley (Intrada's was the planned album program).
There are perhaps a handful of unreleased short things besides those in the 90s like some fanfares/logo music, everything recorded for Soarin' Over California (only the actual ride score was released, not the waiting & exiting music), and the fantastic themes he contributed to H.E.L.P. and Brotherhood of the Gun (aka Hollister). But it's incredible that there are only three (utilized) film scores since 1990 still to go that aren't controlled by Varese.
Just wanted to point out that an, ahem... "unofficial" version of The Lonely Guy exists, longer than just two tracks albeit with less-than-desirable sound
Yeah...that's sadly not a guarantee that good tapes exist for a us to get a complete legit release -- see Legend, Link, and Peter Proud. But I really hope it happens as it's a delightful score.
2018 marks the 15th anniversary of Goldsmith's score for Donner's TIMELINE.
I would really love an expanded release of this wonderful score. The 45-min existing CD is great, but I want everything on CD from this fabulous music!
NP: Timline- Goldsmith: track 13: Prepare for Battle / Victory for Us
