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Logan’s Run (1976 Feature Film) (1976)
Music by Jerry Goldsmith
Logan’s Run (1976 Feature Film) Logan’s Run (1976 Feature Film)
Click to enlarge images.
Price: $14.96
Limited #: 10000
View CD Page at SAE Store
Line: Silver Age
CD Release: January 2002
Catalog #: Vol. 5, No. 2
# of Discs: 1

Released by Special Arrangement with Turner Classic Movies Music.

(Looking for the TV series? We released that on CD too!)

In 1976 Metro-Goldwyn-Mayer released a film which represented the state of the art in sci-fi thrills: Logan's Run. The next year, George Lucas's Star Wars changed the face of blockbuster movies, rendering Logan's Run the end of an era—a brightly lit cornucopia of disco-era settings with special effects secondary to the tried-and-tested sci-fi theme of love and humanity emerging from a computer-controlled society.

If there is a constant to sci-fi productions over the years, it is that Jerry Goldsmith has always turned out his best work for them. From Planet of the Apes to The Illustrated Man (FSMCD Vol. 4, No. 14) to Star Trek: The Motion Picture, Goldsmith has shown no end of imagination and skill for underscoring fantastic concepts—and more importantly, the human feelings underneath. Logan's Run is no exception: Goldsmith's score is based around a three-note, chromatic motive for the pleasure-packed but emotionally barren City (in which life ends at 30), with an evocative, flowing melody (for protagonists Logan and Jessica) its thematic opposite. His sound palette adheres to two separate configurations: strings, keyboards and abstract electronics for scenes inside the City; and full orchestra for the natural world outside.

Logan's Run was originally released on LP at the time of the film, a 42-minute program which has twice been available on CD. FSM's new 74-minute CD features the complete score resequenced into film order and remixed and remastered from the original multitrack elements. Hearing the entire score in order is a revelation: Goldsmith ingeniously works his three-note theme into virtually every cue, from solo celeste for the City's infants to course synthesizers for the City's central computer. He provides wild, imaginative setpieces, such as the Stravinskian cue for the Cubs (wild children) and the crystalline colors of the robot, Box. The score features a wide variety of Goldsmith gems: pounding, odd-metered action cues for Logan's former friend and later adversary, Francis; ambitious, all-electronic ensembles for the City's rituals; and impressionstic, symphonic writing with Coplandesque refrains for the ruins of Washington, D.C.

From the pulsating, avant garde electronics of Logan and Francis terminating a runner; to the austere string writing of Logan following Jessica in Arcade; to the swirling textures of the underwater passage late in the film, this is the ultimate Logan's Run soundtrack—even including cues not fully heard in the film. As always, the booklet features track-by-track descriptions and vivid illustrations. Run, runner!

Jerry Goldsmith Scores on FSM
About the Composer

What to say about Jerry Goldsmith (1929-2004), the reason so many of us are soundtrack collectors in the first place? The Los Angeles native knew early on he wanted to write music for the movies, had an extensive training in television in the 1950s (starting at CBS), and went on to an unparalleled career in the movies—capable of brilliance in every genre, and beloved by his peers and fans. FSM has released as many of his scores as we could get our hands on, from classic TV work like The Man From U.N.C.L.E. to famous features (Patton) and obscure gems like The Illustrated Man and 100 Rifles...heck, make that all of them. Jerry, we love you and miss you! IMDB

Comments (29):Log in or register to post your own comments
Goldsmith fans must not miss this title. Because it shows the incredible range of what the composer could do for a film, even when it is a medium-weight sci-fi spectacle.

What I enjoyed most about this cd is that it showed me parts of the the score that I thought were sound effects were ACTUALLY music by Goldsmith. It also illuminates music that is very different from what appeared on the LP.

It was a marvelously innovative score in many ways. That old MGM lp caught the "orchestral gloss" of the score, adding that little "Disco Logan" thingy tacked on for the 1976 masses, of which I was one. It left off so many serial compositions that reeked of pure early Goldsmith. This is another case of a score designed for something better than it represented.

What I enjoyed most about this cd is that it showed me parts of the the score that I thought were sound effects were ACTUALLY music by Goldsmith.

There's an effect like that in STAR TREK:TMP. In the movie you just think, "That's the sound V'Ger makes." You don't realize how much your music man is adding to the show.

A more obscure example is the wonderful sound that composer Joe Harnell came up with for the evil "Alex 7000" computer in an episode of THE BIONIC WOMAN.

I had this CD, but sold it off not too long ago. Mostly because I didn't care for the complete and chronological presentation. I much rather prefer the LP program. However, the sound quality and presentation otherwise were top-notch.

It's one of those very few times where I prefer the re-recording. The original sounds like a mike test in comparison.

The music is very 70's Goldsmith though broad big and very fitting of the films of those age and the atmosphere they had. Like the disaster films and Heston Sci-fi films. It just had that look to it and John Williams and Jerry Goldsmith took care of the sound department to make it the complete package that still impresses and influences me to this day.

D.S.

I don't care for the purely electronic cues such as Love Shop. But the bulk of this score is absolutely fantastic.

This has been a favorite ever since I tracked down the bay Cities CD reissue of the original album back in 1996, but admittedly the sound quality was a bit lacking. The FSM release has such improved sound that even if you only liked the original album tracks and wanted to play only those, then it's worth having the FSM edition.

Some of the purely electronic tracks can grate a bit, but I love the "Flameout/Fatal Games" combo and the cool tones of "The Assignment", plus you get all that great orchestral material, whether in only strings & percussion or with the added depth of big brass... so much to enjoy in this one.

The guys over at the offbeat Aquarius Records have once again made an FSM release one of their recommended albums of the week, giving another lengthy write-up. I was wondering when they might get a hold of this one, as the retro-electronic portion appeals to their musical taste. Kind of funny the difference in audience: how the synth portion can turn off many people here in the symphonic camp but be the main draw to others with the symphonic portion being excused. "Sure, it's symphonic. It's a score after all." Still, it's good to see them introducing this to a new generation:


"Released in 1976, Logan's Run remains one of the coolest and most fantastically stylized sc-fi cult classics EVER. If you haven't seen it, go rent it now, you won't be sorry. It's the tale of a future world that is all about hedonistic pleasure, free love, recreational drug use, routine plastic surgery, random sexual encounters, the only hitch is that when you turn 30, you go through a ceremonial slaughter. Each citizen has a small jewel implanted in the palm of their hand, and when 30 comes it begins to blink. Logan's Run concerns a certain guard, who gleefully hunts down runners, people who decide to try and escape their fate, and drag them back for execution, until he falls in love, and begins to question the system, even moreso when his jewel begins to blink, and thus he decides to run. Outside the city, they discover a ruined Washington D.C. overgrown with plants, a post apocalyptic wasteland, and, well, without giving more away, it's trippy and psychedelic and totally cheesy and over the top. The set design is classic seventies futurism, lots of neon, and crystals, and sparkly clothing, and the holographic entertainment is outrageous and again super cheesy, the ladies are beautiful and are dressed in wild futuristic gowns (Farrah Fawcett plays the plastic surgeon's assistant, and is appropriately seventies hott), and there's a robot that they meet in an ice cave, and okay, if you haven't decided to rent it already, we're not sure what's wrong with you! Needless to say, a tripped out psychedelic vision of the future like this needed a similarly futuristic psychedelic soundtrack, which it did indeed get, courtesy of Jerry Goldsmith, and the whole thing (and then some) is reproduced here. And what with the current craze of sonically worshipping John Carpenter and Goblin and that whole retro-futuristic thing going on, it seemed like the perfect time for people who were maybe not even born at the time to get a load of THIS, which sounds in many ways like what lots of folks now are doing.

Sure it's symphonic, it is a score after all, but there's lots of sci-fi / electronic weirdness, in fact the whole soundtrack starts with a pulsing bit of buzzing synth, before slipping into some soaring strings, but then it's right back to some creepy spaced out ambience, all bleeps and bloops, electronic squiggles and alien melodies, and the whole score sort of slips back and forth, from traditional orchestral score, to avant freaked out psychedelic electronics, often melding the two brilliantly.

"Flameout" is all analog synths, and twisted effects, super cheesy and eighties, but also ominous and mysterious, Theremin like melodies, electronic rhythms, atonal cascades of 8 bit analog crunch. "Fatal Games" begins with some sort of processed electronic rhythm, pulsing, motorik, before strange liquid ambience oozes into the picture, and suddenly it sounds like some sort of lo-fi analog alien electro. And so it goes, strings soar and shimmer, electronics buzz and warble, synths whir and thrum, some tracks are goofy and over the top, others are ominous and intense with wild Bernard Hermann like string stabs, while others are super jagged and atonal and dramatic, and still others are swoonsome and melodic.

Such a great movie, and such a great soundtrack. Released on the same label that gave us The 5000 Fingers Of Dr. T ( a recent Record Of The Week) and the killer Klute / All The Presidents Men soundtrack, which means, like those, the presentation is elaborate, with a huge booklet, rife with amazing liner notes, pictures, production stills, photos, not to mention super detailed notes on each track, describing the track itself, and then what's going on in the movie while said track plays. Wow."[/endquote]

It was finding a (bafflingly still sealed!) copy of this in a secondhand shop that got me into collecting soundtracks. The sheer scope of this score is astounding.

"Released in 1976, Logan's Run remains one of the coolest and most fantastically stylized sc-fi cult classics EVER. If you haven't seen it, go rent it now, you won't be sorry."[/endquote]

Oh, yes, you will be! LOGAN'S RUN is one of the worst "major" SF films ever made. It's right up there with BENEATH THE PLANET OF THE APES, DAMNATION ALLEY, THE ULTIMATE WARRIOR and WESTWORLD as examples of tired, trite and dumbed-down "Hollywood" SF movie junk food. If it wasn't for the Goldsmith score, I'd say burn every copy of LOGAN'S RUN. It's crap.

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Track List
Instruments/Musicians
Click on each musician name for more credits

Leader (Conductor):
Jerry (Jerrald) Goldsmith

Violin:
Murray Adler, Israel Baker, Arnold Belnick, Harry Bluestone, Bonnie J. Douglas (Shure), Assa Drori, David Frisina, Irving Geller, Debbie Sue Grossman, Teresa Harth, Jacob Krachmalnick, Bernard Kundell, Joy Lyle (Sharp), David Montagu, Betty Stuka Moor, Irma W. Neumann, Stanley Plummer, Christopher Reutinger, Linda Rose, Nathan Ross, Sheldon Sanov, Ralph Schaeffer, Haim Shtrum, Paul C. Shure, Marshall Sosson, Robert "Bob" Sushel, Gerald Vinci, Dorothy M. Wade (Sushel), T. K. Wang, Tibor Zelig

Viola:
Pamela Goldsmith, Allan Harshman, Myra Kestenbaum, Louis Kievman, Janet Lakatos, Virginia Majewski, Robert Ostrowsky, Sven Reher, Joseph Reilich, David Schwartz, Barbara A. Simons (Transue), Milton Thomas

Cello:
Douglas L. Davis, Selene Depuy-Hurford, Marie Fera, Armand Kaproff, Jacqueline Lustgarten, Frederick R. Seykora, Eleanor Slatkin, David H. Speltz, Gloria Strassner, Mary Louise Zeyen

Bass:
Arni Egilsson, Milton Kestenbaum, Abraham Luboff, Peter A. Mercurio, Milton E. "Mickey" Nadel, Meyer (Mike) Rubin, Ray Siegel

Flute:
Louise M. DiTullio (Dissman), Arthur Hoberman, Sheridon W. Stokes

Oboe:
Norman Benno, William Criss, John F. Ellis

Clarinet:
Roy A. D'Antonio, Dominick Fera, John Neufeld

Bassoon:
Don Christlieb, Norman H. Herzberg

French Horn:
Vincent N. DeRosa, David A. Duke, Robert E. Henderson, Arthur Maebe, Jr., Richard E. Perissi, Henry Sigismonti

Trumpet:
Robert Divall, Malcolm Boyd McNab, Uan Rasey, Graham Young

Trombone:
Richard "Dick" Nash, Phillip A. Teele, Lloyd E. Ulyate

Tuba:
John T. "Tommy" Johnson, Ray Siegel

Piano:
Artie Kane

Keyboards:
Artie Kane

Harp:
Dorothy S. Remsen

Percussion:
Larry Bunker, Emil Radocchia (Richards)

Orchestrator:
Arthur Morton

Orchestra Manager:
Harry W. Lojewski

Supervising Copyist:
Harry W. Lojewski

Copyist:
Willard W. Jones, Ray Mace

Music Consultant:
Arthur Morton

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