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When Townson talks about how he first got into the business he mentions needing the investment, which he gets, then once he has it the story continues with his having the deal for the FINAL CONFLICT album. I'm really curious how he got the deal in the first place, particularly when he was so young. How did he get his foot in the door with Fox? The interview needed to cover a lot of ground but I'm really curious about this piece.
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First let me say thanks to all the new people who have chimed in with kind words!
Yeah, I was wondering that too, and I did kinda press him on Fox's reaction to his proposal. Basically it sounds like he came to them with $20,000 and they said yes, but I'm sure there was more to it than that. I'm not sure if Bob will be wiling to weigh in further, or not.
You’re probably right, that’s more like it. With those 30 to 40 min. programs limited by reuse fees it’s is unlikely that composers would interfere to have anything removed. Probably it were more decisions on which tracks would be selected to fit the 30 min.
To be fair, Bob himself have released pretty comprehensive CD Club Releases after new arrangements for reuse fees were reached.
That's true. It will become evident in Part 2 that Bob doesn't necessarily support the Lukas Kendall-style definitive/exhaustive (depending on your point of view) releases, with all the unique alternates and such. But he did seem to agree with me that Jerry's music usually fares well in complete form, and as you say his high number of Goldsmith Deluxe Edition complete releases in the Club would seem to bear that out. But I think, if not constrained by reuse fees, Bob would definitely have produced longer albums than 30-40 minutes, as a rule, in the 90s. (We see that with something like The 13th Warrior, which I believe was recorded overseas and didn't have reuse.)
Very nice, Yavar. Any advance notice on what part II may bring? Maybe a question or two about the debacle that was The Thorn Birds CD set??
While I was upset about that too at the time, this Odyssey Interviews project is not intended as a hard-hitting piece of investigative journalism where I put my subjects through the wringer. I want a more celebratory (of Jerry Goldsmith) tone, not a recriminatory (of the interviewee) one. But I suspect your winky indicates you recognize that approach. 
I'll just say, thank goodness for that Case History of a Film Score book w/ CD that The Thorn Birds received, which corrected that dulcimer issue!
I wasn't sure what to expect, a slow-moving snooze-fest or a sizzling, hang-on-every-word extravaganza. I was greatly impressed by Yavar's spot-on interviewing. And Jens' tight editing really made it move right along. Once in a while, during some information that I was familiar with, I would focus away and try to "multi-task" with some other minor chores for a few seconds....and then I would miss the beginning of some new topic and say "WHAT did he say?" to myself and have to rewind back and listen with refocused attention.
Yes, Robert did sometimes repeat a story that he's told in liner notes for albums and such, but I doubt he keeps close track in his head of which stories he's told in print, and which ones he hasn't. It was natural in the flow of the conversation and will still be new to those who don't have the album, don't read liner notes, or read them but have since forgotten.  In fact, during the second half of our conversation I actually think I stepped in and moved the conversation on once or twice (I was getting sensitive to the time, which kept going longer and longer, and wanted to hit a few subjects before Bob had to leave...I didn't realize how much time he was going to give me!) But in retrospect now I kinda wish I'd just let him tell more of those stories in his own spoken words, even if we had them in print already.
REALLY nice job, guys. I've only met Robert Townson once, in New York City at Radio City Music Hall at the memorably fabulous 2007 Ennio Morricone concert. I was there with my wife and daughter and saw him waaaay up front in the really exclusive seats. What the hell, I said to myself, I'll probably never get this chance again. And I'm old enough to be his father! I excused myself, walked right up to him, shook his hand, thanked him for his work, got his autograph, and took a picture with him. I'm pretty sure that he doesn't remember the episode, but I always will. Then I had to run back to my seat because the concert was about to start. Robert was quite patient and a real gentleman. Bravo all around!
Ron Burbella
I wonder if he remembers that. He famously doesn't like to read online forum threads, but maybe he'll read this one. If he does and wants to chime in about anything, I'll pass along his comments.
Yavar
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Part two is up!
http://goldsmithodyssey.buzzsprout.com/159614/1361503-odyssey-interviews-robert-townson-part-2
Quoth a little of Clark's description:
...This time around, Robert reveals a variety of unrealized projects he had hoped to work on with Jerry, shares memorable moments from the final years of Jerry's career, talks about his departure from Varèse Sarabande and his subsequent career plans, and much more!
Seriously, I'm just a listener on this one, and it's such a great conversation.
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Thanks to Yavar for this wonderful interview. Very informative.
You’re welcome; I’m glad!
Yavar, have you asked Mr Townson about Jerry Goldsmith's "friendship/state of relation" with John Williams?
If I had, it would have made the final edit of the interview (I guess...as long as Bob had an interesting answer.) I’ll be honest...getting even 15 minutes with Mr. Williams himself is something of a dream of mine, to ask him about that and even more, what it was like to be featured piano soloist on Jerry’s earliest scores. Maybe someday it’ll happen.
Next interview, Intrada Records?
I already have two more interviews scheduled in the next few weeks, and no, neither is with Intrada. That said, I’ve already been in touch with both Doug and Roger since last year, about appearing on the Odyssey. Doug came *this* close to joining us as our special guest on Studs Lonigan, but he had some last minute mastering work on a Horner release which prevented him from doing so. He’s got a super packed schedule in general, but I think we’ll both be able to make time for a one on one conversation this year. I think I may ultimately do the same with Roger if he’s up for it, because the Goldsmith scores he’s interested to join us for as a guest are still a ways away...
Yavar
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Kind of ironic that, having done all of those perpetuity deals for Varese, Townson has now locked himself out of titles that he may now want to explore under his new company.
Frustrating that Air Force One was on his "to do" list. Will assume that US Marshals was on his list too.
Even more frustrating for Leigh Philips that Townson is sitting on the ororiginal Thriller manuscripts so a "from ear" restoration was unnecessary (thou it means something actually got recorded!)
Working on the two sets of "Thriller" suites was a hugely enjoyable experience; over the years, it's gotten to the stage where the transcription process doesn't really bother me too much (there's even been the odd occasion where I actually preferred it!) - so I'm not overly frustrated about the scores' existence (I do also wonder how "available" they would have been, seeing that it appears Varese had a "Thriller" project somewhere on their own radar?)
Either way, it's very good to know that the original charts are in safe hands!!
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Kind of ironic that, having done all of those perpetuity deals for Varese, Townson has now locked himself out of titles that he may now want to explore under his new company.
I mean, it's essentially the same situation Bruce Kimmel ended up in, with a number of Fox Goldsmith scores in the mid-90s he brought to Varese. Listen to my interview with him:
http://goldsmithodyssey.buzzsprout.com/159614/902063-odyssey-interviews-bruce-kimmel
The difference is that Bruce wasn't aware of Varese's perpetuity arrangements at the time, whereas Bob was. Bruce didn't know that when he got The Other/The Mephisto Waltz for the label, that he would be making it impossible for himself to release on Kritzerland, later on.
Yavar, You think you could have Mrs. Carol Goldsmith on board ? That would be incredible.
It's possible. I'm certainly open to it if she is interested, but I haven't reached out directly yet.
Did you discuss Public Eye with Robert ?
I did not. And I should have brought it up, since Varese did release the final film score. I should have asked if he pursued a release for the rejected score, or what happened. But I have someone even more appropriate to discuss this score with, coming up soon...
Yavar
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Yavar... just finished listening to part 1 and it was great. I love all the behind the scenes tidbits but the best was learning that the music to the main title to Illustrated Man was written when Goldsmith was just 19 years old! His genius was blossoming early! Can’t wait for part 2.....
hmmmmm....
that theme is VERY similar to the "Chiming Watch" theme from FOR A FEW DOLLARS MORE.
Could jerry be 'covering his tracks. with that claim?
" Hey Giussepe; This is Ennio; why-a you-a steal-a my music?"
"I 'no-a steal-a' your music, Ennio. I wrote that when I as 19. I have the sheet music right here: music by Gerald Goldsmith'>
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LIONHEART played in only two theaters?
'Wise' investment!
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I did not. And I should have brought it up, since Varese did release the final film score. I should have asked if he pursued a release for the rejected score, or what happened. But I have someone even more appropriate to discuss this score with, coming up soon...
JOE PESCI?
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Lukas and Bob both starting labels.in.their.teens!
Amazing!
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Thanks, jb! Glad you enjoyed.
that theme is VERY similar to the "Chiming Watch" theme from FOR A FEW DOLLARS MORE.Could jerry be 'covering his tracks. with that claim?
Love both themes but I think they're fairly different. Though I guess I can hear what you're talking about, it's a similarity that has never occurred to me before.
Lukas and Bob both starting labels.in.their.teens!
Amazing!
I know Lukas was a teen when he started FSM, but wasn't he in his 20s by the time he produced his first album? (The Taking of Pelham 1-2-3)
JOE PESCI?
Guess again.
Yavar
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