Thank you Yavar for the update of the issue and your timeless committment to help this music to get interest from our community and eventually to be preserved.
I definitely vote for #3 PURSUIT/CRAWLSPACE twofer...now that it has been included in the poll. This is IMHO the more important unreleased remaining Goldsmith music, above anything else.
Otherwise I would have chosen #4 synth turned orchestral but limited to RUNAWAY only. No need for any ALIEN NATION or CRIMINAL LAW revisiting for me.
I wish RAMBO II FIRST BLOOD Part II original end credits had been proposed as well....because this is a killer of a tune.
Eventually, I will support any of the final choice if and when Leigh Phillips launches any of them.
Thank you Yavar for the update of the issue and your timeless committment to help this music to get interest from our community and eventually to be preserved.
I definitely vote for #3 PURSUIT/CRAWLSPACE twofer...now that it has been included in the poll. This is IMHO the more important unreleased remaining Goldsmith music, above anything else.
Otherwise I would have chosen #4 synth turned orchestral but limited to RUNAWAY only. No need for any ALIEN NATION or CRIMINAL LAW revisiting for me.
I wish RAMBO II FIRST BLOOD Part II original end credits had been proposed as well....because this is a killer of a tune.
Eventually, I will support any of the final choice if and when Leigh Phillips launches any of them.
As later Goldsmith is my favourite period of his, and because I am fascinated by the idea, I would go with the orchestral re-recordings. But unlike Sartoris above, I would probably favour CRIMINAL LAW over the other two: the electronic soundtracks of ALIEN NATION and RUNAWAY fit their SF/future settings whereas the other is set present day and there doesn't seem to be any reason (beyond budget) why that film needed an all-synth score. Indeed, having rewatched CRIMINAL LAW in the last week, I felt an orchestral score would have fitted that film perfectly well.
Still most excited about getting fabulous new recordings from Goldsmith's early radio years. It just seems to be the biggest hole to plug in his discography. And imagine hearing this music in great sound quality! So number 1 is definitely number 1 for me.
They're losely followed by number 3, because these scores have never been released. And I like his early 70's period, where his sound was very experimental. Thriller has already been covered quite well, and the synth scores are what they are. I am interested in the experiment of orchestrating them, but that just seem less of a priority to me. But lots of 80's fans here, so these appear to be the popular option.
For me it's time to celebrate this part of Jerry's Career. It's time for his Brilliant CBS Radio work.
THE HIGHWAYMAN alone is a true revelation of the depth and scope of the Maestro, containing so many elements of his unique style and talent that would set him apart in his craft.
The other titles will surely come at some point down the road, but for now...
