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Look for more “GOLDSMITH AT 20th” releases coming soon from La-La Land Records!
GOLDSMITH AT 20th Vol. V – MUSIC FOR TELEVISION 1968-1975
Also Available from La-La Land Records: GOLDSMITH AT 20th Vol. I – VON RYAN’S EXPRESS / THE BLUE MAX, GOLDSMITH AT 20th Vol. II – THE DETECTIVE / THE FLIM FLAM MAN and GOLDSMITH AT 20th Vol. III – THE STRIPPER / S*P*Y*S and GOLDSMITH AT 20th Vol IV - ACE ELI AND RODGER OF THE SKIES / TORA! TORA! TORA!
oh ... and GOLDSMITH AT 20th Vol. VI The Other, uh ... maybe I mean GOLDSMITH AT 20th Vol. I The Other from Varese Sarabande?
Why doesn't Chris Malone tell us he's working on these, eh?
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So excited about this release, such a gem from his early 70's output!
Wow - really did not expect this would happen! It's another big year for Goldsmith in the 70's!
Amazing. Thank you, Varese.
The notorious film score critic Page Cook wrote that this was the second-best score of 1972.
For many decades 1972 was one of THE most neglected and overlooked years in Goldsmith's entire output. Even the little bit of music of his that had been released from that productive year was released poorly, and very truncated (The Other, Anna and the King).
But then in 2022, we kinda had a 50th anniversary celebration: LLL gave us a whopping 35 minute program with everything Goldsmith recorded for ANNA AND THE KING (save one brief cue which was lost), and that same year Intrada gave us THE MAN (otherwise lost) in a new RSNO recording paired with Black Patch!
And 2024 seems to now be rivaling it, with THE OTHER complete at last thanks to Varese, and Goldsmith's two substantial unreleased (because the original recordings are lost) TV feature scores from 1972, CRAWLSPACE and PURSUIT, now in an active (and already successful, setting aside the stretch goal) Kickstarter campaign from Leigh Phillips:
https://www.kickstarter.com/projects/lpfilmmusic/record-jerry-goldsmiths-scores-for-pursuit-and-crawlspace
(Still over 12 days to go to cover the remaining half of the stretch goal for a third score!)
Pretty sure soon all that will be left unreleased from that year is the LIGHTS OUT pilot "When Widows Weep", and the half dozen episodic scores (plus one song) that Goldsmith composed for THE WALTONS.
It sure is a good time to be a Goldsmith fan.
Yavar
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Already ordered. (Along with John Debney's SUDDEN DEATH.)
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In my opinion, The Other is neither minor nor an oddity. It is a substantial score that shares traits with Magic--dark, psychological, and at times scary.
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Yup, I'm with you 100%.
Yavar
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Posted: |
Sep 20, 2024 - 4:05 PM
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By: |
DavidCorkum
(Member)
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The article by John Caps in the Jan.1980 issue of Soundtrack Collectors Newsletter, "The Ascent of Jerry Goldsmith", had this to say about The Other.
"Contrast Mephisto's horror with the innocent pastorial approach of his music for Tom Tyron's spook story, The Other. There, director Robert Mulligan showed us the family life on a small Connecticut farm before he got at all serious about the mysterious deaths that had plagued the people there. The concept of Goldsmith's music was to present first a simple, whistled theme that could be any child's lullaby except that there was a certain measure of guilt hidden in the edges of the tune and in the orchestration. As the mystery unravelled so slowly, we were distracted into the sunny farm country and the theme tune was heard in a number of shrewdly sunlit variations, each brief and lovely, strings in unison with a bassoon turning gently underneath while we watched back-lit cottonweed float on the air, piano playing the theme song while horns set up a repetitive background for a scene in town. Elsewhere he wrote a fragile song for the disturbed mother which was so reluctant and demure that we could hardly hear it, yet it took the place of pages of script-writing in describing her.
Soon, as events revealed themselves, the theme dissipated, the orchestral idium altered. We heard the same chord progression as had introduced the finale of the Illustrated Man as the last sane member of the Connecticut household was done in. Goldsmith came at the job with an overall ideal. All the single music cues, then, fell into place."
He would have not had the full score to listen to, as more than a quarter of the score was dropped because the director apparently got cold feet about making a horror film, and wanted to tone it down. I particularly like the cue listed now as The Casket, which has the theme played in it's most spooky version.
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Another great release! Something to flavor.
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Yes! This one had eluded me till now.
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Posted: |
Sep 21, 2024 - 1:53 AM
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By: |
Thor
(Member)
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The concept of Goldsmith's music was to present first a simple, whistled theme that could be any child's lullaby except that there was a certain measure of guilt hidden in the edges of the tune and in the orchestration /.../ Soon, as events revealed themselves, the theme dissipated, the orchestral idium altered.
Kinda sounds like he's describing POLTERGEIST there.
Either way, I never got the THE MEPHISTO WALTZ/THE OTHER CD way back when, although I'm fairly certain I sampled the album at some point. Although now presented in full, the relatively manageable duration of some 40+ minutes shouldn't cause too much harm. I'll definitely be checking it out and maybe even acquiring it in digital file format. It's not my favourite Goldsmith period, but it IS from a time he pushed boundaries to a greater extent, and as such has that extra layer of intellectual interest.
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Wonderful. So no Face Off?
Face/Off never really was an option anyway, considering it wasn't originally released by Varese.
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Wonderful and thank you, ordered via the Int Store came to £20.99, not bad. Fingers crossed this is not damaged on arrival.
I haven't had that problem, yet.
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