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 Posted:   Jan 30, 2019 - 11:12 AM   
 By:   Justin Boggan   (Member)

I wish somebody in the know from any label, would just let us know a reason for this score not being released; complicated rights? Not all the score can be found? The entire score is M.I.A.?

So we can at least eliminate the speculation and have a starting point from which to talk about why it's not out.

 
 Posted:   Jan 30, 2019 - 11:14 AM   
 By:   The Mutant   (Member)

I would be so down for that. Love 90s noir Goldsmith.

 
 Posted:   Jan 30, 2019 - 11:17 AM   
 By:   Yavar Moradi   (Member)

Well, Intrada (Roger) recently chimed in on the subject, saying "Just so you know, no recording of a rejected score to Public Eye has surfaced anywhere."
https://www.filmscoremonthly.com/board/posts.cfm?threadID=134144&forumID=1&archive=0&pageID=1&r=382#bottom

So while it seems it was indeed recorded by Mike Ross-Trevor in England, at some point the tapes for this unused score were misplaced. If Ford Thaxton knows more than he posted in this thread, I have no memory of him sharing it. I guess what we really need to do is ask Mike Ross-Trevor. Did anyone listen to the recent-ish Cinematic Sound interview with him? No mention of The Public Eye in the summary, sadly, but maybe it did come up?

http://www.cinematicsound.net/interview-with-mike-ross-trevor-host-jason-drury/
http://www.cinematicsound.net/interview-with-mike-ross-trevor-part-2-host-jason-drury/

I would be so down for that. Love 90s noir Goldsmith.

Me too though I may consider 60s/70s noir Goldsmith even better...The Detective, Chinatown, and Contract on Cherry Street...mmmm....

Yavar

 
 Posted:   Jan 30, 2019 - 11:19 AM   
 By:   Justin Boggan   (Member)

I remember being told years ago somebody apparently knew somebody who had a bootleg of it. Shame I don't have any of that info' anymore, otherwise I'd work my way backwards to find out if there are tapes hiding somewhere.

 
 Posted:   Jan 30, 2019 - 11:22 AM   
 By:   Yavar Moradi   (Member)

I'm surprised Mike Ross-Trevor wouldn't have saved a copy himself, but I'm sure if he had someone from Varese/Intrada/Silva would have put it out long ago...hell Bruce Botnick apparently didn't save a copy of Under Fire so why should we be surprised if a completely unused score (except for a bit in one of the trailers, I hear) goes missing/misplaced?

Yavar

 
 Posted:   Jan 30, 2019 - 11:28 AM   
 By:   The Mutant   (Member)

Totally. Those older detective scores have that vintage Goldsmith sound but I also really dig the way he incorporated synth into his early/mid 90s stuff like Basic Instict, The Vanishing, L.A Confidential and 2 Days in the Valley.

That very sleek, slithery synth mixed with the noble/lonely trumpet. Ahhhh.


 
 Posted:   Jan 30, 2019 - 11:34 AM   
 By:   Yavar Moradi   (Member)

Yeah, I'm there too. Special shout out to City Hall, which often gets forgotten it seems...
https://filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0

But my favorite of ALL of Jerry's noir scores is honestly Contract on Cherry Street...with my single favorite noir cue Jerry ever wrote being "Prowling" from that score. LOVE IT.

Yavar

 
 Posted:   Jan 30, 2019 - 12:14 PM   
 By:   WagnerAlmighty   (Member)

Yeah, I'm there too. Special shout out to City Hall, which often gets forgotten it seems...
https://filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0

But my favorite of ALL of Jerry's noir scores is honestly Contract on Cherry Street...with my single favorite noir cue Jerry ever wrote being "Prowling" from that score. LOVE IT.

Yavar


Well here are a couple of interesting scores for me to look up.

This might sound cuckoo, but I really haven't explored the noir side of JG as much as, say, Rozsa. I haven't heard the Chinatown score since the last time I saw the movie (80s). I guess it's mostly because I'm so cuckoo about the other genres Maestro Jerry wrote in more.

But now I'm ready to dive in...after I get the rest of my stolen collection back wink

(speaking of Rozsa, losing the Treasury to that guy was one of the most crushing blows)

 
 Posted:   Jan 30, 2019 - 1:48 PM   
 By:   Yavar Moradi   (Member)

This might sound cuckoo, but I really haven't explored the noir side of JG as much as, say, Rozsa. I haven't heard the Chinatown score since the last time I saw the movie (80s). I guess it's mostly because I'm so cuckoo about the other genres Maestro Jerry wrote in more.

But now I'm ready to dive in...after I get the rest of my stolen collection back wink

(speaking of Rozsa, losing the Treasury to that guy was one of the most crushing blows)


Oh, NO! And I bet you didn't even get to finish making your way through all of it? I know you saved up for that for so long; I am so sorry to hear that.

If you pick up Chinatown make sure you get the Intrada edition; it is definitive:
http://store.intrada.com/s.nl/it.A/id.10122/.f

Yavar

 
 Posted:   Jan 30, 2019 - 7:52 PM   
 By:   Josh "Swashbuckler" Gizelt   (Member)

I second Yavar's recommendation of the Intrada Chinatown. It's a great presentation of one of my favorite scores, and one that was very influential in the noir genre. John Barry would make noir deliciously sleazier with Body Heat in the next decade, and then Goldsmith would make it all calculating and intellectual with Basic Instinct in the decade after.

Body Heat and Basic Instinct were both very, very influential because they set the trend for the noir subgenre of the erotic thriller, and there were tons and tons of those on Cinemax After Dark, most with scores bearing heavy influences of those.

This thread prompted me to pull Contract On Cherry Street off the shelf for another spin. That's never a bad thing.

 
 
 Posted:   Jan 30, 2019 - 8:07 PM   
 By:   Jim Cleveland   (Member)

Yeah, I'm there too. Special shout out to City Hall, which often gets forgotten it seems...
https://filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0

But my favorite of ALL of Jerry's noir scores is honestly Contract on Cherry Street...with my single favorite noir cue Jerry ever wrote being "Prowling" from that score. LOVE IT.

Yavar

WOW! Someone ELSE besides ME loves "prowling"! That's my ABSOLUTE FAVORITE CUE from the score!

 
 
 Posted:   Jan 30, 2019 - 8:09 PM   
 By:   Jim Cleveland   (Member)

BTW, Yavar....
Who were you responding to about the "OH NO!" reply you gave? I can't find that post!

 
 Posted:   Jan 30, 2019 - 8:43 PM   
 By:   Josh "Swashbuckler" Gizelt   (Member)

BTW, Yavar....
Who were you responding to about the "OH NO!" reply you gave? I can't find that post!


It's the post from WagnerAlmighty immediately prior.

 
 Posted:   Jan 30, 2019 - 8:45 PM   
 By:   Joe Sikoryak   (Member)

Yeah, I'm there too. Special shout out to City Hall, which often gets forgotten it seems...
https://filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0

But my favorite of ALL of Jerry's noir scores is honestly Contract on Cherry Street...with my single favorite noir cue Jerry ever wrote being "Prowling" from that score. LOVE IT.

Yavar

WOW! Someone ELSE besides ME loves "prowling"! That's my ABSOLUTE FAVORITE CUE from the score!


Make that three of us! It popped up in rotation on my Goldsmith ‘70s playlist and I had to double dip.

 
 
 Posted:   Jan 30, 2019 - 9:01 PM   
 By:   zooba   (Member)

A few short cues that someone put up on youtube:

https://www.youtube.com/results?search_query=Public+Eye+Jerry+Goldsmith

 
 
 Posted:   Jan 31, 2019 - 6:41 AM   
 By:   DavidCorkum   (Member)

But my favorite of ALL of Jerry's noir scores is honestly Contract on Cherry Street...with my single favorite noir cue Jerry ever wrote being "Prowling" from that score. LOVE IT.

Yavar


Mine would have to be "Break-In" from A Step Out of Line, starting at 2:17. The scene being scored was a guy picking a lock on a safe, but I can easily picture a detective in a fedora prowling a rain-soaked alleyway in B/W silhouette.

 
 Posted:   Feb 8, 2019 - 9:07 AM   
 By:   Justin Boggan   (Member)

And there is good news today!

Good news on this. I checked with MRT and although he didn’t have any tapes himself a DAT was sent to JG at the time and has been found by Carol and the score is being worked on for release by a label who releases JG soundtracks quite a lot. But be warned how long it will take to do the paperwork on it is another matter so don’t hold your breath.

From JN, the in-the-know owner of JerryGoldsmithOnline.com (posted in the forums).

 
 Posted:   Feb 8, 2019 - 9:23 AM   
 By:   chriss   (Member)

And there is good news today!

Good news on this. I checked with MRT and although he didn’t have any tapes himself a DAT was sent to JG at the time and has been found by Carol and the score is being worked on for release by a label who releases JG soundtracks quite a lot. But be warned how long it will take to do the paperwork on it is another matter so don’t hold your breath.

From JN, the in-the-know owner of JerryGoldsmithOnline.com (posted in the forums).


Is this one of those Varese "in perpetuity"-titles and the soundtrack rights belong to Varese? So only they could do a release I suppose.

 
 Posted:   Feb 8, 2019 - 9:33 AM   
 By:   SchiffyM   (Member)

Is this one of those Varese "in perpetuity"-titles and the soundtrack rights belong to Varese? So only they could do a release I suppose.

I don't know that anybody can say that with confidence. Sometimes, contracts seem to include any score composed for the movie. Sometimes not. Sometimes, commissioning a new recording of the score gives you the rights to the original one, too. Sometimes not. I don't think there's any hard and fast rule.

And that's even assuming Varèse has perpetuity rights to the Isham score.

In any event, promising news!

 
 Posted:   Feb 8, 2019 - 9:52 AM   
 By:   Yavar Moradi   (Member)

This is the best Goldsmith news since Damnation Alley was announced by Intrada. Maybe better, even.

I am over the freakin' moon!

Yavar

 
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