 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Thanks for bumping the thread, Joan, because I had indeed totally missed your feedback!
Of course I liked this podcast because it dealt with Goldsmith’s western sounds. During the first 35 seconds I thought, “Hey, are they doing Hour of the Gun?” No, it isn’t Hour of the Gun, but it sure sounds similar, especially in the theme’s rhythms. Different melody, but I heard some similarities.
Yeah, we opened with that cue right off because we thought it was a good one to grab people with, and it looks forward to so many later Goldsmith scores.
Some things I learned were that Herrmann composed Have Gun Will Travel’s opening theme. I never knew that until you all mentioned it. Then I could hear his signature voice in that opening. Also, during cues for Head Of Hair, I found myself trying to link that score to other future scores, but I didn’t know which ones. Bingo! When you mentioned Masada and QB VII, the connection was made. Who would have thought his westerns would have some Jewish musical sounds. I also noticed that Goldsmith was hooking that neat main theme into his action music. That aspect I’ve always loved in his later westerns. Love how he dovetails his main themes into his action riffs like he does in “River Crossing” from Rio Conchos.
I love that too. As you probably know, Jerry's western output is right there at the top of his work, for my tastes.
I know that final song is a bit corny, but I always liked that image, “A knight without armor.”
Gimme a new recording of the Rozsa score, instead. 
Enjoyable podcast, gentlemen.
Thanks as always for listening and taking the time to write down your thoughts. Did you also like Jerry's Flaming Star cue, I hope?
Yavar
|
|
|
|
|
|
|
|
|
|
|
Oh, that's a nice philosophy for which I applaud you. 
For myself I will say that the Flaming Star cue impressed me less initially than "A Head of Hair" did, but the more I listened to the cue the more I got out of it. Less in your face engaging, but a lot of depth IMO.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Whoooa, a new one so soon! Yessssssss.
Well, the last one *was* two weeks ago (which was our regular schedule through most of 2018)...though we'll be going on another modest hiatus soon.
Yavar
|
|
|
|
|
|
http://goldsmithodyssey.buzzsprout.com/159614/944720-episode-17-thriller-the-poisoner-1961
A combination interview of master reconstructionist Leigh Phillips (The Salamander on Tadlow Records, among many others), plus examination of "The Poisoner", Jerry's second work for Thriller and one of Leigh's personal favorites...this is one you can't miss, as it launches us into the Thrillerverse and makes some real surprise connections with important later Goldsmith scores such as The Blue Max and even Basic Instinct!
As always, I'd love to know what you all think!
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Mar 23, 2019 - 5:08 PM
|
|
|
|
By: |
joan hue
(Member)
|
If you REALLY AND TRULY LOVE FILMSCORES, you should listen to this wonderful podcast featuring David Newman. Wow, just wow. It was so VERY enlightening, interesting and educational.
First of all, besides Goldsmith, he mentions Hermann, John Williams a lot, Raksin, Waxman, Alfred Newman, Randy Newman, Thomas Newman, E Bernstein, Korngold, Mancini, Zimmer and Elman as he talks about the various eras and changes in film scores throughout the decades.
Secondly, of course there are cues from some Goldsmith scores (duh), but other cues played are by Friedhofer, Alfred Newman, Thomas Newman, David Newman and Mahler. (Yep, Mahler)
David Newman was unbelievably insightful and so ENTHUSIASTIC about Goldsmith and the art of film scoring. Loved his stories about the “Fox/Alfred Newman sounds” that sadly can no longer be replicated. Listening to David’s own evolution from a violin player in film scores to a composer and conductor was fascinating. I found his personal growth very unique. Loved, just loved, his insights into Goldsmith as human being and as a rare and totally distinctive composer. I also liked his insight into Williams and Goldsmith who were friends and contemporaries but whose scores took very different directions. Yes, Newman admires both of them.
Yavar, you asked very insightful questions, and I thought the cues that you incorporated really delineated or reflected the musical concepts discussed in this narrative.
Yes, I'm gushing. Listen to it, members.
This was an hour and a half that was very well spent and educational AND entertaining.
P.S. I liked the “Prowling” cue a lot too.
|
|
|
|
|
|
|
|
|
|
|
Thanks for the feedback Joan! The episode's been doing very well; one of our most popular ever. David has a lot of projects on his plate; in the next month he's starting work on West Side Story for Spielberg, conducting in Prague, and also working on Green Eggs and Ham which he mentioned in the interview. One thing I'm kicking myself for not asking him...whether he's scoring the third Bill & Ted movie which is confirmed to be happening now. Aside from scoring the first two Bill & Ted films many years ago, David Newman also worked for the director (Galaxy Quest!) of the new film, so to me that seems like a probable assignment as well, if it works with his schedule.
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The Newman interview was one of the best podcasts I've heard -- fascinating, at times even compelling. Bravo!
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
