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 Posted:   Jun 30, 2020 - 4:21 PM   
 By:   Sean Nethery   (Member)

But more power to those who enjoy it. I wish I could. Maybe I give it a second chance one day, but currently I fear I'd be shellshocked once again. smile

Yeah, that would be 34 minutes you'd never get back. wink

Actually, I've never been engaged by Angie either, but I can take it a lot better than the comic shenanigans of SPYS.

Heck, I couldn't even bring myself to get Take Her, She's Mine after listening to the samples.

But Fold, Spindle I kinda dig, maybe just more nostalgia, maybe what Graham W said.

 
 
 Posted:   Jun 30, 2020 - 5:32 PM   
 By:   DavidCorkum   (Member)

The strangled trumpet performance for the killer is brilliant-- --I think the theme to SPYS is kind of brilliant in its sheer, obstinate stupidity. Goldsmith would go out on a limb in a way other composers never would.

Mr. Bond speaks the truth. Goldsmith could always intellectually find the perfect music to comment and enhance what was really going on in any scenario, and yet also satisfy his desire to experiment and have fun. It's when his later music got a bit more rote that he produced lesser work. Spindle has lots of great wit and invention, even if it's not an easy listen. Try listening to what Morricone did with the Space:1999 compilation movie in Italy, where he basically just tortures jazz, and Spindle is a ballet by comparison!

SPYS was a situation where the movie tested poorly, a comedy that audiences didn't think was funny. So Goldsmith was supposedly instructed, when rescoring it, to "make it funny". Which he did his best at. I've always liked it, although the "Mickey-mousing" towards the end is a little tiring. But if he was going for cartoon music, he got it.

 
 Posted:   Jun 30, 2020 - 6:02 PM   
 By:   Mike Esssss   (Member)

It appears that I am in the minority (Population: 1) for enjoying CRIMINAL LAW. It's certainly not capital-g Good from top to bottom, but it displays Goldsmith's typical gift for nailing the mood of the piece, even if the piece largely wastes the talents of all involved. Love that first cue in particular.

 
 
 Posted:   Jul 1, 2020 - 12:50 AM   
 By:   Tall Guy   (Member)

Well, it's definitely not one of my favorites. It's almost unbearable to me sometimes. Where does it rate for you?

Here is probably the best sampling of Maestro Goldsmith's DO NOT FOLD, SPINDLE, OR MUTILATE (1971) TV-Movie Score extracted from the film by youtube's always wonderful and amazing film music extractor extraordinaire FISH MAN!




Hmm, I found it both interesting and enjoyable. It wouldn’t win a Westworld competition, though big grin

 
 Posted:   Jul 1, 2020 - 7:54 AM   
 By:   W. David Lichty [Lorien]   (Member)

...I think the theme to SPYS is kind of brilliant in its sheer, obstinate stupidity....

Describing the theme to SPYS as "brilliant in its sheer, obstinate stupidity" has provided me the best chuckle of the day so far! smile


Same here.

 
 Posted:   Jul 1, 2020 - 9:32 AM   
 By:   Jeff Bond   (Member)

There are at least two people on the planet who enjoy Criminal Law; I've always found it absorbing and atmospheric, a great listen. I don't think it does a thing for the movie which is kind of beyond help but I appreciate it as a piece of music (Royal S. Brown also praised the score as one of Goldsmith's best in Fanfare so that makes three).

 
 
 Posted:   Jul 1, 2020 - 9:46 AM   
 By:   GoblinScore   (Member)

There are at least two people on the planet who enjoy Criminal Law; I've always found it absorbing and atmospheric, a great listen. I don't think it does a thing for the movie which is kind of beyond help but I appreciate it as a piece of music (Royal S. Brown also praised the score as one of Goldsmith's best in Fanfare so that makes three).

3

I love it too. There are themes in there, and while it's not as 'sharp' sounding as RUNAWAY (where I feel you really get the intent of an orchestral score performed on synths), it's a tight, taut, great rainy day listen, in and out just over 30mins.
I never understood how this is lumped into the worst.
I love those rainy-gloom listens though....

 
 
 Posted:   Jul 1, 2020 - 11:55 AM   
 By:   Howard L   (Member)

These last two responses as well as related others illustrate why I don't like Subject titles like the one here. You'd think the guy wrote as many flops as he did winners.

 
 Posted:   Jul 2, 2020 - 6:50 AM   
 By:   Lokutus   (Member)

worse than DON IS DEAD?

 
 Posted:   Jul 2, 2020 - 7:05 AM   
 By:   SBD   (Member)

worse than DON IS DEAD?

Hey, hey, now. That main title is awesome. The rest is kinda meh, but that main title...

 
 
 Posted:   Jul 2, 2020 - 8:06 AM   
 By:   MikeP   (Member)

There are at least two people on the planet who enjoy Criminal Law; I've always found it absorbing and atmospheric, a great listen. I don't think it does a thing for the movie which is kind of beyond help but I appreciate it as a piece of music (Royal S. Brown also praised the score as one of Goldsmith's best in Fanfare so that makes three).

3

I love it too. There are themes in there, and while it's not as 'sharp' sounding as RUNAWAY (where I feel you really get the intent of an orchestral score performed on synths), it's a tight, taut, great rainy day listen, in and out just over 30mins.
I never understood how this is lumped into the worst.
I love those rainy-gloom listens though....



Well said. I've chimed in several times , whenever this score comes up for discussion. It isn't a bad score, but it isn't the lush orchestral thriller score people expected from Goldsmith. Gloomy is a good way to describe it. For me it works in the film as best as it can, and is still a better score than a lot of thriller scores we get these days ( like the recent The Invisible Man roll eyes ) .

 
 
 Posted:   Jul 2, 2020 - 8:14 AM   
 By:   KeV McG   (Member)

MEIN GOTT!!
Compared to modern day thriller scores, CRIMINAL LAW is a friggin masterpiece of film music composition (or keyboard programming).
But it was still terrible at the time wink

 
 
 Posted:   Jul 2, 2020 - 8:35 AM   
 By:   GoblinScore   (Member)

MEIN GOTT!!
Compared to modern day thriller scores, CRIMINAL LAW is a friggin masterpiece of film music composition (or keyboard programming).
But it was still terrible at the time wink



Amen Mike & Kev buddies! Thinking about it, I wonder about the circumstances others play certain scores - are you housecleaning, having an intimate cuddle with a loved one, working, driving down the road with the top down in the sunshine?

I might also despise LAW under any of these settings too!
And yes, I try not to, but damn if it isnt tough to measure the good old days to current scores. The laziness is usually on top, and everything feels like a meandering, minor-mode sludgefest. Hell, even LAW sneaks in a major key modulation here & there! That's enough to sell me.


My feeble bid to re-track....never heard DNFSOM, guess I need to get with the program! Yavar's notes of cue breakdowns show its awfully short.
Would anyone care if it was excavated and paired with....um, The Man or Crawlspace?

Did anyone care when Step out of Line/Brotherhood of the Bell was issued by Intrada? I did, I love that obscure bag of scores I'll never see the films for!

 
 
 Posted:   Jul 2, 2020 - 10:04 AM   
 By:   Graham Watt   (Member)




My feeble bid to re-track....never heard DNFSOM, guess I need to get with the program! Yavar's notes of cue breakdowns show its awfully short.
Would anyone care if it was excavated and paired with....um, The Man or Crawlspace?

Did anyone when Step out of Line/Brotherhood of the Bell was issued by Intrada? I did, I love that obscure bag of scores I'll never see the films for!

_________________________________________________________
Goblin wrote the above. This is me now. I drew a line under Goblin's post too, because when there are quotes requoted in the same post I edit the brackets wrongly and the italics go erect. So, just in case -

Yes Goblin, I would indeed buy a release of DO NOT FOLD...if coupled with THE MAN or CRAWLSPACE, preferably both.

I think there's a word missing from your last paragraph, but if you mean did we buy it, my answer is again yes. For me, that Intrada pairing is sheer perfection. Brilliant scores, absolutely brilliant. By the way, I think that "strangled trumpet" on DO NOT FOLD is the same effect as heard in one track of A STEP OUT OF LINE and if so it would probably be a cornet without the mouthpiece. I remember that the effect is described in the liner notes of the Intrada CD.

 
 
 Posted:   Jul 2, 2020 - 10:13 AM   
 By:   GoblinScore   (Member)

Ah, the joy of posting via your phone! Thanks for catching that Graham, and I agree how replies capture the prior and everything goes gonzo. ...maddening!

I guess there (Should!) always be Goldsmith-ites like us who want to hear it all, alongside the cherry pickers.
And I love that Step/Bell cd too - was so excited when it came out, since that's the sort of thing that tends to be overlooked for....The Blue Max again!

No point really, just glad I have company in the madness.

Go play Crawlspace if you can, peoples - there are hints of Basic Instinct in the chase scenes. That is what I live for!

 
 
 Posted:   Jul 2, 2020 - 10:20 AM   
 By:   MovieMusicLover   (Member)

So long as Criminal Law and Warlock exist, it's most definitely not his worst.

 
 Posted:   Jul 2, 2020 - 10:37 AM   
 By:   Yavar Moradi   (Member)

I don’t hate Criminal Law, but I frankly kind of adore Warlock and it makes me sad whenever I see someone list it among Jerry’s worst. I thought the Intrada remaster/expansion really revealed it as a 9/10 effort, no joke! One of Jerry’s most unique and moody scores. I’m not always in the mood for it but when I am, it’s truly amazing IMO.

Yavar

 
 
 Posted:   Jul 2, 2020 - 10:45 AM   
 By:   miguel   (Member)

I don’t hate Criminal Law, but I frankly kind of adore Warlock and it makes me sad whenever I see someone list it among Jerry’s worst. I thought the Intrada remaster/expansion really revealed it as a 9/10 effort, no joke! One of Jerry’s most unique and moody scores. I’m not always in the mood for it but when I am, it’s truly amazing IMO.

Yavar


I also love Warlock. And Link is a unique masterpiece!

 
 
 Posted:   Jul 2, 2020 - 11:03 AM   
 By:   William R.   (Member)

To me S*P*Y*S stands out because it's all just surface-level goofiness without any feeling. Goldsmith's other lesser efforts like Mr. Baseball, Rent-A-Cop, and The Lonely Guy feature charming romantic melodies that boost them somewhat. S*P*Y*S was just un-salvageable, although I'm curious about John Scott's score.

 
 Posted:   Jul 2, 2020 - 11:08 AM   
 By:   Yavar Moradi   (Member)

Those movies all featured romantic relationships for Jerry to write romantic music for. Did S*P*Y*S? I'm wondering what sort of depth Jerry was *supposed* to bring to that, that he didn't. Sometimes surface level silliness is all that's called for (and it can be tons of fun). However, that's why I do prefer Looney Tunes: Back in Action of Goldsmith's two zaniest scores, because amazingly it feels like it has some depth at times. smile

Yavar

 
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