Label: Varèse Sarabande - VCL 0505 1035 • Series: Varèse Sarabande CD Club - VCL 0505 1035 • Format: CD Album, Limited Edition • Country: US • Genre: Electronic, Stage & Screen • Style: Modern Classical, Score
Vote on soundtracks Collectors corner Add reviews. Add missing soundtracks Transmit corrections Manage soundtrack collection. Subscribe for free. Alien Nation. Save cd cover Close. Jerry Goldsmith Curt Sobel. Kritzerland Streams Videos All Posts. My Profile. Advanced Search. Track Listing - Disc 1. Main Title. Jerry Goldsmith. Hyper Sleep. The Landing. The Terrain. The Craft. The Passage. The Skeleton. A New Face.
Hanging On. The Lab. Drop Out. Nothing To Say. Cat Nip. Here Kitty. A very poor quality boot CD has been around for a while but I could never bear listening to it for more than a minute before I had to switch it off.
It's wonderful to get to hear a quality recording of one of the composer's most intriguing scores. For the arrival of the Newcomers Alien Landing Goldsmith's stark cue juxtaposes a wistful other-worldly sample with a pounding beat and a groaning dissonance that questions the Newcomers intentions. The second portion of the cue briefly introduces Goldsmith's now famous main theme.
Interestingly Goldsmith imitates a saxophone here, which of course became a key element of its Russia House arrangement. Electronic chase music is always a poor substitute for an orchestral performance, but like Goldsmith's detailed electronic score to Runaway his frenetic and rhythmic action music here has essentially been "orchestrated".
And by doing so Goldsmith gives his score the gravitas that so many synth scores from the period lacked. Take It Easy opens with a sombre reading of the main theme, which we can only assume was for the emotionally scarred Sykes James Caan and ultimately is transformed into a more hopeful theme for the friendship that develops with Newcomer Sam Francisco , Mandy Patinkin during the closing cue.
For the The Vial Goldsmith showcases a quirky secondary motif in the middle of the cue while it's book ended with aggressive pounding electronic percussion, supported by menacing synth strings, at times almost sounding orchestral.
Synth strings still sound horrible in ; they sounded downright suicide-inducing in While there are numerous digital pops, bleeps, clicks and whistles here which would never have been performed on a scoring stage by musicians, it is these and only these things which give the score the sense of an alien presence the composer was obviously looking for - the remainder of the synthesised music, from the drum machines to the synthesised orchestral parts, just make it sound very dated. What is so frustrating is that it is instantly obvious how much better so much of this score would sound if it had indeed been properly orchestrated and performed.
While themes, as always, reappear at points during the score, the repetition is kept to a minimum, which is also a plus. Also kept to a minimum is Goldsmith's tendency to insert the odd too-sweet theme this worked very well with Gremlins 2, and not so well in other places.
If anything, this particular score is a stunning display of Goldsmith's brilliance as a composer -- a great deal of it would not be out of place on the concert stage. By turns overwhelmingly dramatic, scary, and gorgeous, Total Recall is by far among Goldsmith's best, ranking with his score for the European release of Legend. On the audio and mastering side, Goldsmith engineer Bruce Botnick has done an excellent job, providing a clear and transparent stereo master that clearly delineates the separate instrument groups while maintaining an excellent balance of low, middle, and high the bass is clean and powerful; this is usually the first area to suffer badly in a digital recording.
Jerry Goldsmith's most provocative feature film score, Basic Instinct brilliantly evokes the sex and suspense that together galvanize the onscreen narrative. Ominous piano, stiletto-sharp bursts of strings, and bubbling electronics combine to capture lust in all its myriad forms, from carnal desire to murderous rage, as well as delineate the subtle differences between each iteration.
Goldsmith scores the film's notoriously graphic sex scenes with particular aplomb, achieving what can only be described as an orchestral orgasm as the music builds to its climax. For all its sophistication and invention, Basic Instinct is above all the work of a dirty old man, and it's fascinating.
The 13th Warrior. Midway through production of the Viking drama The 13th Warrior, writer Michael Crichton jettisoned director John McTiernan and took over the production himself. At that time, he also ousted composer Graeme Revell in favor of the legendary Jerry Goldsmith, clearly anticipating an epic score in the mold of past Goldsmith classics like Patton and Planet of the Apes. But the end result is a frustrating work hampered by Goldsmith's frustrating reticence to allow his imagination to run wild.
As Crichton's liner notes state, "We know nothing about what Viking music was like, which meant Jerry would have to invent it," but his innovations prove surprisingly tepid, employing wordless chanting and primitive drumming but not much else. Goldsmith remains a master of large-scale drama, crafting dark, powerful themes like "The Fire Dragon" and "The Horns of Hell," but there's little that makes The 13th Warrior a truly unique entry in his large catalog.
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