As you point out, it is arguable how much influence Goldsmith has had on todays filmmusic. I canīt really deside whether or not it is because of the following two reasons, that he hasīnt had very much influence:
1. He has a very original style that no other composer has...or:
2. He isīnt very original and therefore dose not stand apart from most other mainstream hollywood composers.
I am probably starting a big argument now, but let me just make my case here:
Goldsmith has created some of the most original and ultimately fundemental scores in filmmusic historie: The Omen, Poltergeist ect.
But on the other hand he has also created some of the most commen and mainstream scores out there: First Knight, Small Soldiers, The Mummy ect. Letīs face it: The themes may be great, and it may well be some very well composed scores, but they are not exactly what I call original.
So now go ahead and tell me that I know nothing about Goldsmiths scores and that I should keep my mouth shut
But never the less, that is my opinion.

Another thing:
I am getting sick and tired of hearing HOW MUCH influence Williams and Goldsmith has had on the filmmusic of today. Has everybody forgotten about Herrmann, Steiner ect...???

I'm a huge Goldsmith fan, and I agree with you to a point. Let's face it, some of JG's scores are, shall we say, trite. In other words, it's nothing ground-breaking, but it's "commercially" acceptable as far as film scores go ("Air Force One" and "U.S. Marshals" come to mind).

But by the same token, NO composer breaks new ground with every score they do. C'mon. If everybody is perfectly honest with themselves about their favorite composer, they'll know it's true.

I thought that towards the end of the 80's/early 90's he was treading water a little, a lot of synth-laden action scores (I hated Rent-a-Cop).

I think he is having another golden period at the moment with LA Confidential, The Edge and The Mummy. As I heard someone say once: The worst Goldsmith does is usually better than a lot of composer's bests.

sorry I'm late, but:

your are right, it IS arguable if Goldsmith belongs to the "most influential" composers of film music. actually I never aimed that high, I just meant that a) he has written so many scores that he belongs to those who had a big influence on us (i.e. the audience)watching films (and some real bad films became viewable because of his music) and b) having written so many scores Goldsmith achieved that many folks like us became interested in film music and c) some of his scores were no doubt influential, take THE OMEN, which had quite some followers-up in the genre of horror films.
of course Goldsmith was /is not as important in film music theory as for example the Dusseldorf school of music or Steiner or Herrmann. Bernard Herrmann, by the way, called Goldsmith's score for LONELY ARE THE BRAVE "far too good for that film"... Do you think he was right?

P.S.: THE BOYS FROM BRAZIL was hard for me to get, because when the record appeared in Germany in early 1978 (I think) nobody knew the film, then the film appeared around 1983 or 1984 but the record was out of print. In the early 90s I got an import from Japan... (if you want to know more, just ask...)

If it's the CD that I've got (which I think it is), the disc overall is great. Can't really compare the different "Escape" cues because, quite frankly, I haven't seen the movie.

SSmith is right, the planet/escape-cd is an excellent release by varčse sarabande, the music for escape is very different from planet, it is not as raw and percussion oriented as planet, but it's fun listening.
I also own a planet-record, I wonder if its the same as you've got... was it released through Project 3 records? if yes: in which year was it released (I got a special offer and someone had cut off a piece of the sleeve so I don't now when it was released... can you help me out here?)

I guess Jeron has found a buddy who is as Goldsmith crazy as himself. I myself am a huge Goldsmith fan as well although my favorite composer remains John Williams but right after his is Goldsmith for sure.

Anyway,I don't know about the sheet music but I would like to respond to the previous discussion.
Yes, Goldsmith has had a profound influence on filmscoring. You can hear traces of his style in almost all scores containing scary music or the simple action oriented cues. To say Williams had no influence on filmmusic is to say Spielberg or Lucas had no influence on filmmaking.
Yes, all of them may not be original in the sense that we are talking about, but as artist they have a distinguished style which could be argued is quite original.

Williams (together with Goldsmith to a certain extend) was almost singlehandely responsable for bringing big symphonic scores back into the movies. And, if you want to argue with that then only God can help you...

Scott

But anyway his music does a lot for me. In my opinion Goldsmith is the best movie music composer working this days, togheter with Morricone and Williams. But Goldsmith is more prolific which means we have more material to debate on.

Pete

I'd like to join. Can you e-mail me the info?

As far as sheet music is concerned, there are books of all the Star Trek Music out there. I am sure there is a piano book also. If you would like themes or midi files, I can send you a couple. I actually arranged a suite called Goldsmith does Star Trek. It is a great arrangement written for full symphony and it was premiered at a national convention. So I can definitely eventually email you some midi of that and others.

Aaron

for quite a while no-one really seemed interested in talking about goldsmith anymore, and this forum seemed abandoned. but things have changed, and I am relieved. goldsmith, and he alone is the reason why I got to collecting soundtracks.
of course I am also interested in receiving information about joining the goldsmith society.
I know goldsmith was not at all pleased with some releases of his scores. but I wondered why he never released some promos on his own, just in the way he ever wanted to see / hear his music published (an excellent example of doing so is michael j. lewis). I just received an offer to buy Baby, Secret of a Lost Legend - and I didn't buy, can you believe it? all information I got indicated that it was a bootleg, and somehow I didn't want to "betray" goldsmith by buying it.
what do you all think about goldsmith-bootlegs, do you know or have you heard of some? which scores of goldsmith's would you like to see honoured by a new official release?
does anybody know which one of his own scores goldsmith likes best? is it Alien (which is one of my favourites)or The Wind And The Lion, which is also excellent, or even the not-so-well-known The 'Burbs, which was once released in the Varčse-Club...

maybe one of these questions is of a more general interest, and we can have a wee discussion about it.
nevertheless, after I was a little bit disappointed about goldsmith's work in 1999, e.g. The 13th Warrior, The Haunting and The Mummy (which was his best work in 1999, I guess); I wonder what surprises there will be in 2000.

cheers!
Floyd Pepper

To your first question, the bootleg situation is quite a difficult one to answer. There are so many excellent scores out there which have never been published especially from Goldsmith and Williams. So, what is a fan to do? Ignore bootlegs or buy them knowing quite well that the composer is not getting any money out of it. I just don't know. I don't have many bootlegs, but I am not too sure if I had the strenght to pass up on Baby the way you did.
John Scott in an interview years ago was very distraught over his King Kong score. He wanted to publish it through his own label but couldn't get the rights from the studio. So he actually asked anyone to release a bootleg of it.

I know Goldsmith hates the bootlegs, but the wonderful music we wouldn't be able to hear because of the rights, etc. I believe the rights to scores should go to the composer and not the studios yet I know that ain't never gonna happen.

To your question about Goldsmith favorite score, I have repeatendly read that he favors Island in the Stream, which he re-recorded through Intrada years ago.

I think his son does some good work although he has relied heavily on synths in the past. He obviously needs some brushing up to do, but if I could compose like him I'd be a very happy camper.

It's good to see another Goldsmith fan here. I love the guy. the first score I bought from him was Poltergeist, what a score. Although it was Williams who got me started in filmusic and to appreciate classical music, Goldsmith just enhanced my love for this art.

Ich hoffe Ich konnte ein paar deine Fragen zu deiner verfriedung beantworten . Machs gut.

Scott

NP:The Wind and the Lion (*****/***)

Scott

I'm sure the theme isn't so abused in the movie itself, but on the album, sheeesh! I wonder if the producers on the album were driven INSANE because they had to hear it so much!!

PeterK

PeterK., I haven't listened to Supergirl in a while, but I will listen to it again this weekend. As far as Air Force One is concerned, I got the lousy thirty minute score which barely features the main theme.

Scott

Goldsmithfan,
I love the theme for Air Force One. I wish I had the expanded edition, the theme is not well represented on the Varese cd.
As far as the question of Gremlins and Small Soldiers is concerned, I think any composer likes varity in their work. Williams right now prefers smaller kind of romantic work as does Goldsmith.
By the way , I liked both films. Another BTW, both films were directed by Joe Dante who always picks Goldsmith to score his films (just thought I mention that)