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| 4 | %%Administrivia/ZeroContextExample entries are not allowed on wiki pages. All such entries have been commented out. Do not uncomment them without expanding them to explain what makes these tracks awesome. Administrivia/WeblinksAreNotExamples; why should anyone who has never heard of, never mind heard, that track click on that link? WHY is it awesome? |
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| 8 | Jerry Goldsmith was a very prolific composer so awesome he even scared the hell out of his peers. He was known for his thunderous, percussive orchestrations, his love for strange musical instruments, and his inventive integration of synthesizers as the "fifth element" of the orchestra. His varied and impressive works are so many that they are categorized into different genres: |
| 9 | [[index]] |
| 10 | * ''AwesomeMusic/StarTrek'' |
| 11 | [[/index]] |
| 12 | |
| 13 | ---- |
| 14 | [[foldercontrol]] |
| 15 | |
| 16 | [[folder:Sci-Fi / Horror]] |
| 17 | * [[https://youtu.be/C5tFhx_4t4I The opening theme]] for ''Film/PsychoII''. |
| 18 | * [[https://youtu.be/aXiNHJ5TANs Main Title]] from ''Film/CapricornOne''. Pure, high octane, bad ass. |
| 19 | * "The Dream" may be what everyone remembers in the score for ''Film/TotalRecall1990'', but the meat of this soundtrack is in the middle with its action-packed music that is very engaging (it's not only a great science-fiction soundtrack, it's also the best action score ever): |
| 20 | ** The aforementioned percussive opening theme, [[https://youtu.be/xjts5DrcdiU "The Dream"]], will kick your ass. And you will like it. |
| 21 | ** The best, [[https://youtu.be/Bp11aC__eXA "End of A Dream"]], is saved for last. Simply sensational, the single finest piece of action music Goldsmith's ever written - and that's saying something. For comparison, listen to ''Film/RamboFirstBloodPartII'' and ''Film/BabySecretOfTheLostLegend''. |
| 22 | ** With [[https://youtu.be/UydcAgYhRc4 "The Mutant",]] to represent the futuristic setting of the film and the questions of individual identity suffered by Arnold's character, Goldsmith unleashes his electronics with unequivocal force, supplementing the orchestra and commandeering the entire cues with their majesty, and this track is an excellent example of that. |
| 23 | %%** [[https://youtu.be/BgYNF1N2zKk "The Implant".]] |
| 24 | %%** [[https://youtu.be/P5YPK3SphQA "For Old Time's Sake".]] |
| 25 | %%** [[https://youtu.be/vEvLynWqmsA "Clever Girl".]] |
| 26 | %%** [[https://youtu.be/qsyplmQATko "The Big Jump".]] |
| 27 | %%** [[https://youtu.be/B-J3ZlLcchg "The Massacre".]] |
| 28 | %%** [[https://youtu.be/I_kFuydgQ5g "The Treatment".]] |
| 29 | * [[https://youtu.be/i139Ew6mMFM "A Lot Better"]] from ''Film/{{Leviathan 1989}}''. Goldsmith captured the mystery and excitement of the deep underwater magnificently. |
| 30 | * [[https://youtu.be/446Xey65PNk End Title]] from ''Film/TheSwarm1978''. The film is one of the more derided 1970s disaster films, but Goldsmith's music is quite simply a knockout score and the kind of music that remains as potent today as it ever was. |
| 31 | * "[[https://youtu.be/xreXeugQjdw Main Title]]" from ''Film/BasicInstinct''; the steamiest, sexiest, most erotic score ever made for film. Alluring, sensual but with a sense of foreboding and danger, Goldsmith captured the atmosphere effectively. |
| 32 | * "[[https://youtu.be/SKWgepGEZU8 Main Title]]" as well as "[[https://youtu.be/30xk2Q1SuKA End Title]]" from ''Film/{{Alien}}''. If the terror of the unknown has a theme music, this should be it. Unfortunately Goldsmith's music fell victim to ExecutiveMeddling (the latter, among other cues, isn't heard in the film and tracks from his score to ''Freud'' and works by Howard Hanson were put in instead), and sadly it wouldn't be the last time that happened when he worked with Creator/RidleyScott (''Film/{{Legend 1985}}''). |
| 33 | * "[[https://youtu.be/nmOHzeTsBUM Suite]]" from ''Film/TheOmen1976''. OminousLatinChanting as ominous as it gets. Sadly, the only UsefulNotes/AcademyAward win the maestro received. |
| 34 | * ''Film/DamienOmenII'' -- [[https://youtu.be/oZmixJmXSyc Main Title]] and [[https://youtu.be/z5vHPb9yafg End Title.]] Terrifying musical follow up to ''Film/TheOmen1976''. |
| 35 | * And if you like your chanting a little more operatic, try the [[https://youtu.be/oDgBGtIBVVg Main Title]] and [[https://youtu.be/_CLDHWPFjl0 End Title]] of ''Film/OmenIIITheFinalConflict''. |
| 36 | * The [[https://youtu.be/o2GQyn7Cb2E End Credits]] from ''Film/TheGhostAndTheDarkness'', one of Goldsmith's finest scores from the 90s. |
| 37 | * [[https://youtu.be/ZAR0uAyLOa4 Main Title]] and [[https://youtu.be/c0JSInt1xHo Carol Anne's Theme]] from ''Film/{{Poltergeist|1982}}'', one of the only two films where Goldsmith has worked with director Creator/StevenSpielberg. |
| 38 | ** "[[https://youtu.be/JqLCJ5bJkgg Twisted Abduction]]" is a masterpiece of film scoring, with the music reaching apocalyptic proportions with the orchestra and choir at one point before calming down somewhat, pitching Carol Anne's Theme against some more dissonant, disturbing - but subtle - music as the piece moves on. |
| 39 | ** "[[https://youtu.be/245yHKPSnyU It Knows What Scares You]]" showcases everything so good about Goldsmith's music, moving along from creepy, unsettling territory into more brazen horror before some wonderful writing for orchestra and choir that is otherworldly and truly beautiful. |
| 40 | ** "[[https://youtu.be/9A-HvZPx-68 Rebirth]]" is a particular highlight, showcasing the most vigorous music of the score and also the most beautiful transformation of the religious theme into a tumultuous rhythmic motif for low strings and brass accompanied by whimsical female choir. |
| 41 | * Goldsmith returns in the sequel, ''Film/PoltergeistIITheOtherSide'', and he set out to combine the best of ''The Omen'', ''Poltergeist'', and his concurrent electronics-heavy scores into one gargantuan effort. |
| 42 | ** "[[https://youtu.be/fAsxzkeOq7M The Power]]" hints of a gentle waltz being presented in an otherwise-ominous opening, with a forceful brass motif. |
| 43 | ** In "[[https://youtu.be/WJp4OT4317g The Visitor]]", Goldsmith builds the character's evil persona to such a degree that the music resorts to outright male yelling straight from the underworld after four minutes of the suspicious trombone effects. |
| 44 | ** In "[[https://youtu.be/XPj0DciT6tk The Worm]]", Goldsmith's manipulation of the electronics are brilliantly employed, most notably in the synthetic imitation of blowing wind (and thus passing spirits). |
| 45 | ** With "[[https://youtu.be/gc2069s8nRU They're Back]]", Goldsmith lets it all loose, and between this cue and "[[https://youtu.be/95Lz_7CBc2k Wild Braces]]", the chanting provides a truly enticing atmosphere for the horror. |
| 46 | * [[https://youtu.be/79TCQgxYbh8 Overture]] and [[https://youtu.be/hbL_9ftiCyg "Kick the Can"]] from ''Film/TwilightZoneTheMovie''. The other Spielberg movie where Goldsmith was chosen to be the composer (and the only time Goldsmith scored footage Spielberg actually ''directed''). |
| 47 | * "[[https://youtu.be/-_9G22Ipj-U Gremlin Rag]]" from ''Film/{{Gremlins}}'', Goldsmith's memorable theme that's jaunty and entertaining. The [[https://youtu.be/2KQ1IwB3jNU Gremlins orchestral suite]] is even more grand. |
| 48 | * "[[https://youtu.be/SdvdMrSMp3I Gremlins Credits]]" from ''Film/Gremlins2TheNewBatch'' is simply wonderful, combining the new theme, the classic Gremlins Rag and Gizmo's Theme in a piece as funky as Goldsmith's ever written. |
| 49 | * "[[https://youtu.be/XWn0GwWyKSc The Carousel]]" from ''Film/TheHaunting1999''. As one reviewer put it, "Because no horror movie would be complete without CreepyCircusMusic." |
| 50 | * "[[https://youtu.be/T3NvtydBWAE Morning on the Beach]]" from ''Film/SleepingWithTheEnemy''; opens with what is essentially "Literature/{{Laura}}'s Theme" for lush gentle strings, flute and piano, as consistently charming as any the composer had ever written. |
| 51 | * While Goldsmith's entire ''Film/DeepRising'' score is excellent, the real standout is his kick-ass [[https://youtu.be/ahRbJv6TfTM Main Theme]]. |
| 52 | * Most of the music from ''Film/{{Explorers}}'' is great. Especially as the theme music swelled as the Thunder Road was lifting off and Dick Miller was watching it with this look of total awe: |
| 53 | ** "[[https://youtu.be/F36SgQunezU The Construction]]". |
| 54 | ** "[[https://youtu.be/mgr_ik1cXAw Have A Nice Trip]]". |
| 55 | * For ''Film/{{Congo}}'', Goldsmith collaborated with Lebo M, who is best known for arranging the {{African Chant}}s in ''WesternAnimation/TheLionKing1994''. But the highlight – as so often the case with 1990s Goldsmith scores – comes in the action music. |
| 56 | ** "[[https://youtu.be/2KLXWps1Nlg Bail-out]]" features a rodeo styled motif in the middle of the track that is really fun and joyful, one of those unbelievably taut, frantic action pieces that Goldsmith did so well. |
| 57 | ** The heroic "[[https://youtu.be/i9JOxOY5nUA Meet Monroe Kelly]]" is very enjoyable. |
| 58 | ** "[[https://youtu.be/J-LXud96ED4 Help Me]]" is a particularly intense piece, almost pummeling the listener into submission (in a good way!). |
| 59 | ** "[[https://youtu.be/cRtlZkiVUYk Amy's Nightmare / Kahega]]" is the spectacular action finale, again quite incredibly exciting. |
| 60 | ** "[[https://youtu.be/6goEevmcDn0 Amy's Farewell/Spirit of Africa/End Credits]]". A typically-satisfying Goldsmith finale cue. |
| 61 | * [[https://youtu.be/Pw3uXRvQhHA Suite]] from ''Literature/TheBoysFromBrazil''; the highlight of this score is the grand, Straussian waltz suggested by Franklin Schaffner to Goldsmith, instantly memorable and beautiful, but with a tinge of darkness too. The director requested that Johann Strauss' Viennese waltz constructs be employed throughout the Jewish presence, while the Nazi presence was inspired by the anti-Semitic Music/RichardWagner, whose music was often associated with Hitler's Germany. The obvious differences in weight and melodrama inherent in the styles of Strauss and Wagner is precisely the balancing act that Schaffner requested of Goldsmith, and the composer enthusiastically emulated those sounds in battle, once declaring that the score owes more to the classic composers than his own sensibilities. |
| 62 | * ''Franchise/PlanetOfTheApes'' has Jerry Goldsmith's ground breaking avant-garde musical contribution. Goldsmith's score to ''Apes'' has quite rightly passed into legend and deservedly holds a classic status. |
| 63 | ** In "[[https://youtu.be/GsNhI6emvNM The Search Continues]]", Goldsmith creates a chilling post apocalyptic vision through echoed plucked strings, bass slide whistle and a multitude of percussive effects, including the inspired use of those mixing bowls, as the Astronauts tumble down a hillside. |
| 64 | ** "[[https://youtu.be/IaY_s9sbKpo The Clothes Snatchers]]" introduces some rhythm and tension with more plucked strings, snares, piano and low end brass. |
| 65 | ** "[[https://youtu.be/YB-VevOGzog The Hunt]]", the most famous of the score's action cues, and one which must surely be considered as one of the most outstanding pieces of film music, with the composer at his most inventive and exciting. An extraordinary piece, Goldsmith combines piano, brass and percussion for a piece of ferocious excitement. |
| 66 | * ''Film/{{Runaway}}'' was Goldsmith's first attempt to create an all-electronic score, and in that regard it certainly doesn't disappoint. |
| 67 | ** [[https://youtu.be/RPWZJpubVW0 "Lockons"]] is a great piece to drive down the freeway to. |
| 68 | ** [[https://youtu.be/sK-SHlLxsfI "The Resolution"]] is a surprisingly pleasant little ditty, full of bright, buoyant keys that feel a whole universe away from the techno-dystopia they're meant to accompany. And then the epic synth riff kicks in. |
| 69 | ** [[https://youtu.be/mqZfdqCFeHg "Alley Fight"]] is one of those pieces that makes you want to kick ass, with its dynamic synths perfectly capturing the drama of an alleyway fight. |
| 70 | ** [[https://youtu.be/MtyUAuv15Bs "Psychic Reading"]] is tension building at its finest. |
| 71 | * [[https://youtu.be/SN96jf-guSI "The Colony"]] from ''Film/{{Outland}}'', with its combination of electronics and dissonant, [[Music/IgorStravinsky Stravinsky]]-style orchestration, perfectly captures the intimidating vastness of outer space. |
| 72 | [[/folder]] |
| 73 | |
| 74 | [[folder:Westerns]] |
| 75 | * Music/JerryGoldsmith also made his indelible mark in the {{Western}} genre (he's probably the only American composer ever to have successfully captured the spirit of SpaghettiWestern): |
| 76 | ** ''[[https://youtu.be/TOtNoxWPg3c Wild Rovers]]''. One of Goldsmith's brilliant Western scores. |
| 77 | ** ''[[https://youtu.be/-AT6o62iy20 Take A Hard Ride]]''. Arguably the most attractive Western theme of Goldsmith's career; a symphonic representation of Americana as close to Music/ElmerBernstein's styles as he would get and mixed with Music/EnnioMorricone's experimental new sounds. |
| 78 | ** ''[[https://youtu.be/K9NUwy7rQDs 100 Rifles]]'' is one of Goldsmith's complex, highly-layered scores with creative array of traditional Latin instruments mixed directly with his bombastic, brassy style making this a more intelligent multi-cultural listening experience than some of his other Westerns. |
| 79 | ** ''[[https://youtu.be/fjpRk9tJGBI Bad Girls]]'', a brilliant hybrid of Goldsmith's 60's Western sound mix with his top notch 90's action music. |
| 80 | ** ''[[https://youtu.be/zdrbBI4eyUU Bandolero]]'' is Goldsmith toying with instruments and themes; sprightly with comical tones like something out of ''Film/TheBurbs''. |
| 81 | ** ''[[https://youtu.be/IPuwz3VuJmE Stagecoach]]''. The melodic main theme is vintage Americana, conjuring images of the wide open plains, broad-smiled guys and gals having a whale of a time. |
| 82 | ** Jerry Goldsmith's score for ''[[https://youtu.be/h8Y1QJIycsk Rio Lobo]]'' is surprisingly diverse. While featuring some of the main staples of music composed for Westerns of the 1960's, Goldsmith seems to refuse to allow ''Rio Lobo'' to be lumped into the same group as a Jerome Moross, Music/AlfredNewman, or Music/ElmerBernstein Western score. For a Creator/JohnWayne movie! |
| 83 | ** ''[[https://youtu.be/umshPNOv8N4 Hour of the Gun]]'' is a particularly gritty score, and Goldsmith's technique of constructing thrilling action music and beautiful pastoral pieces from the same thematic material is as evident as it so often has been. |
| 84 | ** ''[[https://youtu.be/PpbLIFvBDYg Rio Conchos]]''. Through his explorations of folk rhythms and Latin flavor, and a mixing of these sounds into the soundscape of a fully orchestral ensemble (pioneering a distinct identity in Westerns that Music/BasilPoledouris and many other later composers would adapt as well), Goldsmith successfully seized the opportunity and produced a strong, memorable score for the film and previewed many of his own trademark action music still to come. |
| 85 | ** ''[[https://youtu.be/ULiIWQfJZpc Breakheart Pass]]'' is vintage Goldsmith, rousing and propulsive, with the brassy orchestra accompanied by guitar; it's another great western theme to add to the composer's roster. |
| 86 | ** ''[[https://youtu.be/-jzNlyku93g Lonely are the Brave]]''. Recommended for the assignment by Alfred Newman (the veteran never even met Goldsmith in person), Jerry turned in a score that ranks with the best of the best in the western genre. Music/BernardHerrmann, who attended one of the recording sessions of ''Lonely Are the Brave'', described the Goldsmith music as being too good for the film. |
| 87 | [[/folder]] |
| 88 | |
| 89 | [[folder:Drama / Comedy]] |
| 90 | * ''Film/TheEdge'' features a score dominated by horns (and interestingly, without any electronic or synthesizer back up). |
| 91 | ** "[[https://youtu.be/K8qL30R9RPk Lost in the Wild]]" begins with a stunningly lush main theme notably played by horns and strings for the film's opening sequence of a small plane flying across the bleak but beautiful Canadian wilderness. It's this theme that later on identifies Hopkins' character and his relationships with both his cheating wife and Baldwin's 'other man'. |
| 92 | ** "[[https://youtu.be/W0eYrzdSOEg Bitter Coffee]]", an ominous, prickly rhythm for plucked elements, anchored by the repetition of a three-note phrase, is frequently employed as a generic backdrop for the scenes of movement through the forest. |
| 93 | ** "[[https://youtu.be/zJCKZ4urvcA Rescued]]", the emotional finale piece, sees Goldsmith celebrate the survival of a character with a dramatic rendition of his said character's theme, coupled with a sad oboe statement for the death of another character. |
| 94 | ** "[[https://youtu.be/RF3SAhLTWX4 The Edge]]". End credits with a jazzy number. |
| 95 | * The [[https://youtu.be/IVMBlc7oyeQ Theme]] and [[https://youtu.be/X46_4tgc3G0 Everywhere]] from ''Film/{{Powder}}''; soft and sensitive, lovely in its harmonic appeal. |
| 96 | * [[https://youtu.be/4ClOI9uu_4M Love theme]] from ''Film/TheRussiaHouse''. Goldsmith crafted a seductively stylish affair that hearkens back to his masterpiece ''Chinatown'', wonderfully evocative of smoky rooms in a bygone era. Goldsmith’s relish at working with such an intimate ensemble is palpable and The Russia House is one of his great, overlooked masterpieces. |
| 97 | ** You gotta love the jazz and orchestra marriage in the [[https://youtu.be/ChQntwZz_9k End Credits]]. |
| 98 | * [[https://youtu.be/Js69DkyaDVQ Theme]] from ''{{Film/Papillon}}''; a lush, memorable theme made up of strings, piano and woodwinds dominate this heartfelt score from one of the composer's most personal works. |
| 99 | * [[https://youtu.be/lmOhNyitewI Love Theme]] from ''Film/{{Chinatown}}''; Goldsmith was only given ten days to write and record the score after the original composer was kicked out. Considering the very short time frame he was given, it's amazing how Goldsmith could still come up with such an amazing and haunting score. |
| 100 | * [[https://youtu.be/W7nV_c8-h3Q Main Title]] from ''Film/APatchOfBlue''. One of Jerry Goldsmith's simple yet beautiful scores. |
| 101 | * ''[[https://youtu.be/H1zIIYsY92M Islands in the Stream]]''. Acknowledged by the maestro as his own personal favorite. |
| 102 | * "[[https://youtu.be/Vliz5sl9GtA Prologue - The Artist Who Did Not Want to Paint]]" from ''Film/TheAgonyAndTheEcstasy''. Goldsmith's friend and mentor Alex North composed the whole score of this film but North invited Goldsmith to wrote the prologue music for the short documentary that aired before the movie on its roadshow presentations. It is arguably his finest work to that point, and remains one of the highlights of the late composer's magnificent career. |
| 103 | * ''[[https://youtu.be/2pc_Eur4h3k&list=OLAK5uy_nZHFrE64hWPthJ7YH7LqfD2jSObY8jEJ4 Love Field]]'', this is among the maestro's more enjoyable, lesser-known scores of the 1990s. |
| 104 | * And another stirring, sentimental love theme from the film ''[[https://youtu.be/M0dpgwQFMxs Forever Young]]''. |
| 105 | * "[[https://youtu.be/kSqCX15ojSI Bloody Christmas]]" and "[[https://youtu.be/hEefzfFqvHc The Victor]]" from ''Film/LAConfidential'', considered to be the SpiritualSuccessor to ''Film/{{Chinatown}}''. |
| 106 | * ''[[https://youtu.be/povaTQaO_Qk I.Q.]]'' A little homage to "Twinkle, twinkle, little star,". |
| 107 | * [[https://youtu.be/dKRnmbRxJ_w End Credits]] from ''Film/TheBurbs''; Goldsmith at his wackiest, most ridiculous. He even makes fun of himself and homages/parodies Music/EnnioMorricone's spaghetti westerns in this score: |
| 108 | %%** "[[https://youtu.be/03-DiBX9n5Y Let's Go]]". |
| 109 | %%** "[[https://youtu.be/36JoumCm0VA Neighborhood Watch]]". |
| 110 | %%** "[[https://youtu.be/6NARkfk1xCM Something Is Moving]]". |
| 111 | %%** "[[https://youtu.be/0mG0xIaGdAU Devil Worship]]". |
| 112 | * Goldsmith's score for ''Film/DennisTheMenace'' is a workout marathon of comedic proportions. Among the highlights of ''Dennis the Menace'' are the great [[https://youtu.be/-1peS-f808c main theme]], the most boisterous to come from the composer since ''WesternAnimation/TheSecretOfNimh'' a decade earlier; the victorious fanfare for brass at the outset of "[[https://youtu.be/p6Qv32mIijM Hung Up]]"; the lovely cue "[[https://youtu.be/7M_EkO4wGYQ He's Back]]" and the finale cue, "[[https://youtu.be/xyWYUESlSd0 Toasted Marshmallow]]". |
| 113 | * [[https://youtu.be/ulIMpZ60qEY The pastoral score of]] ''Film/{{Rudy}}'' -- Beautiful, inspirational, deeply moving and remains one of the more remarkable sports-related scores ever written. |
| 114 | %%** "[[https://youtu.be/ww_yki_-Rik Main Title]]". |
| 115 | %%** [[https://youtu.be/pw2GiRmuE_0 Tryouts, To Notre Dame, Take Us Out]]. |
| 116 | %%** "[[https://youtu.be/-FUEvtYg0uc The Final Game]]". |
| 117 | * ''Film/{{Hoosiers}}'' was a major achievement for Goldsmith, as not only had he proved that employing electronics in period dramas and balancing it with a fully symphonic score could result in one of the greatest hybrid scores ever composed, but it remains (along with ''Rudy'') one of the best sports genre scores of all time. |
| 118 | ** "[[https://youtu.be/5-ZQvFj7n4g Best Shot]]". |
| 119 | ** In [[https://youtu.be/R8gaFoV2yhs "The Finals"]], Goldsmith created a suite from the cues scoring the last act of the film which brings all the themes together in the ultimate film music feel-good package – it’s heartfelt, stirring stuff. |
| 120 | ** The [[https://youtu.be/hgX7MBHGhUs Concert Suite]] is pretty impressive even without all the electronic music. |
| 121 | * ''Film/MedicineMan'': |
| 122 | ** "[[https://youtu.be/V-F-bAKB_EM Rae's Arrival]]". Opens with a wonderfully catchy, Southern Caribbean-flavored calypso piece for guitar, string orchestra and synths that's like an upbeat distant cousin of Under Fire. |
| 123 | ** "[[https://youtu.be/doCfoBjxwoQ The Trees]]". Is truly outstanding, one of the most beautiful that Goldsmith's ever written, capturing (in a purely symphonic idiom) the wonder and overwhelming beauty of the rainforest from great heights. |
| 124 | ** "[[https://youtu.be/eSOIGV5rMGQ A Meal and a Bath]]" Everything then comes together in this eight-minute finale, summarising all of the main themes. |
| 125 | * [[https://youtu.be/Cb6zizsaoPg Suite]] from ''Film/LooneyTunesBackInAction'', his last film score. Despite his advancing age and the ravages of his sickness, he still showed that he is still capable of composing rapid fast slapstick cartoonish music which will make Carl Stalling and Milt Franklyn very proud. You could also hear snippets of his previous scores sprinkled in. |
| 126 | * ''Film/NightCrossing'': "[[https://youtu.be/B20INek5wus In The West]]." The music is tense as the families try to figure out if they had escaped, then instantly turns uplifting. |
| 127 | [[/folder]] |
| 128 | |
| 129 | [[folder:Action / Adventure]] |
| 130 | * When Music/RandyNewman's score for ''Film/AirForceOne'' was deemed too parodic and not serious enough, Goldsmith was called in and gave us [[https://youtu.be/jPnssWLEipw this epic, rousing, chest-thumpingly patriotic theme.]] |
| 131 | * ''Film/TheWindAndTheLion'' packs all sorts of awesome into its Oscar-nominated, Grammy-nominated, BAFTA-nominated score. |
| 132 | ** The powerful [[https://youtu.be/SSa2dv0-dhQ Main Title]] is Goldsmith's homage to cinema's [[UsefulNotes/TheGoldenAgeOfHollywood Golden Age]] of grand, sweeping epic music in the style of ''Film/LawrenceOfArabia''. |
| 133 | ** "[[https://youtu.be/ij1AQEpBb3c The Horsemen Arrive]]". An intense, floor-shaking action masterpiece. |
| 134 | ** "[[https://youtu.be/kmOs0_VUqmk Raisuli Attacks / Guests of Raisuli]]". A brutal but extremely complicated piece (especially for the trumpets), brilliantly combining the score's main themes together for a piece of such furious excitement it might cause palpitations in the uninitiated, this is truly one of the high-water marks of Jerry Goldsmith's action music. |
| 135 | ** "[[https://youtu.be/s44tUTlMHno I Remember (Love Theme)]]". One of the composer's best love themes. |
| 136 | ** "[[https://youtu.be/MN1I4j_EMgg#t=6m24s Lord of the Riff]]". A perfect example of how Goldsmith can take most of the score's major themes and lesser motifs and feature them either in progression or on top of each other in very satisfying fashion. |
| 137 | * [[https://youtu.be/7mfcA9E0vcA End Credits]] and [[https://youtu.be/7T-6QKkMDPY Valhalla / Viking Victory]] from ''Film/TheThirteenthWarrior'' have some of the heaviest Goldsmith orchestration you could ever wish for. |
| 138 | %%* ''Film/TheSumOfAllFears'' was one of Jerry's last major film scores before his death in 2004, and also one of his finest. Highlights include: |
| 139 | %%** "[[https://youtu.be/PgPfGTi9lp4 Clear the Stadium]]". |
| 140 | %%** "[[https://youtu.be/stwJTgJitIk The Mission]]". |
| 141 | * Jerry Goldsmith's creative score helped define ''Franchise/{{Rambo}}'': |
| 142 | ** "[[https://youtu.be/Lzsrx3wk6zk The Tunnel]]" and [[https://youtu.be/mfSzWzjzN-Q It's A Long Road]] from ''First Blood''. Goldsmith perfectly captured the tragedy of Franchise/{{Rambo}}'s loneliness with the precision of his stalking and evasion techniques. |
| 143 | ** From ''Rambo: First Blood Part II'' comes "[[https://youtu.be/8dB4IakYL-8 Escape from Torture]]" and [[https://youtu.be/DvyUNeuXEbU Village Attack / Helicopter Flight]]. Goldsmithian action music at its best. |
| 144 | ** [[https://youtu.be/yk-ueFIdKhk Preparations]], [[https://youtu.be/dnpDqPYZs3g Night Fight]], and [[https://youtu.be/_EUvlDsPPI4 Afghanistan]] from ''Rambo III''. Goldsmith's last big screen adventure with John Rambo. What a sendoff! |
| 145 | * [[https://youtu.be/1MdD2ItOjFk Main Title]] from ''Film/Supergirl1984'' -- easily the best aspect of that film, along with casting Creator/HelenSlater. |
| 146 | * "[[https://youtu.be/43fKTXB6-L4 King Richard]]" of ''Lionheart''; grand, noble and totally awesome music, easily the best 8 minutes of the maestro and the last score Goldsmith made for his dear friend Franklin Schaffner before the director passed away. |
| 147 | * [[https://youtu.be/LWly0yvaY5M Goldsmith's score]] for ''Film/TheMummy1999'' has everything you could wish for: massive orchestral score with epic action music and sweeping love themes. |
| 148 | %%** "[[https://youtu.be/0cDbYNbq2fc Imhotep]]". |
| 149 | %%** "[[https://youtu.be/yzcFDc7rS-8 Camel Race]]". |
| 150 | %%** "[[https://youtu.be/jccTtwoxEEw The Sand Volcano]]". |
| 151 | * ''Film/TheSandPebbles'' offers proof that Jerry Goldsmith wasn't just good for thrilling, suspenseful and action-packed music. |
| 152 | ** "[[https://youtu.be/2ONKiBU-7co Love Theme (And We Were Lovers)]]"; one of the most beautiful love themes ever. |
| 153 | %%** [[https://youtu.be/uHKwg1uVOCk Overture]]. |
| 154 | %%** [[https://youtu.be/wNSg3fu5RQQ Main Title]]. |
| 155 | * Reportedly, in ''Film/TheBlueMax'', the producers wanted a Germanic composition out of Goldsmith. They even introduced Goldsmith to the project with scenes incorporating a "temp track" from Richard Strauss's ''Also sprach Zarathustra''. The result was one of the greatest war scores ever composed in movie history and considered to be the first of Goldsmith's epic achievements. |
| 156 | ** "[[https://youtu.be/CUn7U684m0E The Blue Max Suite]]". |
| 157 | ** "[[https://youtu.be/GLQA1-S4gGk The Attack]]". Pure OrchestralBombing at its finest. (Bonus points for this scene being an aerial one!) |
| 158 | * ''[[https://youtu.be/Vg-qxo9NP2M MacArthur and Patton]]''. Totally awesome and memorable marches composed by the maestro for the two most highly decorated generals in history. |
| 159 | %%* Especially the score from ''Film/{{Patton}}'': |
| 160 | %%** "[[https://youtu.be/SoGLYa6E-lc Main Title]]". |
| 161 | %%** "[[https://youtu.be/pTEKPlGRL3c The Hospital]]". |
| 162 | %%** "[[https://youtu.be/ycmWUV47nCA Attack]]". |
| 163 | %%** "[[https://youtu.be/GsU6difHB9Q The Battleground]]". |
| 164 | %%** "[[https://youtu.be/kBSsBahTcvA Payoff]]". |
| 165 | * [[https://youtu.be/bqzGk-5VQw8 Main Title]] and [[https://youtu.be/-o2vIpCV6os The Final Message]] from ''Film/ToraToraTora''. Goldsmith's ethnic scoring abilities are second to none; it's a complex score filled with some of the most avant-garde writing you are likely to ever here from the composer. |
| 166 | %%* The score to ''Film/FirstKnight'' is chock full of epicness from the maestro. |
| 167 | %%** "[[https://youtu.be/d0osYcipTKo Never Surrender]]". |
| 168 | %%** "[[https://youtu.be/KRi374hzSYU Arthur's Fanfare]]". |
| 169 | %%** "[[https://youtu.be/TeXfulJnIQk Raid On Leonesse]]". |
| 170 | %%** "[[https://youtu.be/4_Zcqm8XIEc Camelot]]". |
| 171 | %%** "[[https://youtu.be/_xG4voeo-fo Promise Me]]". |
| 172 | %%** "[[https://youtu.be/21nbQ2I2MZU Camelot Lives]]". |
| 173 | * The [[https://youtu.be/qHM9zVa8vs4 score]] for ''Film/TheChallenge1982'' starring Creator/ToshiroMifune as a modern samurai is both beautiful and exciting. |
| 174 | * ''Literature/TheGreatTrainRobbery.'' Both the [[https://youtu.be/feBupvXSp-Y Rotten Row]] and [[https://youtu.be/hLrxnhdaheE End]] titles are fantastic. |
| 175 | * ''[[https://youtu.be/QzuOS9MCn58 King Solomon's Mines]]''. Not intentionally a tongue-in-cheek parody of ''Film/RaidersOfTheLostArk.'' |
| 176 | * [[https://youtu.be/BFf9hYpiIIA Suite]] from ''Film/TheShadow'' hits Elfman-like proportions but is without a doubt quintessential Goldsmith. |
| 177 | * ''Under Fire'' is simply one of Goldsmith's top action scores. |
| 178 | ** "[[https://youtu.be/y0rvliPSitU Bajo Fuego]]", one of the more ambitious action cues composed by Goldsmith, is really quite brilliant, a gorgeous piece for guitar and orchestra full of passion and excitement. |
| 179 | ** The brilliant "[[https://youtu.be/y0rvliPSitU#t=16m39s 19 de Julio]]", a slightly off-kilter melody that is played by keyboards before a sudden and delightful trumpet flourish which seems simply achingly beautiful. |
| 180 | ** "[[https://youtu.be/y0rvliPSitU#t=22m47s A New Love]]" is an extended version of the score's love theme for keyboards, guitar and strings with in a very memorable and deliberate high string rendition. It's another piece of unbridled passion, showing how much beauty can be suggested by a piece of instrumental music without the need for the full clichéd swell of an orchestra. |
| 181 | ** "[[https://youtu.be/y0rvliPSitU#t=40m36s Nicaragua]]", the stunning finale piece, unquestionably one of the highlights of Goldsmith's career, a magnificent concert arrangement of the main march theme. (Creator/QuentinTarantino loved this score so much he used it for a key scene in ''Film/DjangoUnchained''.) |
| 182 | * [[https://youtu.be/Sd4eB5aBuIQ Assembly Line]] from ''Film/SmallSoldiers''; another brilliant score in the Goldsmith- Creator/JoeDante collaboration. |
| 183 | * ''Film/{{Legend 1985}}'' marks one of the finest examples of Goldsmith's integration of electronics and large orchestra (sadly, it would also prove to be one of his most horrifying experiences ever). |
| 184 | ** [[https://youtu.be/9fWc98PqHEU Main Title/"The Goblins".]] Synths and woodwinds open the track giving a very airy, fantasy feel. |
| 185 | ** "[[https://youtu.be/ujfUxntQ3mg Fairy Dance]]". Another expressive piece, a lovely piece of music (which was written before filming so that the scene could be choreographed to the music - of course, the scene then went on to be cut) that reaches an absolute frenzy of excitement by its conclusion. |
| 186 | ** "[[https://youtu.be/t7xl4R97Lw0 The Unicorns]]". Shows just how ambitious and detailed Goldsmith wrote this, an extended (eight-minute) piece of majestic beauty, expressive and colourful to the max, a gleeful fantasy. |
| 187 | ** "[[https://youtu.be/jaaF75HhvvI Darkness Falls]]". The big action cue of the score. What more needs to be said? Goldsmith lets loose with rumbling percussion and assaults from the brass with epic choir added for good measure. |
| 188 | ** "[[https://youtu.be/aQImDGbWUX4 The Ring]]". Sees the reversal of this process in another expressive and detailed portrait of beauty featuring some stunning writing for choir. |
| 189 | ** "[[https://youtu.be/SHU9koWVE9M Reunited]]". Goes through a few of the main themes, including the stunning love theme, wrapping up the score in remarkable fashion |
| 190 | * [[https://youtu.be/mtjyvslochU Rescue]] from ''Film/BabySecretOfTheLostLegend'', which joins the ranks of some of Goldsmith's best ass-kicking brass and percussion action score. |
| 191 | * [[https://youtu.be/PLyv7vDBc_w "September 11, 2001: The Theme]] to ''Film/TheLastCastle''" (the cue is named after the day it was recorded). Not to mention [[https://youtu.be/trNRr1yAnxM "Taking Command"]] and [[https://youtu.be/qS9e6WQ4DL8 "The Flag"]]. |
| 192 | %%* Two of the maestro's efforts at scoring animated films (and actually his only two, since ''Film/LooneyTunesBackInAction'' mixed live action and animation): |
| 193 | %%** [[https://youtu.be/s19k9gigvc0 Suite]] from ''WesternAnimation/{{Mulan}}'': |
| 194 | %%*** "[[https://youtu.be/bWgqsFCvhA8 The Huns Attack]]". |
| 195 | %%*** "[[https://youtu.be/MilR3Z1sASY Short Hair]]". |
| 196 | %%*** "[[https://youtu.be/8TMR82a9c5M Blossoms]]". |
| 197 | %%*** "[[https://youtu.be/r7kWRRS--YM Avalanche]]". |
| 198 | %%** ''WesternAnimation/TheSecretOfNimh'' - [[https://youtu.be/7k8o8yNb6aM Main]] and [[https://youtu.be/MdV0OGoMhB8 End]] titles. |
| 199 | %%*** "[[https://youtu.be/LkCoQt3h1vY Moving Day]]". |
| 200 | %%*** "[[https://youtu.be/44AfKRmVCks Escape from N.I.M.H.]]" |
| 201 | [[/folder]] |
| 202 | |
| 203 | [[folder:Non-Film / Other Scores]] |
| 204 | * [[https://youtu.be/PmlrEkmFq44 Universal Logo Fanfare.]] (Best movie fanfare after Alfred Newman's Twentieth Century Fox Fanfare.) For their centennial anniversary, they had Music/BrianTyler re-arrange Goldsmith's [[https://youtu.be/bNJW113tbKk iconic fanfare]]. |
| 205 | %%* Epic music for a television miniseries, ''Series/{{Masada}}''. |
| 206 | %%** "[[https://youtu.be/Y6U3S9AwbTI Main Titles.]] |
| 207 | %%** "[[https://youtu.be/dQJwqE6tclg The Road To Masada]]". |
| 208 | %%** "[[https://youtu.be/QZcFjHyj9uI The Slaves/End Title]]". |
| 209 | * So is ''[[https://youtu.be/DrTflGhK2bo QB VII]]''' Epic music for a miniseries. |
| 210 | * Another rousing {{fanfare}}, "[[https://youtu.be/Bho_zzm1ALE Fanfare For Oscar]]". (Specially commissioned for the Academy Awards ceremony.) |
| 211 | * "[[https://youtu.be/xUeM6rY_Psg Soarin']]". The soundtrack Goldsmith wrote plays throughout [[Ride/{{Soarin}} the entire attraction]]; Goldsmith is said to have come down from his first ride in tears. He loved the ride so much he said he would've done the score for free. |
| 212 | * ''[[https://youtu.be/PJEjP-osWkg Fireworks (A Celebration of Los Angeles)]]''. A concert piece he wrote for his beloved city. |
| 213 | * In addition to his countless film works he also created the title theme music for many TVShows: |
| 214 | ** [[https://youtu.be/fQ-T0u52i5Y Theme music]] from ''Series/TheManFromUNCLE''. |
| 215 | ** [[https://youtu.be/dhU4TBHCwjM Theme music]] from ''Dr. Kildare''. |
| 216 | ** [[https://youtu.be/pcaUluahdwM Theme music]] from ''Series/{{Room222}}''. |
| 217 | ** [[https://youtu.be/am9Eka0DlVU Theme music]] from ''Series/TheWaltons''. |
| 218 | ** [[https://youtu.be/47mG6zrG_1U Theme music]] from ''Series/BarnabyJones''. |
| 219 | * His film music was also used for some TV adaptations: |
| 220 | ** [[https://youtu.be/eliQEStzhu4 Theme]] for ''Rambo: The Force Of Freedom''. |
| 221 | ** [[https://youtu.be/HnDtvZXYHgE Theme]] for ''Star Trek: The Next Generation''. |
| 222 | * Goldsmith orchestrated the 1975 Creator/{{Paramount}} Pictures [[https://youtu.be/lxXR8_njz6U fanfare]], adapted from the 1930 song "Paramount on Parade". It was used on the home video division's "Feature Presentation" bumper from 1989-2006, but only once on the 1975 theatrical logo, and a few times on the 1986 theatrical logo. It was also used only once on the 2002 theatrical logo. Goldsmith also orchestrated the [[https://youtu.be/4eIlWAAay4I television version of this fanfare]] that was used from 1987-2006. It was orchestrated in a way that made it sound like the ''Franchise/StarWars'' theme, ironic given Paramount once owned ''Franchise/StarTrek''. |
| 223 | [[/folder]] |
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