Intrada Soundtrack Forum

Let's imagine one moment this is not a Jerry Goldsmith score...

Roger described it as one of the "giant, epic scores from the 70s".

It was apparently released on a CD way before... In a quite definitive version already.

Somebody correct me if I'm wrong, but wouldn't Leonard Rosenman's The Lord Of the Rings fit the bill ?

BUT: I don't know if it could really fill 2CDs. Alternates included.

AND: Roger said warm regarding QBVII, but [i]no. So, according to that last statement it couldn't be Rosenman after all. Although it IS one of the greatest scores of the 70s.

Well... I think I'm really lost here

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Mediocrity knows nothing higher than itself, but talent instantly recognizes genius
- Sir Arthur Conan Doyle

At this point,
STAR TREK: TMP
seems the most likely candidate...

Major record label: Sony/Columbia/Legacy
Major film studio: Paramount
Two soundtrack labels: Intrada & possibly Percepto
Gigantic 70's score: 1979 with alternate versions, initial album edited versions,
rejected first draft of theme which Roddenberry sited as being too much like sailing music.
and
additional cues composed by Fred Steiner

Plus, as Roger had been negotiating with Paramount over the upcoming
THE MONSTER SQUAD release, he may have also been negotiating for other score release projects.
also,
considering that this score has been expanded once already by Columbia/Legacy,
the album license has Paramount vault access,
thus if Intrada now has this license... then...
I'd say Varese's THE 'BURBS had a similar license situation from Universal
which explains how they were able to expand it.

On the other hand,
THE WIND AND THE LION
is runner up

Major record label: Arista
Major film studio: MGM/UA (isn't this TWO studios?)
Two soundtrack labels: Intrada & possibly Prometheus or FSM
Gigantic 70's score: 1975, massive, epic, complex, but how long is the score?
The film runs 119 minutes, so the 2CD release could be the score (80:00+)
followed by the album presentation (38:46) similar to how INCHON was prepared.
However, how does this score have the clout to merit a regular release over a limited release as ST:TMP does?

Plus, if the mastertapes have been found in stellar condition,
then this would make a fantastic release on par with CAPRICORN ONE.
also
Intrada has licensed this one before (just the album tracks) which was a big deal in 1990 and,
according to the album notes, this score received an Oscar nomination, a Grammy nomination, has inspired many a young composer and has been a staple in most of Goldsmith's concert presentations.

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WE HAVE COME TO VISIT YOU IN PEACE AND WITH GOOD WILL.

Maybe we'll be proven wrong, but I think the Sony/Legacy release of ST:TMP is still in print and includes most of the extra cues Goldsmith allowed in at the time. I think he also probably nixed any further additions. And Doug and Roger would certainly respect this creative decision.

Didn't Doug explain on this board how he decided not to include the Boat chase from Islands in the Stream? Simply because the composer was unhappy with the performance and didn't want it put in the album. And I really admire Doug for sticking to the composer's intention, even after his passing. I'm pretty sure the opportunity to add an unreleased cue to such an important score may have been really tempting.

I know that when a composer passes away, sometimes opportunities arise that are hard to ignore. For instance, it's fair to say Jerry Goldsmith, had he been still with us, would not have allowed Varèse to release a complete CD to The Vanishing. He didn't want to have it on CD at the time of the release. Or, maybe he would have revised his opinion on the score several years later. Or maybe he would have just looked the other way, because it's a limited edition mostly aimed at die hard collectors! Having said that, I certainly won't blame Robert Townson for releasing it, so beautifully remixed, because I enjoy this CD tremendously.

Anyway, sorry for getting a tad off-topic here...

One thing is certain: Monday night can't come soon enough!! Even if I'm left with egg on my face because we suddenly get a (re)expanded ST:TMP!

_________________
Mediocrity knows nothing higher than itself, but talent instantly recognizes genius
- Sir Arthur Conan Doyle

I agree that the present album of Star Trek The Motion Picture (which runs for 65 minutes) is a solid presentation of the score. And I think that Goldsmith and/or the record producers chose the additional cues well. However, I have some qualms about the album:

- The CD contains different takes than actually heard in the film.
- The cue "Meet Vejur" was left off.
- The climax of "Inner Workings," which contained a jaw dropping wind
machine and piano, was fiendishly truncated.
- The alternate recordings of "The Enterprise," "Leaving Drydock," and
"Spock's Arrival" are utterly stunning compositions. They are pure
Goldsmith... if Goldsmith's music were put in an IV drip and injected
in your veins, then this music would give you a total and complete
Goldsmith high. (Yes, I am a Goldsmith junkie.)

The fact that SUPERMAN THE MOVIE, STAR WARS, and various classics from this era have been treated with COMPLETE releases while STAR TREK THE MOTION PICTURE gets a mediocre and incomplete re-issue with weak liner notes and a frivolous extra CD that has little or nothing to do with Goldsmith's score is a crime.

If tomorrow's release is STAR TREK THE MOTION PICTURE, I will throw a party.

_________________
Mediocrity knows nothing higher than itself, but talent instantly recognizes genius
- Sir Arthur Conan Doyle

_________________
Mediocrity knows nothing higher than itself, but talent instantly recognizes genius
- Sir Arthur Conan Doyle

_________________
Robert M Eastman