Score Reviews

Reviews of Jerry Goldsmith Scores

Basic Instinct
(Varese Sarabande - 1992)
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Now I know why this score was nominated for an Academy Award! I’ve seen the movie, but until I heard the score separately I hadn’t realized just how dramatic it really was. Like The Ghost and the Darkness, the movie just would not be the same without Jerry’s wonderful and artistic sense of the film. The suspense of the film is so masterfully represented through the score you can almost feel the famous ice pick ripping through your heart. The orchestra performed this composition flawlessly, and .

Overall rating: 8.1 out of 10

First Knight
(Epic Soundtrax - 1995)
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First Knight, a movie about the Knights of the Round Table era of history, couldn't have had a better score. It is both patriotic and emotional at the same time, with a large brass section of the orchestra comprising most of the score. Using the horns (as we have come to know in Twilight Zone: The Movie, The Sand Pebbles, and the like) has become a very effective method to convey the emotions of a particular scene in a movie. Mr. Goldsmith has become the master of this section of instruments, easily overtaking John Williams (Star Wars, Indiana Jones) and James Horner (Braveheart, Star Trek II: The Wrath of Khan). For any fan of action scores, this is at the top of my recommendations list.

Final rating: 8.2 out of 10

The Ghost and the Darkness
(Hollywood Records - 1996)
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It deeply saddens me that this score was never even nominated for any kind of award. It is one of the most intricate and complex scores I have ever heard, utilizing vocal chants and rare instruments in such a unique way as to leave me spellbound for the forty minutes that encompass Jerry's contribution to the soundtrack. The remainder of the soundtrack is a mix of tribal chants written by George Acogny and performed by The Worldbeaters, and added to Jerry's score, convey perfectly the atmosphere of a wild and untamed Africa. This score is a must for any Jerry Goldsmith fan, and even those who aren't should at the very least give it a chance.

Final rating: 9.8 out of 10

In Like Flint and Our Man Flint
(Varese Sarabande Records - 1998)
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I’ve never seen this series of films from the 1960s, and judging from the scores I never will. The scores are actually pretty good, but they are simply too repetitive and too much a part of a pop culture which I wasn’t a part of.

In Like Flint (1967), tracks one through fifteen:
I must admit, the Beach Boy-wannabes at the end of this score (tracks eleven and fifteen) just scare the crap out of me. Though to make it fair, track four is the highlight of this score due to the slow pace and variety of interesting and harmonious instruments. The suspense for this scene must have been great, and Jerry pulled it off with flying colors.

Our Man Flint (1966), tracks sixteen through twenty-eight:
I actually like the original score better than the sequel - which is rather obvious, since it is more original and not blatantly based on any previous work. I really enjoyed tracks eighteen and nineteen, which blended musical themes and instruments from a variety of European cultures, and were able to still be interesting. Tracks twenty and twenty-one are great renditions of the main theme using different instruments, and though repetitive they are still nice to hear once you get that far. At least there aren’t any Beach Boy-wannabes on this score.

Overall CD:
For me, the best part of buying this CD was the fact that I got to experience some of the pop culture of the 60s by listening to two scores composed at the height of the spy-movie era. While I am a child of the 80s I am also interested in history, and this work makes for a wonderful primary source. However, I was disappointed that the liner notes for the CD didn’t have more details on the films, but I guess just listening is enough for me. Recommended for true Goldsmith fans, but someone who is unfamiliar with listening to film scores might just end up become a little less interested.

Final rating for the entire CD: 5.8 out of 10
Final rating for In Like Flint: 5.2 out of 10
Final rating for Our Man Flint: 6.4 out of 10

L.A. Confidential
(Varese Sarabande Records - 1997)
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As with the film, this score starts with a bang then quickly relaxes in to the main dialog. Once the pace evens out a little the true genius of the work begins to shine through. The main theme for this film (the last minute and a half of track one and track eleven) is exquisite in its beauty and simplicity, and I never have trouble enjoying this score. The trumpets throughout the score are most assuredly the highlight of the work, and the string section plays a perfect balance to the brass. Tracks ten and eleven nicely close out the film and the score both, and I am proud to be an owner of this intriguing piece of art.

Do be careful when looking for this CD - as with Small Soldiers there is a song-only CD available. In this case the other CD is actually pretty good, unlike the Small Soldiers one, but just double-check to make sure you have the one you want when you get to the sales counter.

Final rating: 6.9 out of 10

Leviathon
(Varese Sarabande Records - 1989)
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Track one is, simply put, beautiful: the sounds of the ocean come alive in this aquatic masterpiece. Moving on to an action sequence, the score becomes rather generic in the second track, but the final twenty seconds – those that build up to the third track – relax the atmosphere dramatically. Unfortunately the latter half of track three also gets into the generic suspense/action area (it is worth listening to though, the stereo fade effects in the second half of the track are intriguing), but track four is where this score begins to really pick up. Under two minutes in length, the piano work, while simple, is invigorating. Track five is just like the last half of track three, and can honestly be skipped. Track six brings some of the whale song from the first track, and admirably works it in with the suspense/action scores of tracks three and five, then switches to a pretty little melody which alternates between the melody and another not-so generic suspense/action sequence. You’d think, the way the score plays out in track six that this would be where the movie ends, but actually we are just over half way through the score at this point.

The rest of the normal score – tracks seven through ten – rotate between suspense/action and “we survived” – back and forth between the two. The four tracks are all nice to listen to, but the real beauty of this score comes to life in track eleven. As usual, Goldsmith put his heart and soul into the end credits, and as usual the last track is among the best on the entire score.

While the overall score is relatively short (about 37 minutes), this really is a great piece of work, and highly recommended if you can manage to find it.

Final rating: 7.3 out of 10

Malice
(Varese Sarabande Records - 1993)
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An instrumentally simple score, Malice carries a great deal of suspense on the beat of a drum. Unfortunately, during many points of this score the orchestral parts seem to be more of a highlight to the score than a part of it. The parts of the score that do shy away from a drum are quite good, however, and have some wonderful melodies. A good score for a Goldsmith fan (especially the end credits), but I wouldn't recommend it for anybody else.

Final rating: 5.5 out of 10

Mulan
(Walt Disney Records - 1998)
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From start to finish, this is a great treat for Goldsmith fans, and especially for those who aren't. For the thirty-six minutes of Jerry's score on the album we can take a break and relax, knowing the mastery of film music has not disappeared. Scored in the truest of Jerry's own fashion, Mulan is by far one of the most intricate scores I have ever heard, using such a variety of techniques and unique instruments only Planet of the Apes rivals it. A must for any Goldsmith fan, and for those who aren't and can handle six tracks of Disney songs... get it anyway. This score is an absolute work of art, with every second of every Goldsmith track bringing beauty to the world.

Final rating: 9.6 out of 10

Patton and Tora! Tora! Tora!
(Varese Sarabande Records - 1997)
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Patton (1970), tracks one through fourteen:
One of Goldsmith’s most famous scores, which most assuredly deserves its fame. My one and only complaint about this entire score is that it was recorded/created with such subdued tones that it is difficult to hear without really turning up the volume. Other than that, every track is a true piece of genius, and has a masterful sense of melody, timing, and ingenuity. In my short life, I have never heard a score which has been copied more times and in more ways than this one, and I am honored to own such a work of art. While not as exhilarating as The Ghost and the Darkness, nor as moving as Mulan, Patton is a truly introspective piece, and worthy of praise just as high as Star Trek: The Motion Picture.

Tora! Tora! Tora! (1970), tracks fifteen through nineteen:
While the opening of the score is not the melodic piece of work ever, the power which is exerts over you is astounding. Take particular note of track seventeen, as it is perhaps the most dynamic track on the entire CD. While it is indeed short (one minute forty-three seconds), it displays a tremendous excess of passion. The end credits for this score are particularly powerful and evocative, and highly recommended.

Entire CD:
For any fan of Jerry Goldsmith, this is simply a must. Both scores are subdued yet vigorous, and the beauty of what lies beneath us all is starkly shown in these dramatic nineteen tracks. Go get it. Now.

Final rating for Patton: 9.3 out of 10
Final rating for Tora! Tora! Tora!: 9.2 out of 10
Final rating for the entire CD: 9.25 out of 10

Planet of the Apes
(re-release Varese Sarabande - 1997)
(original release Twentieth Century Fox - 1968)
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What a wonderful, wonderful score! When I first heard it, I wasn't all that impressed, but after I listened to it a few more times I grew to appreciate the complex and sublime nature of the score. I'm sure you have all heard the stories which surround this score, such as Goldsmith wearing an ape mask while conducting the orchestra, and the famous metal mixing bowls used as percussion instruments. There are many more stories that I just couldn't cover in this one review, but believe me they are all quite interesting. This score surely deserves all the tales there are about it! It is a masterpiece, which every film score should be held up against in comparison. The CD liner notes are quite extensive, and worth a read if you are familiar with, or even remotely interested in the movie. If only Charlton Heston had better morals...

Final rating: 8.9 out of 10

The River Wild
(RCA Records - 1994)
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The first track on the CD is performed by the Cowboy Junkies (and is actually a pretty song), and the rest of the Goldsmith score is based off the melody from the song. Since the song itself is really quite nice, thus so is the score. It is not his most original piece of work, but it is very much worth buying if you can find this out-of-print score. The synthetic drums that we heard in Small Soldiers are also in this score, and they work just as well - definitely a different approach for Jerry, but it certainly pays off. The sweeping melodies we all love to hear from Jerry are also prevalent in this score, and add a great level of joy to the listening experience. The film was put together in such a way as to allow the composer to explore a full array of varying techniques, and we are that much better for it. This is not a MUST-OWN score, but it is well worth a listen, and maybe a buy if you are so inclined.

Final rating: 7.8 out of 10

The Russia House
(MCA Records - 1990)
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A very jazzy score, the kind of music you'd like to hear in bars but never do. This is certainly a unique piece of work for Jerry, seeming to mix many over-sea influences into a single body of work, and effectively and admirably mixing in jazz-type bass with all of those. For anyone who likes classy jazz (it actually reminds me a little bit of 1950's jazz), this is a wonderful score to get. There is over an hour of this... well, a-typical Jerry score for everybody to enjoy. I do recommend programming your CD player to skip over track ten and the awful singer on it - it really is worth it to miss that track. If you don’t have the time to listen to the entire score, I would recommend a close listen to tracks three, nine, eleven, and seventeen to get the best of it. Enjoy!

Final rating: 8.7 out of 10

The Sand Pebbles
(re-release Varese Sarabande - 1997)
(original release Twentieth Century Fox - 1966)
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A very appropriate score, and very 1960s as well. This does not, however, detract from the enjoyment I get out of the album - in fact, it enhances it. With this wonderful re-release, I am able to get a small taste of the past, when scores didn't have to be big, brassy, and loud just to attract attention (with some terrible but unfortunately popular singer wailing to the theme, ala Titanic). This score does have a simple theme to it, but it does change enough to keep a listener interested. Another major bonus for buying the CD is the liner notes, which go into great detail about how the score was created, and what happens in the film during each track. A funny little note though: in the liner notes it says Goldsmith is scoring Lost in Space, which we all know he didn't do (thankfully, the movie was horrible). However, he was scheduled to do it for a short time, and these liner notes were created during that time. This score is more reminiscent of classical music than a big event-movie score, and for that reason among many others, I give it two thumbs up.

Final rating: 7.9 out of 10

Small Soldiers
(Varese Sarabande - 1998)
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A rather militant score, with sweeping melodies and even some synthesizers added to the mix - and even an electric guitar! The melody that is used throughout the movie is quite interesting, and says volumes about the mood of each particular scene. The best part of the melody begins near the end of track three on the CD, which is titled Roll Call (for those of you who saw the film, this is where Chip Hazard was getting his troops lined up for roll call) and continues throughout most of the remainder of the score. Overall, this is a very interesting score for Jerry Goldsmith, witnessing how he utilized synthesizers for the best. All things considered, this is a must for a fan. For those who aren't: if you didn't like the movie, you won't like the score. If you did like the movie, however, the score is highly recommended.

Final rating: 7.6 out of 10

Star Trek: The Motion Picture
(re-release Sony Legacy/Columbia - 1999)
(original release Twentieth Century Fox - 1986)
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While I do find the main theme for Star Trek: First Contact to be more musically beautiful (compared to this main theme), Star Trek: The Motion Picture is a very wonderful and melodic score, and definitely one of the best ever created in all of Hollywood history. I have read some reviews that say things like: "the main theme of this film is so familiar that I am tempted to skip through it, even though I enjoy the rest of the score." It may indeed be familiar, but it is also the original version of the Goldsmithian Star Trek theme, and I can never get enough of listening to this score (I listen to it so much that my friends says it sounds like the Enterprise taking off when I drive away in my car). The cues and melodies that are intertwined throughout the score are so beautiful and moving that I can't quite put into words what this score does to me. Just close your eyes and try to hear the actual mysteries of the unknown: the unexplainable, the unreachable, the undeniable. It all comes alive in this one score, which is totally capable of transporting your soul to another level of fulfillment. For any person on this planet who enjoys music of almost any kind, this is the score for you!

Final rating: 10 out of 10 - PERFECT

Star Trek V: The Final Frontier
CBS Records Inc. – 1989)
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I AM CURRENTLY WORKING ON THIS REVIEW – PLEASE CHECK BACK AT THE END OF THE MONTH!

Final rating: 9.2 out of 10

Star Trek: First Contact
(GNP/Crescendo Record Company - 1996)
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One of Mr. Goldsmith's most masterful scores to date, this score was significantly better than the movie, in this Trekker’s opinion. This was the first score I ever purchased of Jerry's, and needless to say, I was extremely impressed. The main theme for this film was the most emotionally moving scores that I have ever heard in any film, and is certainly one of the greatest main themes ever written. The remainder of the score is appropriately suspenseful and works with the movie extremely well, and is also wonderful as a stand-alone piece of work. For any fan of Star Trek, this is one of the four greatest scores you can get (Star Trek: The Motion Picture, Star Trek V: The Final Frontier, and Star Trek: Insurrection being the other three). Highly recommended for any film score fan.

Final rating: 9.5 out of 10

Star Trek: Insurrection
(GNP/Crescendo Record Company - 1998)
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Definitely a wonderful score, but as with the movie, it could have been better. Of course I was glad to hear the recurring Goldsmithian Star Trek theme, but overall I enjoyed the other three Goldsmith Star Trek scores more. The new parts to the score, especially the parts focusing on the Ba'Ku, are beautiful and moving, with very romantic and exciting overtones throughout the entire score. Naturally the Klingon theme made it into this score (Jerry personally loves it, and tries to work it into every Star Trek score he does), and the subtlety of it makes it just that much more appreciable. Definitely worth checking out - if only the movie had been as interesting.

Final rating: 8.5 out of 10