We made it! And because so many of you Jerry Goldsmith fans offered your support, all of us will relish in a terrific album of two incredible Goldsmith gems! This was our second Kickstarter project and both have been successful in reaching our goals. I’m really happy that you are entrusting us to deliver a top drawer Goldsmith release. And that we shall do! And with our Excalibur series in mind, this coming Tuesday we are releasing a newly-remastered CD of our 1995 Sinfonia of London re-recording of Julius Caesar, composed by Miklos Rozsa and conducted by Bruce Broughton. Of all our many Rozsa releases, this is my personal favorite. The performance and interpretation are without peer, the music quietest simply a powerhouse. I have always been amazed at how well Rozsa captured the tragedy of Brutus, the nobility of Antony, and how these two characters - and their unique musical themes - play at the heart of the score and the drama it supports. Caesar is the titular character indeed, but it is Antony and Brutus that Rozsa, and we as an audience, take note of. What a powerful conflict and what Rozsa does with his two main themes is stunning. In a score with much Roman splendor to offer, Rozsa lets these two themes do battle. In the very end, only one can emerge victorious. Wow!
It’s official! Following the terrific results of our initial Kickstarter campaign that yielded our complete recording of Dimitri Tiomkin’s suspenseful score for Alfred Hitchcock’s classic Dial M For Murder, we are off and running again! This time our campaign focuses on two Jerry Goldsmith scores that have been lost to the ages but will arise at long last in brand new reconstructions of the manuscripts and lavish new performances by the Royal Scottish National Orchestra, again under the precise conducting of William T. Stromberg. Black Patch, a 1957 Warner Bros. western and Goldsmith’s very first feature film score, and The Man, a vibrant 1972 Americana score for the ABC movie about the first black President, played by James Earl Jones and scripted by Rod Serling. Douglass Fake produces, Leigh Phillips reconstructs, and Roger Feigelson leads the entire Intrada team in assembling the Kickstarter campaign and getting the word out. Besides both scores being by Jerry Goldsmith, and otherwise seemingly unrelated beyond having their original master elements being lost, the two actually have one really interesting item in common: both are scored for full orchestra but have a key instrument dropped from their orchestrations: Black Patch does not have any trumpets, giving the resulting score a darker edge to it, and The Man has no violins, allowing the splendid brass and woodwinds to lead the way. With the recordings being set for October and with Simon Rhodes (James Horner’s legendary mixer) again engineering the sessions, supporters of this project can be assured of the top drawer quality and authenticity of the results, just as we accomplished with the Tiomkin release.
And in exciting John Williams news, enjoy this coming week’s world premiere actual soundtrack release for his exciting 1975 music for The Eiger Sanction, the mountain-climbing thriller directed by and starring Clint Eastwood and previously available only as a 36-minute re-recorded album. With more than twice as much music now, find track details, sound samples and details right here this coming Monday. Orders for the 2-CD sets begin shipping out on Tuesday the 10th. This one is a dazzler!
This week’s newest soundtrack release revisits one of Intrada’s very first CDs, Extreme Prejudice, now for the first time complete. The booklet cover premieres the original 1987 one sheet campaign art. Intrada’s credit actually appeared on that poster as well as onscreen in the film’s end titles, so this was a really cool moment in our early years. Jerry Goldsmith plus military action cloaked in western garb equals a bullseye. Check out the artwork, contents and sound samples Monday eve!
Be here this Tuesday and consider ordering Intrada’s new CD of John Powell’s absolutely splendid score for 20th Century Studios’ The Call Of The Wild, starring Harrison Ford. Powell melds outdoor splendor with rousing excitement in this evocative telling of Jack London’s famed canine classic. On a totally random note, my movie viewing these last few days included Last Train From Gun Hill, a 1959 feature now available as part of the Paramount Presents line of Blu-ray titles. John Sturges directs, Kirk Douglas and Anthony Quinn star, albeit Earl Holliman and Carolyn Jones offer equally superb performances in their secondary roles. Viewers get Sturges helming a western that’s lean and mean. Takes no prisoners, literally. Sturges focuses on the core story of justice and revenge and never strays. Socko! Dimitri Tiomkin provides the propulsive score, fashioned in his busy and frenzied signature style, replete with a vast array of solo colors set within his dynamic orchestra. Watch this one for the players, the western action, the solid story (by Les Crutchfield), that terrific Tiomkin score - or for a great example of John Sturges, just following up on his legendary Gunfight At The O.K. Corral with Douglas this time playing alongside Burt Lancaster, boasting another landmark Tiomkin score. And of course, the following year after Gun Hill, Sturges gave the world his incomparable The Magnificent Seven, with an equally incomparable score by Elmer Bernstein. John Powell’s flavorful The Call Of The Wild fits in comfortably with those prior classics! Check out the contents, artwork and sound samples this Monday eve and add this one to your film music library!
Though there have been oodles of new Jerry Goldsmith CDs released to fans everywhere, I will step outside my comfort zone as one of those fans and admit the recent release I keep returning to these last few days was written by another composer. Yep! This says nothing less of the Goldsmith titles, only that I’m playing one by Maurice Jarre endlessly at the moment. Music Box Records unearthed an early gem by the Academy Award-winner, in this instance his terrific score for the 1964 WWII picture Weekend At Dunkirk. I saw the film at our military base theater when I was just a kid and immediately took a liking to Jarre’s music. This is the fabulous era when he delivered The Train and Behold A Pale Horse, to say nothing of his earlier Lawrence Of Arabia and soon-to-be Doctor Zhivago and The Collector. What a run of incredible scores! In fairness to the Goldsmith junkies, some of his recent releases came from Intrada so I’ve listened to them in far more detail than I’m likely to ever manage with Weekend At Dunkirk. In any case, if you admire early Jarre music, that latter title is one to savor. Coming next from Intrada is another one to savor, courtesy of our relationship with Disney. Stay tuned.
Memorial Day brings reflection on those who fell in active service of America’s freedom as well as, unique to this year, various stages of re-openings for business and leisure after a year of COVID-19 challenges to those freedoms. It also brings exciting news of the premiere at last of one of the most elusive of all Jerry Goldsmith soundtracks, this one from his 1973 private eye actioner Shamus, starring Burt Reynolds. Long lost to the ages, Intrada is proud to unearth it for Goldsmith aficionados! Ready for purchase on Tuesday, June the 1st! Related of sorts: It was terrific to watch the new Blu-ray of Explorers (1985) from Shout Select… not only to hear Jerry Goldsmith’s music courtesy the 5.1 audio mix but also to (finally!) enjoy the feature itself as we all saw it in theaters back in the day. Its numerous home video presentations have always been re-edited, sadly dropping that early biking to school scene that Goldsmith scored with his wonderful cue entitled “Sticks and Stones”. And a highlight both aurally and visually of Explorers has always been “The Construction”, a knockout piece of music for one of the fable’s best sequences! Happily for Goldsmith fans, Intrada premiered the entire score on CD several years back. Order a copy of Shamus and listen to what Goldsmith was doing twelve years earlier!
This week we bring another one of our earlier soundtrack releases into the digital marketplace. Harry Manfredini created what I sincerely consider his finest score with DeepStar Six. Scored in 1989 and first issued on CD by Intrada when the underwater horror thriller was first released, Manfredini described the score to me back in the day as channeling his inner Jerry Goldsmith. He was being modest as it is certainly much more a Manfredini work than a Goldsmith work. But it is his most powerful symphonic work and does have an abundance of rhythmic devices common to both composers. Still, Manfredini’s signature Friday The 13th vernacular shines through… happily with a bigger orchestra to showcase what he can do as an action composer. If you are new to this one, definitely enjoy picking it up on either the newly-packaged CD or in the digital format.
View more at our INTRADA SOUNDTRACK FORUM