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13 hrs ·
The first in the (proposed) line of mini kickstarters is now live!

Complete with self-conscious promo video (in fairness, I'm a musician, not Richard Burton!), the aim of this initial project is to raise funds to record Jerry Goldsmith's complete 8-min score for the GE Theater episode "The Bar Mitzvah of Major Orlovsky").

If this is successful, the idea is to move straight on to raising funds for the next score in the series (using any additional monies from Orlovsky against the cost of the 2nd recording), and simply keep going until the series either stalls, or we capture all of the scores available/known (a stretch goal would be introduced, after score no.4, to cover the costs of a physical CD).

So, if you'd like to be part of this (hopefully) ongoing project, to preserve some really wonderful TV music, please feel free to share and/or contribute on the kickstarter page!

Whatever contribution level is chosen, all help is hugely appreciated!!
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For over 70 years, and even now almost two decades after his death in 2004, the name of Jerry Goldsmith has been an iconic addition to a host of science fiction movies, action films, thrillers, war movies and other genres, as well as television projects throughout the 1960s and 1970s, radio work, concert compositions and even familiar movie studio logo music and commercials. Goldsmith’s name guaranteed one thing—that the music from these projects would take on its own life as a virtuoso, involving composition, a work of art of its own that could continue to grip and involve listeners year after year—often when the film or television project itself had been long forgotten.

Jerry Goldsmith’s scores for classic films like Planet of the Apes, Patton, Papillon, Chinatown, The Omen, Alien, Poltergeist and Basic Instinct are part of the DNA of these films—music that helped define them and push them into the forefront of our cultural consciousness. But the composer’s efforts on other films—The Blue Max, The Chairman, Capricorn One, Star Trek – The Motion Picture, First Blood, The Secret of NIMH, Under Fire, Legend, Total Recall, L.A. Confidential, The Sum of All Fears and dozens of others—stand up as influential, lasting creations as well.

Now for the first time in the U.S. Goldsmith’s career and music is explored in a titanic, 2-volume publication by Jeff Bond, author of The Fantasy Worlds of Irwin Allen, Danse Macabre: 25 Years of Danny Elfman and Tim Burton, The Music of Star Trek and other books. Over three years in the making and boasting a manuscript of over 330,000 words - OVER 1,000 pages - The Jerry Goldsmith Companion covers the composer’s earliest projects, including radio work involving Ray Bradbury, William Conrad, Aldous Huxley and Christopher Isherwood; Goldsmith’s groundbreaking work on live television with directors like Franklin J. Schaffner and John Frankenheimer; his pivotal work on the TV programs The Twilight Zone and Thriller, his years under contract at 20th Century Fox where he wrote classic scores such as The Sand Pebbles, Planet of the Apes and Patton; his gritty 1970s television and TV-movie work and his Oscar-winning score for The Omen; his conflicts with directors like Otto Preminger on In Harm’s Way and Ridley Scott on Alien; his struggle to create the monumental music for Star Trek: The Motion Picture in 1979; his symphonic fantasy and action movies of the early 1980s like Poltergeist, The Final Conflict, Night Crossing and First Blood; his exploration of electronics throughout his career and his constant evolution from year to year and decade to decade, and his emergence as one of the only composers of his generation to adapt and remain relevant and in demand for major motion pictures up until the final days of his career.

With never-before-published photographs and artwork, music samples and interviews both archival and new (with fresh insights from David Newman, John Mauceri, Christopher Young, Michael Giacchino, Christophe Beck, John Ottman, Ludwig Goransson, Richard Kraft, Peyton Reed, Conrad Pope, Douglass Fake, Carlos Rafael Rivera, Malcolm McNab, Jeff Russo and others), this massive two-volume set finally puts into perspective the work and career of one of the most important musical artists of the 20th Century.

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ne, že by to někoho zajímalo... 3/6/2022

We recorded the complete Jerry Goldsmith scores for both Black Patch (1957) and The Man (1972) just this last October with the Royal Scottish National Orchestra, and the album is being released this Tuesday, March the 8th. Wow! Recorded, mixed, edited, mastered, packaged, manufactured and now ready to ship to your door already! I think it is fair to say we’re getting pretty fast at this. William Stromberg tackled the conducting, Leigh Phillips prepared the scores and we utilized two different orchestras to get everything down: the former, Goldsmith’s very first theatrical film score, required a reasonably standard orchestra excepting Goldsmith wrote no trumpet parts, lending the resulting western music a more brooding, darker edge to it. The latter score utilized an orchestra that certainly had trumpets in full force but now dropped violins, placing violas as the senior upper string sonority. Black Patch is highlighted by an absolutely haunting central theme that underlines the romantic triangle in the story, made sadly moving because the three characters initially are friends rather than competitors and all three care about each other. Goldsmith got inside this aspect of the plot with his minor key theme, in a most tender fashion.

As for The Man, Goldsmith anchors his powerful score around a six-note motif with brass-led Americana flourishes, appropriate for Rod Serling’s take on the Irving Wallace fictional best-seller about the first African American president of the United States. In this brief but magnificent score, Goldsmith illuminates such iconic landmarks as the Lincoln Memorial, the White House and the presidential paintings in the Oval Office. It is fun to ponder the musical power of the Lincoln Memorial sequence, knowing Goldsmith tackled an almost identical dramatic moment in his later, highly celebrated sci-fi score for Logan’s Run.

Contents, artwork and sound samples will be posted here tomorrow evening. Orders will begin shipping on Tuesday. This is our second release made possible through our Kickstarter campaign, following Dimitri Tiomkin’s complex score written for Alfred Hitchcock’s 1954 thriller, Dial M For Murder. If listeners will continue supporting our ambitious but so-very-worthwhile efforts, a third project now in the early stages of pre-production will prove most exciting for sure!
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We're getting there! Now scheduled for February, I'd like to share the track list with you all:


1 Prologue 0:01:14

2 Player Piano (Main Titles) 0:01:28

3 Carl Meets Helen 0:01:02

4 Welcome Home 0:01:55

5 Clay Meets Helen 0:01:39

6 Love Reunited 0:04:20

7 Hank Gives Up 0:00:56

8 Lock Up 0:01:21

9 The Fight 0:03:19

10 The Discovery 0:01:38

11 Town Gossip 0:00:25

12 The Gift 0:01:10

13 Mixed Emotions 0:00:47

14 Carl's Love 0:00:39

15 The Gun 0:00:49

16 Tough Guy 0:01:51

17 The Showdown 0:04:07

18 The Duel 0:03:37

19 Finale (Extended Version) 0:01:44

Time: 0:34:23


20 Finale (Film Version) 0:01:00

Total Time:

THE MAN (1972)

1 Douglass Dilman (Main Titles) 0:01:48

2 They Want A President 0:02:12

3 The Lincoln Memorial 0:01:20

4 The Oval Office 0:02:08

5 An Invisible Man 0:00:31

6 Mrs. Blore 0:01:06

7 Let Him Loose 0:01:02

8 Fishing 0:02:11

9 Will They Make It? 0:01:16

10 Protests 0:00:18

11 Hail To The Chief and End Credits 0:02:00

Total Time: 0:16:14

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