This being conducted by the composer and performed by the London Symphony Orchestra, the performances are better than any of the three aforementioned collections. The interpretations are somewhat different to the originals, with Goldsmith trying to add a little something different into the performances, even if this isn't always hugely successful. Both the Motion Picture and TV Themes medleys are included, one or both of which appear during most Goldsmith concerts. It is a little strange hearing The Waltons or Dr. Kildare blown up to symphonic proportions, but they work rather well. With the exception of perhaps The Waltons, few of Goldsmith's TV themes have become classic, or at least particularly well known, good though they are. The Motion Picture suite blends from one thing to another better than it should, but the highlight is the ingenious pairing of Poltergeist and Papillon which flow together beautifully and are both cracking arrangements.
Star Trek gets a somewhat meager showing with the End Title suite from Star Trek: The Motion Picture with Goldsmith's crescendo effect during the ascending phrase of the melody is just a little too pronounced for my liking. The more moderate alteration made on Star Trek: Insurrection was a little distracting, but here it just sounds out of place. It's a shame that he didn't pick First Contact End Titles and The Enterprise, the latter being a particularly wonderful stand alone concert piece. Some of the other selections are a little curious. Sleeping with the Enemy, The Russia House and Forever Young aren't exactly great Goldsmith scores and their themes fade into insignificance alongside the classics. Rudy as a very nice theme, but is still a little less interesting in comparison. Then again, the Twilight Zone: The Movie Overture is superb and given a marvellous performance, as is the absolutely obligatory Generals Suite with the Patton march finale.
Of course quibbling about choices is almost inevitable, but I do think that Goldsmith could have picked some more challenging scores. Planet of the Apes is well known as a film and a classic score, the slightly less well known Blue Max would have been a splendid inclusion. A nod to his work with Joe Dante with the slightly more light hearted like the Little Critters suite of Gremlins and Small Soldiers would have been welcome. Performances are technically proficient, even if Goldsmith is trying to "interpret" just a little too much. The very langorous Boys from Brazil suite suffers from being rather slow and inert, perhaps a result of him trying to make it sound a little more regal and expansive.
The disc is also to be released in a new audio format that Goldsmith has endorsed at almost every concert in the past year, although I suspect few people will have the equipment. This regular CD version sounds great, but not to the point of it being instantly notable. Probably the best Goldsmith compilation yet released, but there's plenty of room for more volumes, particularly the much promised selection of his concert music.
Rating ~
Total Time ~ 69:13Unlike John Williams who has conducted many albums of his own music and been given ample recording time by other conductors, Jerry Goldsmith has done fairly badly with regard to compilations. The almost mystical Jerry Goldsmith with the Philharmonia was the first, but incredibly limited in quantity, although from what I've heard, it wasn't a particularly spectacular collection. Silva Screen has produced a wide ranging compilation, although the performances are a little uneven. Goldsmith's own conducted sci-fi compilation on Varese is good, but not exactly a representative selection of his work. This album is certainly a better cross section of his music and much like going to a Goldsmith concert (albeit without the recycled, but amusing anecdotes).
The Sand Pebbles
Chinatown
Air Force One
A Patch of Blue
Poltergeist
Papillon
Basic Instinct
The Wind and the LionThe Man from U.N.C.L.E.
Dr. Kildare
Room 222
Star Trek: Voyager
The Waltons
Barnaby JonesMacArthur
Patton