Jerry Goldsmith was probably the most versatile film music composer I've ever heard - able to mix a variety of classical and modern instruments to great effect. His bold experimentation with sound distinguished him from other composers, able to create original music in abundance for every genre from westerns to thrillers to science fiction. For many people Jerry came into spotlight in 1976 with The Omen, for which he won his only Oscar, but the score, which cemented his position as a genius came in 1979, an exhausting schedule but he managed it, Star Trek: The Motion Picture!
This was the big one, and he delivered an awesome science fiction score. To write a new theme for the maiden big screen Trek adventure was an immense task considering the fan base, and he produced a main title theme which, in my opinion, eclipses the original television theme, and became the Trek theme which every twentysomething recognises. This is my favourite Goldsmith score, the technical writing here is mesmerising; An early indication of his willingness to experiment with unusual instruments. it's larger than life! It's almost like a space opera. This score must be in everyone's collection.

It wasn't just horror and space, Jerry explored many avenues; his quirky scores were just as entertaining, particulary Gremlins. His action scores will probably best remembered by the kids of the 80s and 90s; Rambo, the American iconic character of the 80s, a sad theme for the first film, developed into an action theme for 2nd film (the film is stripped of themes established in the first one), and while the third film is bloody awful, the score written was probably the best of the bunch, unfortunately the picture hardly featured the original score. The Rambo 3 score tracked many cues from the 2nd film, much to the embarrassment to Jerry. Fortunately, the complete score to Rambo 3 is available on Intrada records, and it's a fitting end to the Rambo era.

Supergirl - a sad pretender to Williams' Superman? No, far from it, it's a score that grows on you, it's not Superman The Movie, and like the movie, it never tries to be. From that lovely femine main title to the action packed finale, Jerry fills the score with wonder and excitement, I love playing it when Superman gets too heavy.

Although Omen won him an Oscar, I think Omen 3 features the best score of the three films, it's on a much bigger scale; it's an operatic ending to a terrible film. Contains the unforgettable The Foxhunt cue. Unfortunately, the film finishes on a low note, an exercise in bad taste.
We all know his famous scores but he's done some magnificent work on smaller/ lesser known films particulary The Wind and the Lion directed by John Milius(why hasn't he directed more films?) and starring Sean Connery; it's worth seeking out; features an enthic theme to die for!

Planet of the Apes, Under Fire, The Russia House, Masada mini series, Alien and Legend, every one of these scores sound different and fresh. I've only touched upon a small selection of his scores, his library is vast, it's worth exploring, folks.

Unlike the majority of his contemporaries, Jerry was wildly outspoken; he made it known if he didn't like how a soundtrack was represented on record, or if a film he scored wasn't very good, and boy, he did score some terrible films, but he never sunk to the depths, instead he treated each picture fairly and usually provided an excellent score.

It's so sad that we've lost Goldsmith, although his legacy will live on forever, I think a part of film music has gone with him. He influenced many of today's younger generation; James Horner is a notable name that often crops up when talking Goldsmith influences. When was the last time you heard a memorable score amongst the rock cliché soundtracks? The future doesn't look too bright - but didn't the Bernard Herrmann fans say the same thing in December 1976?

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