Jerry Goldsmith : Warlock (1989)

It's a Finnwake personal rip (september 2010): 1 zip file with the 11 tracks on ape files (compressed from the original wave files), plus front and back cover.

http://www.amazon.com/Warlock-...&qid=1283522428&sr=1-1

This edition has the same content of Intrada MAF7003D release, 1989.

Jerrald "Jerry" Goldsmith (1929-2004) was one of the most important composers that worked for the movie system in Hollywood. Pupil of Mario Castelnuovo Tedesco, Jacob Gimpel and Miklos Rozsa, Goldsmith began working on radio and television in the 1950s and wrote his first complete score in 1957 for the oscure movie Black Patch. His last scores were the rejected one for Timeline (2003) and for Looney Tunes: Back in Action (2003). He won an Oscar for The Omen (1976). Among others, he wrote the music for Planet of the Apes (1968), Patton (1970), Papillon (1973), Star Trek: The Motion Picture (1979), Alien (1979), First Blood (1982), Gremlins (1984), Legend (1985), Lionheart (1987), Total Recall (1990), Basic Instinct (1992), First Knight (1995) and Hollow Man (2000).

Warlock is a 1989 movie directed by Steve Miner and starred by Julian Sands, Richard E.Grant and Lori Singer.

On this score (from www.jerrygoldsmithonline.com):
A very odd 'plinky-plonky' score indeed for Steve Miner's enjoyable sorcery adventure. Not at all what was expected when fans heard about this movie and the composer's involvement. For a start the score has a curious tonality about it and a rather dull recording. This might be to do with the orchestration and what Goldsmith assembled, though you're never quite sure whether the recording venue is to blame.

The score to Warlock is essentially built around two themes. Firstly, a rather stately sounding religious theme for Richard E Grant's Redferne, played predominantly by strings but instigated and supported by a plodding synth beat and an 'organ like' melody. Secondly, for Julian Sand's Warlock, you have unworldly synth effects and orchestrally, low end brass with an echoing xylophone effect, reminiscent of a metronome tick.

Goldsmith never overstates his themes and much like the remainder of the score, his music never dominates the visuals. Initially it seems odd to see a name like this writing rather unassuming, and some might say, bland music for such a movie, but yet again his instincts are correct. Warlock the movie never quite goes for big budget thrills, it keeps to its B movie agenda, with humour, some scares and excitement too. Take the The Weather Vane for example, the highlight of the score, as Redferne almost traps and captures the Warlock. Goldsmith's lengthy cue of stop/start action begins ominously before a chase ensues which doesn't spur Goldsmith into making much noise. There is a little percussion, some muted brass - utilising Rosenman's famed 'pyramid of brass', but electronics and strings carry the sequence adequately. Anything more and it would have drawn attention to itself.

The body of the score is made up of a series of eerie pieces for a wild array of electronic sounds for sequences involving the evil Warlock. Effective scoring and interesting but some might find them a difficult listen separated from the visuals. The score closes though on two good lengthy cues. Salt Water Attack plays out the final battle between good and evil and it's here we get to hear more orchestra, due to the fact that the synth work was toned down or removed just before the album was pressed. Of note is a gorgeous melancholy theme for Redferne as his spirit is whisked back to his own time, a wonderful contrast to the music that has come before. Salt Flats encompasses the end credits and builds to an exciting coda before the credits crawl up the screen. Not surprisingly Goldsmith doesn't quite go out with a bang. There is a flourish of orchestral colour but it's not over stated as the demonic slow tempo of the Warlock theme is reprised.

Warlock remains an interesting score and quite a contrast to the composer's usual style. It was written at the height of his synthesiser experimentations and shows a composer thoroughly fascinated by their impact with orchestra. But I can't help but think the orchestral parts could have sounded quite impressive as the more I listen to this score, the more I feel there is something wrong with the recording.