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2004 James Southall
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POLICE STORY Funky
70s cop music A review by JAMES SOUTHALL Working in television a lot during the 1970s (at a
surprisingly high rate), Jerry Goldsmith scored numerous tv movies, miniseries
and pilot episodes of weekly series, something he has done extremely rarely
since. Quality of both the television shows and their scores varied
considerably, with Goldsmith sometimes going for a strictly utilitarian approach
(something he has rarely, if ever, done in movies) - as has been shown by a
couple of the more recent releases of his television music from the day.
On the other hand, of course, there were some real gems (usually for the tv
movies or miniseries - things like The Red Pony and QB VII spring
immediately to mind). Police Story was one of a string of police
dramas that appeared during the early 1970s in the aftermath of the Dirty
Harry movies and was quite popular. Goldsmith wrote the theme and scored the pilot episode, with
Richard Shores then arranging and conducting his music into a series of library
cues that were used throughout the series. This album presents all of
Goldsmith's original compositions and all of Shores's arrangements, some of
which differ markedly. It's actually an excellent score, featuring a fine
theme in the best tradition of these types of show, full of 70s funk. The
full theme itself is only half a minute long, but it appears several times
through the score itself, often featuring electric guitar accompaniment, perhaps
most notably in two early cues, "Hot Car" and "The Tail",
and later in the library cue "Foot Pursuit". There's a nice love
theme for strings and piano in "A Love Affair" and "The
Hospital", a lovely and touching piece. The action finale "The
Market / Quick Draw" is an exciting and vibrant finale; after a slow start
it positively explodes and is really quite a thrilling piece. As a bonus, the CD also includes a short suite from the
spinoff Medical Story (guess what - it was set in a hospital) which
featured a theme by Goldsmith and a pilot score by his longtime friend and
collaborator Arthur Morton. It's actually a very different kind of score,
with prominent electronics. The theme is quite memorable and impressive,
but the score itself is a little too low-key to leave that much of an
impression, effective though it is. It is at its best in the more tender
moments, quoting a beautiful oboe theme. All in all, Police Story is a decent score that's a
boost to a Goldsmith collection, though there are of course plenty of others you
should probably get first. It is easy to wish that Goldsmith had gone a
little more full-pelt with the 70s stylings in the action music, but then it is
also easy to forget that his first aim was to score a tv show and not consider
that an album might be released thirty years later. Certainly, it's good
enough to recommend. Tracks
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