Track by Track Analysis:
1. The Dome (2:05)
Goldsmith's score begins with an absolutely harrowing bloated bass synth
tone that comes and goes like a gargantuan, grotesque monster. An ominous
chromatic brass theme enters, eventually accompanied by exotic string embellishments,
with the whold smorgasbord of orchestral color coalescing into an awe-inspiring
display of power (it sounds like this scene was temped with Strauss' Also Sprach Zarathustra -
Goldsmith's take on this traditional form is fascinating.) The cue ends with
a lengthy eerie synth passage with a wandering rhythm and a completely
experimental patch of upper-register sounds.
2. On the Circuit (3:45)
Ironically, this reminds one of Herrmann's Psycho with its meandering, dissonant
string line - actually the basis of Goldsmith's love theme. The cue features
an ominous pizzicatto accompaniment, and several synth effects during some
of the more desolate passages. This features some of Goldsmith's most evocative
string writing that foreshadows Poltergeist, among other things. At various
intervals, the pizzicatto accompaniment transfers to piano, at which point this
smaller idea actually takes the form of the brass motif introduced in the opening
credits.
3. The Sun (2:09)
"The Sun", another of the best cues, paints a stunning portrait
of the alien landscapes with some of Goldsmith's most moving impressionism.
Opening with a hopeful string trill and a lush piccolo cadenza, it soon segues
into a monstrous brass fanfare, presenting the full love theme for the first time
in a perfect arrangement. After another of these magnificent fanfares, now under
the string trills, the tone becomes ominous with a sinister low brass/timpani
theme, which ends the cue on a dissonant note.
4. Flameout (3:24)
The first of Logan's Run's completely synthetic cues, this opens with whining
extraterrestrial tones that build throughout the running time, continually added
to by weirder and weirder timbres, finally turning this into a synthetic version
of the dissonant Planet of the Apes. Flameout's synths are some of the most
"unique" sounds to ever grace a score, and their primitive mechanics
transform this into a simply irresistable chunk of '70s Goldsmith cheese that
no one should miss. ;-)
5. The Monument (8:08)
Easily the best track of the score, Goldsmith composes this in the impressionistic
vein of The Sun. It opens with a luscious, beckoning flute cadenza with
transparent accompaniment that is passed around the woodwinds, with dissonant
chords in the strings, finally resolving into a delicate flute arrangement of
the love theme. An upbeat, Legend-like dance soon begins, based on a delicious
motif originally introduced by synths directly after the love theme. Following
this is another unpretentious, superbly moving presentation by the woodwinds,
finally resolved by the strings in one of the most breathtaking moments in the
Goldsmith canon. The maestro bases the finale of the cue on a reprise of the
impressionistic flute opening and a final pastoral development of his love theme.
This piece prefigures the combination of beauty, complexity, impressionism,
and (sometimes) dissonance of his Legend score.
6. You're Renewed (2:47)
The first of Goldsmith's orchestral action cues, this relentlessly dances
through the speakers like a ballet, featuring the composer's superbly overwhelming
dissonance and ostinatos in a manner that actually makes atonality fun. A desperate
version of the love theme on cello rounds out the track.
7. Ice Sculpture (3:33)
This begins subtly with an otherworldly percussion ostinato and string background
that gives the section the feeling of a pipe organ. The chromatic idea that backed
On the Circuit returns, and the majority of the cue is comprised of a lengthy,
string based development of the love theme. After a return of the opening ostinato,
it turns darker with a series of laden, oppressive string passages. The finale
transfers this ostinato to screeching strings, transforming the music into an
action cue.
8. Love Shop (3:42)
Easily the most whacked-out track of the album, this pays homage to the
first synthesized score, Forbidden Planet. Needless to say, this contains a
completely artificial soundworld, filled with surreal noises that make Flameout
sound like "Rudy" in comparison - definitely not easy listening.
9. The Truth (2:04)
This horrific cue plays like a precursor to Alien with several dissonant
acoustic sounds backed by the chromatic motiv. Soon, however, the material
picks up where On the Circuit left off, with a return to the oppressive string
arrangement of the love theme.
10. The Key/Intensive Care (3:58)
The other of Logan's Run's modernistic orchestral action cues, this takes
several of the motivs hinted at earlier and melds them into another remarkably
exciting scherzo. The most stunning realization is in the piano part - it's
actually performing a strange offshoot of the ostinato that opened Ice Sculpture,
but more akin to the action segment at the end of that piece. Intensive Care,
after an overwhelmingly dissonant, grotesque string figure, transforms into
a continuation of The Key's intense, chopping material, highlighting an excellent
piano part that continues to develop Ice Sculpture's recoiling figures amidst
Goldsmith's malevolent string ostinato.
11. End of the City (2:22)
For the score's denouement, Goldsmith follows a magnificent brass fanfare
with a haunting, impressionistic version of his love theme that the orchestra
passes around in increasingly victorious arrangements, finally climaxing triumphantly
on a major cadence by the full orchestra, making this a fitting end to one of
the maestro's magnum opuses. Its sound quality suffers from some noticeable
mag wow in parts, but it takes nothing away from the listening experience.
12. Love Theme from Logan's Run (2:38)
I couldn't believe I found myself enjoying this - ordinarily, pop arrangements
of themes drive me insane. Luckily, there is NO DISCO INFLUENCE AT ALL in this track -
in fact, the only pop element is a small percussion backbeat that the orchestra
buries. The material is a grandiose piano concerto based on the love theme-
the orchestra's strings carry the main melody accompanied by horn clusters and descants,
and featuring a piano solo that continually expands on the melody. I haven't
really addressed this theme in comments on the rest of the score - truthfully,
it's probably one of Jerry's most moving melodies of all time - its passionate,
operatic grandeur combined with its awesome feeling of simplicity has hardly
every been matched.
NO! It can't be over! 40 minutes is simply not enough of this score to satisfy
die-hard Goldsmith fans. It's just as well - I've completely run out of superlatives.
Just take my word for it - BUY LOGAN'S RUN! Coma, on the same disc, is another
highlight of the composer's career - but that's another review entirely.
| Music Rating | 10/10  |
| Packaging/Liner Notes | 5/10 |
| Sound Quality | 6/10 |
| Length | 8/10 |
| Orchestral Performance | 8/10 |
