Jerrald King Goldsmith (February 10, 1929 – July 21, 2004) was an American … Read Full Bio ↴Jerrald King Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor, most known for his work in film and television scoring. He composed scores for five films in the Star Trek franchise and three in the Rambo franchise, as well as for Logan's Run, Planet of the Apes, Patton, Chinatown, Poltergeist, Gremlins, Hoosiers, Total Recall, Air Force One, L.A. Confidential, Mulan, and The Mummy. In May 1997, with the release of The Lost World: Jurassic Park, he gained more popularity with his fanfare of the 1997 Universal Studios opening logo and the short version of the fanfare for its television arms, which would be among the most iconic studio logo music of all-time.
He collaborated with some of film history's most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner. His work for Donner and Scott also involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (winning in 1976 for The Omen). He composed the Paramount Pictures Fanfare used from 1976 through 2011. The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) No. 9 and No. 18 on their list of the 25 greatest film scores. He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams.
Goldsmith was born February 10, 1929 in Los Angeles, California. His family was Romanian-Jewish. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.
At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa's soundtrack to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.
Jerry Goldsmith has often been considered one of film music history's most innovative and influential composers. While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany's, The Pink Panther) said of Goldsmith, "... he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us." In his review of the 1999 re-issue of the Star Trek: The Motion Picture soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "...one of the new tracks, 'Spock's Arrival,' may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky — it's that good." In a 2001 interview, film composer Marco Beltrami (3:10 to Yuma, The Hurt Locker) stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old Hollywood scoring style and the the modern film composer."
In 2006, upon composing The Omen (a remake of the Goldsmith-scored 1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06". Likewise, when composer Brian Tyler was commissioned in 2012 to update the Universal Studios logo for the Universal centennial, he retained the "classic melody" originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."
Goldsmith was greatly influenced by movements of early 20th-century classical music, notably modernism, Americana, impressionism, dodecaphonism, and early film scores. He has cited Igor Stravinsky, Aaron Copland, Miklós Rózsa, Bernard Herrmann, Béla Bartók, and Alban Berg, among others, as some of the main influences to his style of composition.
His style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently. When asked about his inclination for embracing new techniques and constantly shifting his musical palette throughout his career, Goldsmith said, "It seems like it's me, and that's that! Certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don't find that you grow very much in that way. I like to keep changing, trying to do new things. Basically, I'm saying the same thing with a little different twist on it. Once you get caught up in the creative process, something inside takes over, and your subconscious just does it for you."
One reason for the consistency of Goldsmith's aural resonance and signature sound is his long time professional association with orchestrator Arthur Morton. Their first collaboration was on the film, Take Her She's Mine. In 1965, Goldsmith was tapped to score the features, Von Ryan's Express and Morituri. He recruited Morton to serve as his orchestrator. Their bond for a unique and expressive sound was borne, and their friendship flourished. Goldsmith went on to compose the soundtracks for Our Man Flint, The Trouble with Angels (with Frank De Vol), The Blue Max, The Sand Pebbles, and Stagecoach, all in 1966. Morton was there providing his orchestration services, assisting Goldsmith in attaining his visionary sounds. Their partnership endured for over 30 years and included the notable scores for Planet of the Apes (1968), Patton (1970), Tora! Tora! Tora! (1970), Papillon (1973), Chinatown (1974), The Omen (1976), MacArthur (1977), Capricorn One (1978), Alien (1979), Star Trek: The Motion Picture (1979), Poltergeist (1982), First Blood (1982), Under Fire (1983), The Russia House (1990). The final score that Arthur Morton orchestrated for Goldsmith was L.A. Confidential (1997).
Goldsmith died at his Beverly Hills home on July 21, 2004, from colon cancer at the age of 75. He was survived by his wife Carol and his children Aaron, Joel (who also died of cancer on April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.
He collaborated with some of film history's most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner. His work for Donner and Scott also involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (winning in 1976 for The Omen). He composed the Paramount Pictures Fanfare used from 1976 through 2011. The American Film Institute respectively ranked Goldsmith's scores for Chinatown (1974) and Planet of the Apes (1968) No. 9 and No. 18 on their list of the 25 greatest film scores. He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams.
Goldsmith was born February 10, 1929 in Los Angeles, California. His family was Romanian-Jewish. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.
At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa's soundtrack to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.
Jerry Goldsmith has often been considered one of film music history's most innovative and influential composers. While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (Breakfast at Tiffany's, The Pink Panther) said of Goldsmith, "... he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us." In his review of the 1999 re-issue of the Star Trek: The Motion Picture soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "...one of the new tracks, 'Spock's Arrival,' may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky — it's that good." In a 2001 interview, film composer Marco Beltrami (3:10 to Yuma, The Hurt Locker) stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old Hollywood scoring style and the the modern film composer."
In 2006, upon composing The Omen (a remake of the Goldsmith-scored 1976 film), Marco Beltrami dedicated his score to Goldsmith, which also included an updated arrangement of "Ave Satani" titled "Omen 76/06". Likewise, when composer Brian Tyler was commissioned in 2012 to update the Universal Studios logo for the Universal centennial, he retained the "classic melody" originally composed by Goldsmith in 1997, opting to "bring it into the 21st century."
Goldsmith was greatly influenced by movements of early 20th-century classical music, notably modernism, Americana, impressionism, dodecaphonism, and early film scores. He has cited Igor Stravinsky, Aaron Copland, Miklós Rózsa, Bernard Herrmann, Béla Bartók, and Alban Berg, among others, as some of the main influences to his style of composition.
His style has been noted for its unique instrumentation, utilizing a vast array of ethnic instruments, recorded sounds, synthetic textures, and the traditional orchestra, often concurrently. When asked about his inclination for embracing new techniques and constantly shifting his musical palette throughout his career, Goldsmith said, "It seems like it's me, and that's that! Certain composers are doing the same thing over and over again, which I feel is sort of uninteresting. I don't find that you grow very much in that way. I like to keep changing, trying to do new things. Basically, I'm saying the same thing with a little different twist on it. Once you get caught up in the creative process, something inside takes over, and your subconscious just does it for you."
One reason for the consistency of Goldsmith's aural resonance and signature sound is his long time professional association with orchestrator Arthur Morton. Their first collaboration was on the film, Take Her She's Mine. In 1965, Goldsmith was tapped to score the features, Von Ryan's Express and Morituri. He recruited Morton to serve as his orchestrator. Their bond for a unique and expressive sound was borne, and their friendship flourished. Goldsmith went on to compose the soundtracks for Our Man Flint, The Trouble with Angels (with Frank De Vol), The Blue Max, The Sand Pebbles, and Stagecoach, all in 1966. Morton was there providing his orchestration services, assisting Goldsmith in attaining his visionary sounds. Their partnership endured for over 30 years and included the notable scores for Planet of the Apes (1968), Patton (1970), Tora! Tora! Tora! (1970), Papillon (1973), Chinatown (1974), The Omen (1976), MacArthur (1977), Capricorn One (1978), Alien (1979), Star Trek: The Motion Picture (1979), Poltergeist (1982), First Blood (1982), Under Fire (1983), The Russia House (1990). The final score that Arthur Morton orchestrated for Goldsmith was L.A. Confidential (1997).
Goldsmith died at his Beverly Hills home on July 21, 2004, from colon cancer at the age of 75. He was survived by his wife Carol and his children Aaron, Joel (who also died of cancer on April 29, 2012), Carrie, Ellen Edson, and Jennifer Grossman.
Promise Me
Jerry Goldsmith Lyrics
We have lyrics for 'Promise Me' by these artists:
4.9 I got tired of seeing this shit I had to…
6. Dead By April Into the fire on my own, hey I know I won't…
A.B (Tray made this beat) (Yo JIJ turn it up) Why you promise…
A1 TRIP this girl is so beautiful soft lips of an angel holding she …
Aaron & Jeoffrey You light up another cigarette and I pour the wine It's…
Above the Law Every afternoon i go inside these bitter walls and I'll op…
Aish I know, you've got a wonderful future ahead of you There…
Alise Joste there’s an empty field ahead of me and the further I…
Always Outnumbered when it's all coming down. i look to you. to…
Axel Coon You light up another cigarette And I pour the wine It's fo…
Badflower We're getting old now (We're getting old now) But I don't fe…
Because.. 1 this girl is so beautiful soft lips of an angel holding she …
Beverley You light up another cigarette and I pour the wine It's…
Beverly Craven You light up another cigarette and I pour the wine It's fo…
Billy Ocean I've seen the seven wonders Of the world on display I've see…
Black & White So much longer To muster up the truth Rather sit here in…
Carl Dobkins & Jr. Promise me you'll remember This love together today We may…
Cauterize If this is a game, then I don't want to…
Corey Promise me, that you will always be my queen... I need…
Courtney Saunders Looking back, o beloved I rememeber things you said to me …
Cover Girls Its been so very long Since you held me in your…
Craven You light up another cigarette and I pour the wine It's…
Craven Beverly You light up another cigarette and I pour the wine It's fo…
Dead by April Into the fire on my own, hey I know I won't…
Diggy Diamond The desert sand, feels warm at night But I'm convinced, it's…
Donny Osmond When you went away I was still holding you In my…
Eden Heaven knows What a gift it was When you came into my…
Eden's Crush I can't see tomorrow, what the future holds But I believe…
Eliza Gilkyson John Gorka & Lucy Kaplansky I sit beside you Take a good long look at you I'm…
Eredaze In a world fell of fakes Promise me you won't…
Flapo Promise me Trust us and hear us Fear just come alive But yo…
Florence Joy You light up another cigarette and I pour the wine It's…
Forever Love Song Vol-5 Life's full of promised lies, without meaning, empty words I…
Francis Goya Promise me You light up another cigarette And I pour the win…
Gun Club Promise me Outside in the trees They're waiting tonight Pro…
H.G Rambo I need you now, I'm stuck with all my doubts I…
IcyDaRabbit Maria baby I love you to pieces Most the Time I hide my…
Imagica We don't know what time we'll be there But we won't…
J Brothers Tayo man ay magkakalayo Iiwan ko sa 'yo itong puso At dadalh…
J. Brothers Tayo man ay magkakalayo Iiwan ko sa ′yo itong puso At dadalh…
J. Lee Baby if I give you my Heart, Do you Promise…
Jack & Jack Promise me, promise me, promise me, promise me, promise me …
Jae-T 혼자 주저 앉아 생각만 커져가 언제부터 넌 날 아프게 했던가 너 조차도 모르잖아 너도…
Jamie Knowles Praying to the stars at night and waiting for the…
Jay-Z feat. Beverly Craven You light up another cigarette And I pour the wine It's four…
Jodie Brooke Wilson promise me youll wait for me coz ill be saving…
Jordan McCoy (Verse 1) It was a Thursday afternoon When you told me tha…
Jr. Walker & The All Stars Promise me you'll remember This love together today We may…
July A.D. Yeah, i'm writing you this song cause i can't get…
K.b. (Tray made this beat) (Yo JIJ turn it up) Why you promise…
kaplansky lucy I sit beside you Take a good long look at you I'm…
Kenny Marks Oh won't you promise me That you'll always care That no ma…
Kezwik If I gave it to ya Could you promise me (promise me…
Kiana Ledé We should be done, done (done, done) We both know that's…
Kill Hannah I realize now I can't get you back I pushed you too…
Latif Promise me, that you will always be my queen. I need…
Lea Salonga You light up another cigarette And I pour the wine It's four…
Liberty 37 I've lost all feeling in my chest again, I hoped…
Lil Suzy All of my life it seemed I waited for this…
Lil' Suzy All of my life you see That I waited for this…
Lilly Ahlberg Verse 1 I feel like I’m falling I can’t control it…
Lil’ Suzy All of my life it seemed I waited for this…
Liv Lauren Oh yeah yeah Yeah yeah yeah yeah Promise me, promise me…
Lucy Kaplansky I sit beside you Take a good long look at you I'm…
Lunar Path Who do you see, when you look into these eyes. Yet…
Luther Vandross I can only speak for The things that I've been through So…
Lutricia McNeal You light up another cigarette and I I pour the…
Marg Open to getting you wake up beside you Run my hands through…
Meanty I know its hard Yeah it feels we're falling apart oh Back…
MISUN oh... oh can you promise me that when we are asleep all of…
NateWantsToBattle Oh sweet child It's so nice to finally meet you Now welcome…
Nell 돌이킬 수 없는 시간속을 걷는 창백해진 꿈을 차오르는 숨을 고통의 신음과 거짓의…
Pad-Trick Vs. Mirco-B (Tray made this beat) (Yo JIJ turn it up) Why you promise…
Quietdrive three billion beating hearts they want to beat as one can …
Rachelle Ann Go You light up another cigarette And I pour the wine It?s four…
Robert You promise everything will be ok You promise You will never…
Rootkit Noé I keep to myself Cause honesty scares me I don′t open up 'St…
Schaeffer Promise me you will not hold on to the past 'cause…
Sheila Simmenes You never really cared about the consequence, Just where the…
Shope Promise Me You'll save a piece of your heart Promise Me You'…
Smokey Robinson Promise me A lifetime of love and laughter Promise me Happin…
South Summit Yeah she walks like a villain She's got cold blood running…
Straight Line Stitch This is the last day the last day that I…
Sullivan Every afternoon, I go inside these bitter walls And I'll ope…
Sullivan King Promise me you′ll sever it all Burn these paintings right of…
T.O.E. Try And I promise you I'll try And if this is a…
Tabea You light up another cigarette And I pour the wine It's four…
Technoboy You light up another cigarette And I pour the wine It′s 4…
The Birthday Massacre We don't know what time we'll be there But we won't…
The Cover Girls Its been so very long Since you held me in your…
The Gun Club Promise me Outside in the trees They're waiting tonight Pro…
The Hot Lies Dream a little Dream another little dream tonight Dream my…
The Rubinoos Dunbar-Gangwer It’s getting late, it must be two or later…
The Saturdays Rochelle: So here we are again, I'm almost giving in…
Toby Hitchcock PROMISE ME (Steve Newman) Why do I Keep on thinking this co…
Tony Pops Wind from the trees Autumn leaves Stuck in my bed You’re la…
V.A. Life's full of promised lies, without meaning, empty words I…
Various Artists INSTRUMENTAL You light up another cigarette And i pour the …
Villain of the Story I never wanted to see you like this Fighting for air,…
We Came as Romans It′s getting hard to sit here everyday Pretend I'm still the…
Wildermiss It's funny how at parties You're something that you wanna be…
Will Young There's a boy in a garden all alone Reminds me a…
•Dead by April Into the fire on my own, hey I know I won't…
넬 Nell 돌이킬 수 없는 시간속을 걷는 창백해진 꿈을 차오르는 숨을 고통의 신음과 거짓의…
We have lyrics for these tracks by Jerry Goldsmith:
A Girl Worth Fighting For For a long time we've been marching off to battle In…
Alien: Main Title What's it all about, this crazy love How did our two…
Capricorn One: Docking What's it all about, this crazy love How did our two…
Cleopatra: Main Title What's it all about, this crazy love How did our two…
Damnation Alley: End Title What's it all about, this crazy love How did our two…
Fears Remember If we could remember The moment of our birth We giv…
Freud: Main Title What's it all about, this crazy love How did our two…
Honor To Us All This is what you give me to work with Well, honey,…
I Mirror mirror tell me beware Coldly revealing all the faces …
If We Could Remember Remember If we could remember The moment of our birth We giv…
It's a Long Road It's a long road When you're on your own And it hurts…
Just You Just Me Just you, just me Let's find a cozy spot To cuddle and…
Let Go Well, I rush out blazin' My pulse is racin' As the rain…
Magic I like to dream, yes, yes Right between the sound machine On…
Magic: Main Title What's it all about, this crazy love How did our two…
Main Title Episode One What's it all about, this crazy love How did our two…
Malice: Main Title What's it all about, this crazy love How did our two…
Ooby Dooby Hey baby, jump over here and you do the ooby…
Patton: Main Title What's it all about, this crazy love How did our two…
Poltergeist: Main Title What's it all about, this crazy love How did our two…
Reflection Look at me You may think you see Who I really am But…
Rudy: Main Title What's it all about, this crazy love How did our two…
Star Trek First Contact: Main Title What's it all about, this crazy love How did our two…
Star Trek V What's it all about, this crazy love How did our two…
Star Trek: Insurrection What's it all about, this crazy love How did our two…
Star Trek: Nemesis What's it all about, this crazy love How did our two…
The Challenge: Main Title What's it all about, this crazy love How did our two…
The Clothes Snatchers INSTRU mxmlyricstag MENTAL…
The Detective Main Title What's it all about, this crazy love How did our two…
The Haunting Wash away all the lines on your face that show…
The Illustrated Man: Main Title What's it all about, this crazy love How did our two…
The Loner: Main Title What's it all about, this crazy love How did our two…
The Omen: Ave Santani Sanguis Bibimus Corpus Edimus Sanguis Bibimus Corpus Edim…
The Omen: Main Title What's it all about, this crazy love How did our two…
The Score It seems like a dream, yet I know it happened A…
The Stripper: Main Title What's it all about, this crazy love How did our two…
The Sum of all Fears Remember If we could remember The moment of our birth We giv…
The Very Thought of You The very thought of you And I forget to do Those little…
Theme From Papillon What's it all about, this crazy love How did our two…
This Boy Needs To Rock Kid out of touch Laying down with a dream On a runaway…
Total Recall Theme What's it all about, this crazy love How did our two…
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