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Yavar Moradi

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  1. And as I understand it the album also used different takes for some cues. So this is the first time all of the performance actually heard in the film is being released. Yavar
  2. Dan Goldwasser did good work on this set, obviously. But user steffromuk over at the FSM board has, for me, a super cool and more stylistically consistent cover set: Pretty damn cool, IMO! Yavar
  3. I don't think Breakheart Pass sound particularly amazing... Rio Conchos from over 10 years earlier sounds better, in the amazing Kritzerland Mike Mattesino remastering (which LLL also used). It doesn't sound terrible, to be sure. But sound quality can vary wildly for scores from the same year, depending on where they were recorded, who recorded them, what medium they were recorded on, and how well that medium was preserved. I was absolutely FLOORED by how good the 30s scores on Intrada's amazing Waxman 4 CD set (released the same day as Damnation Alley) sounded. I'd never heard a 1936 film recording sound so good...it was more like a solid recording from two decades later. In fact the 30s scores sound better than the 40s scores on the same set. Yavar
  4. As an adjective, it means "favoring or introducing experimental or unusual ideas." I'd say that generally applies to the series' music, particularly to the hugely groundbreaking first score. Yavar
  5. I can walk and chew gum at the same time. Since starting work on The Goldsmith Odyssey over a year ago, I must admit that Jerry Goldsmith has ended up consuming over 90% of my film music listening time, so I am not your average film music fan. It seems to me like Brundlefly is also pretty far gone, in terms of his own Goldsmith obsession...but I'll let him speak for himself. Yavar
  6. You're very welcome; I'm glad there was an affordable copy for you to acquire, in your quest to expand your Goldsmith collection with definitive editions of all his western scores. Yeah, it's unfortunate that Here They Come Part 2 is in inferior sound quality (because it's taken from the music stem rather than original tapes), but I think you'll agree it was worth having rather than leaving it off the album altogether which is what the LLL edition did. While I think a higher percentage of Take a Hard Ride is badass, I can understand if you prefer this one overall and I do agree the synths are less abrasive. It's just that, if I were editing my own "album" arrangements of both scores, let's just say that I'd be saving more cues from Take a Hard Ride as "essential", whereas I'd probably end up with around 15 minutes of badass music from Breakheart Pass. That theme in particular is so freakin' good we really need some label to do a Goldsmith "Frontiers 2" modern recording album of western themes and suites, including this one of course. Or maybe if Intrada does produce complete new recordings of Black Patch and Face of a Fugitive, they could include a modern recording of the Breakheart Pass theme as a bonus cue... http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=7967 http://goldsmithodyssey.buzzsprout.com/159614/813340-vote-goldsmith-for-kickstarter Yavar
  7. Oh, okay. I had thought you were saying that there were actually unreleased film versions of cues that would be worth releasing, in the future, if there were another edition. Re: LLL producing a new Omen box set along the lines of their recently announced Planet of the Apes box set...I'm not sure they could do it, actually. Robert Townson would have to be willing to play ball and license The Final Conflict to them from Masters Film Music, in addition to Varese licensing the other scores (including Jonathan Sheffer's Omen IV and Marco Beltrami's score for the Omen remake, if LLL wants to make the set as definitive as their PotA set). So LLL would have to negotiate (and pay for) licenses with Varese Sarabande, Masters Film Music/Robert Townson, *and* 20th Century Fox (now owned by Disney) for the unreleased music. When Robert Townson was still at Varese, the project would have been more doable because The Final Conflict was still "in the family" with him there. In fact I suggested this very project, at the time, but instead of a big box set like they gave the Nightmare on Elm Street franchise, Varese only opted to do a "40th Anniversary Edition" of Jerry's original Oscar winning score, on its own. Yavar
  8. So, after recent developments, this is the full list of still-improvable Goldsmith titles Varese controls in perpetuity: Our Man Flint (1966) -- while released in expanded form on Twilight Time's Blu-ray isolated score track, that contained microedits and a definitive CD release is still necessary In Like Flint (1967) -- while released in expanded form on Twilight Time's Blu-ray isolated score track, that contained microedits and a definitive CD release is still necessary The Ballad of Cable Hogue (1970) -- though they premiered it as a limited Club release, they apparently got perpetuity rights because they are still selling it digitally The Mephisto Waltz (1971) -- though complete, length-wise, it is still missing some sweeteners and overlays and could probably be improved sound-wise a la PotA The Other (1972) -- while released in expanded form on Twilight Time's Blu-ray isolated score track, that contained microedits and a definitive CD release is still necessary Damien: Omen II (1978) -- this was released complete by Varese over two decades ago but some of the film recording showed damage and could hopefully be improved Raggedy Man (1981) -- pretty much only could be improved upon if one cares about getting the film version of one cue with an insert... The 'Burbs (1989) -- while Varese released this "complete", @Brundlefly has pointed out that they left off certain film alternates which could be included on a definitive issue Love Field (1991) -- missing 15-20 minutes according to Robert Townson, including a substantial action cue which was too long for him to include because of re-use fees also, see Roger and Doug's posts in this Intrada thread: http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=7704&sid=e4b531e2d606fba6d95926ce131a1d8e Mom and Dad Save the World (1991) -- a very poor-sounding sessions boot (from cassette) is out there, but a good sounding expansion is a must Medicine Man (1992) -- about 15 minutes are unreleased: https://www.filmscoremonthly.com/board/posts.cfm?threadID=109823&forumID=1&archive=0 Mr. Baseball (1992) -- no idea how much is unreleased...though it's generally derided as one of Jerry's worst, I think it has its moments (including a nice love theme) Malice (1993) -- unless there were unused cues or alternates, less than 8 minutes unreleased: http://www.filmscoremonthly.com/board/posts.cfm?threadID=110814&forumID=1&archive=0 Matinee (1993) -- a *lot* is unreleased and only exists on a poor-sounding sessions boot...here's one cue: https://www.dropbox.com/s/63xpcoqz1um2rkd/Number 4.mp3?dl=0 Rudy (1993) -- complete score released officially as a lossy isolated score track on DVD; still needs a lossless CD release Angie (1994) -- as with Mr. Baseball, I have no idea how much is unreleased and this is not a score a lot of people ask for City Hall (1996) -- about 12 minutes are unreleased: https://www.filmscoremonthly.com/board/posts.cfm?threadID=110759&forumID=1&archive=0 Air Force One (1997) -- a ton is unreleased, officially, but pretty sure everything by Goldsmith, McNeely, and Randy Newman has been released in good sound unofficially L.A. Confidential (1997) -- complete score released officially as a lossy isolated score track on DVD; still needs a lossless CD release U.S. Marshals (1998) -- over half the score (35 minutes) is unreleased: https://www.filmscoremonthly.com/board/posts.cfm?threadID=109822&forumID=1&archive=0 The 13th Warrior (1999) -- almost 20 minutes are unreleased (all good cues if nothing amazing), but at least available on a good-sounding boot Hollow Man (2000) -- complete score released officially as a lossy isolated score track on DVD; still needs a lossless CD release Along Came a Spider (2001) -- about 24 minutes unreleased (though there is a boot): https://filmscoremonthly.com/board/posts.cfm?threadID=124338&forumID=1&archive=0 Timeline (2003) -- hefty chunk is unreleased officially, but the sessions have at least been floating around in great quality Looney Tunes: Back in Action (2003) -- again a good chunk is missing (including over 10 minutes of John Debney scoring for the finale because of Jerry's illness); boot exists I count 25 titles that could potentially be improved in some way. And even if one eliminates the titles that just need a sound improvement facelift rather than full expansion (i.e. Mephisto Waltz, Damien: Omen II) there's still a good number left. Yavar
  9. Oh, I mostly agree Jay. It's just that it's something that *I* as a Goldsmith fanatic take into consideration when prioritizing what expansions I long for the most. Getting the missing 20 minutes of Love Field or 15 minutes of Medicine Man is more important to me than getting an official release of AFO complete, when I already have an unofficial release of AFO complete. Maybe that's sad, but it's the truth. And labels have said in the past that bootleg releases have hurt their sales, because there are probably many other fans who feel similarly to me, but unlike me actually let the bootleg release preclude purchasing a later official release, for their collections (which is very unfortunate). Raggedy Man was not expanded by Varese, but released as the final Encore Edition and basically confirmed to be virtually complete, in its original album. (I think a short film insert or something was missing; that's all). Also, I think you left off a few other Goldsmith Varese-in-perpetuity titles that they previously expanded themselves, such as Star Trek: Nemesis and The 'Burbs -- though as you've pointed out to us, the latter does apparently leave off some film alternates, so presumably a more definitive expansion of it could be produced (maybe if another label like LLL licenses it?) While technically correct, there is an important distinction to mention here though: Leviathan is not owned by *anyone* in perpetuity (no label arranged perpetuity rights), whereas both The Final Conflict and Lionheart are owned by Masters Film Music (i.e. Robert Townson) in perpetuity, so that label would either have to come out of dormancy to produce new definitive editions of both of those scores (though Lionheart is virtually complete already), or be willing to sub-license the rights to another label like LLL or Intrada to do so. Yavar
  10. For me, it's Love Field, The Other, and Medicine Man. Mom and Dad Save the World and the Flint twofer (even though that's kinda cheating, haha) round out my top 5 wants. I want Air Force One but there's already a great sounding footwarmer available for that one so it's less of an urgent need for me. I'm not a huge fan of U.S. Marshals, but there is no such alternative avenue for that score, so I'm actually much more excited in an expansion for it than AFO. Also in the boat with AFO: The 13th Warrior, Timeline, Looney Tunes, Along Came a Spider, and I think Hollow Man due to the isolated score track on DVD...same goes for Rudy and L.A. Confidential there, too...but of course those DVD iso tracks were not lossless, so I still very much want expanded CD releases of those. Expanded footwarmers do exist for Matinee and Mom and Dad Save the World, but they sound so-so and terrible, respectively. So expanded editions are a must, there. And while The Other and both Flint scores were both given lossless iso score tracks on the Twilight Time Blu-ray releases, they contained microedits that even omitted some of the music Varese released on CD back in the 90s, so we still need definitive complete CD releases of both of those, as well. Maybe Varese will license the Flints twofer to LLL, now! BTW, Brundlefly -- LLL didn't really expand either Goldsmith Apes score; Varese had already released them complete and it seems no other alternates (such as those re-recorded by Jack O'Callaghan) were actually recorded at the original sessions, or LLL would surely have included them in this set. I think they will simply feature a major sound improvement, as the Varese edition of the original didn't even sound as good as the previous Intrada expansion of that score. Jeff Bond also revealed that certain overlays which were missing on the Varese are fixed, here...so in that sense I guess they were incomplete (just not in terms of time/missing cues): Yes. The Varese release was also missing overlays and had other issues. https://www.facebook.com/jeffc.bond/posts/10217390496887864 Mephisto Waltz is in that boat, now -- unlike The Other which Varese originally paired it with, it was released at its complete length...but just as with PotA we've heard that certain overlays and sweeteners were not found/included. So there's definitely room for an improved edition of that score, if not necessarily an "expanded" one in terms of time. Yavar
  11. So...you're being "morally right" in your claim that "Anything modern or avant garde is Kryptonite to a JW fanatic." And I'm "missing the forest for the trees" and wasting time on semantics by pointing out that you are obviously wrong in your blanket statement? Ooooookay then. It amazes me sometimes how film music fans, whether they like Williams or not, act like is music is all easy tunes. He used modern writing *all the time* in his film scores, even many of the obviously "populist" ones like even Star Wars (the Sand People music, as I mentioned -- it's practically out of Planet of the Apes!) or Indiana Jones (*how* long in Raiders of the Lost Ark before we hear an actual theme, in the score?) My point exactly -- many Williams fans clearly have no problem with modernist writing if they rate Close Encounters highly, as you do. Yavar
  12. “During the events of the preceding film Beneath the Planet of the Apes, occurring off-screen, Cornelius (Roddy McDowall) and Zira(Kim Hunter) escaped Earth prior to its destruction when they accompanied their fellow chimpanzee Dr. Milo (Sal Mineo) in testing the salvaged and repaired spaceship originally used by Taylor. The shock wave of Earth's destruction sends the ship through a time warp that brings the apes to 1973 Earth, splashing down off the Pacific coast of the United States.” https://en.m.wikipedia.org/wiki/Escape_from_the_Planet_of_the_Apes Still more than enough to disprove your claim that “anything modern or avant garde is kryptonite” to Williams fans. Hell, even Star Wars of all things has its share of modern avant garde music — just listen to the stuff he wrote for the Sand People! And despite Goldsmith being like 3-4 times as prolific as Williams, I think you might be hard pressed to actually list “dozens” of avant garde scores that defined Goldsmith’s career. How many dozens can you list? Two? And the avant garde stuff in Images is weirder than all of them. Yavar
  13. Haha like this? and how do John Williams fanatics do with Close Encounters of the Third Kind? Yavar
  14. Yeah LLL is kicking ass on The Goldsmith front this year, but I have a feeling Intrada has some surprises up their sleeves too. Yavar
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