Yavar Moradi

That was kinda fun...can’t see what the problem is. Yavar

Wow, great job! Yavar

I don’t need it! I’ve already got the LLL *and* the Intrada! Agreed! Some people just don’t “get” it for whatever reason. 🤷‍♂️ Yavar

My favorite rock group is the “progressive rock” primarily 70s/80s group called Kansas — any fans here? Yavar

That is correct (it was later annoyingly issued on CD as a single 45 minute long track — WTF?) The Delos also weirdly acted like it was a re-recording but it actually was/is the premiere of the original film recording (I think John Scott later did this on some of his JOS albums, maybe as a way of avoiding fee payment or something?) The confusion is compounded further by Captain From Castile having received a soundtrack release back in the 40s (one of the earliest albums for a film score; they were pretty uncommon that decade) — and it predated LPs, so it was on 78s. Thi

For Poltergeist II, the original half hour album came out in 1986 at the time of the film’s release (on Intrada in the US), but the first expansion was Intrada’s 53 minute version in 1993. Then the Varese Deluxe Edition (with not the greatest sound) came out in 2003 clocking just over an hour, but still missing four cues, I think it was. Then Kritzerland released their great sounding edition of the (finally!) fully complete score from analogue sources in 2013, and we thought the score’s journey was done — kinda funny that its first three expansions happened at 10 year intervals! Bu

@Jayyou and I were recently discussing it a lot, so I’m surprised you left off Intrada’s original 1988 expanded program of Inchon! Yavar

Does the “Volume Two” of Lionheart count? (If so then I guess Ben-Hur also qualifies earlier, although those LP albums were re-recordings.) What year was The Blue Max first expanded? When did Intrada initially expand Poltergeist II? I know they definitely expanded on the original 38 minute Inchon album in 1988, and expanded Rambo III to complete length not long after.... Yavar

Yeah only the Love Theme has ever been released from this score, though it's been recorded multiple times (once by Rozsa in his Polydor series still awaiting CD release...and the great Morton Gould did it on an album with no less than the London Symphony in 1978!) I share your desire for a new complete recording of this score...along with a lot of other early Rozsa that's otherwise forgotten, to be honest. His 30s scores for the likes of The Four Feathers and even his very first feature score, Knight Without Armour, are fantastic too. Yavar

Well then at least some OOP scores are still not insanely expensive (often $5-10 more than they were originally). Yavar

Here's the good news: if you're really new to Goldsmith, there are like 100 other great scores for you to discover which aren't outrageously expensive. And while you are taking the time to acquire and explore those, some of the other OOP ones will come back. That's the advantage with a composer as consistently prolific and strong as Goldsmith. Yavar

I imagine you'd also want The 'Burbs... and maybe Papillon? Yavar

It is my understanding that it was a bit of a Timeline situation, except in this case the score was rejected before he recorded any of it (a week before the sessions were supposed to begin in Australia), and before he had finished writing it. Presumably he was going to write score for the last ~12% of the movie during that week — doesn’t make sense to do that if you’re already off the project! And what he did with his time instead was a (put together last minute) classic rerecording for Varese Sarabande. You can hear Robert Townson tell all about it in my interview with him: https://golds

1. You don’t know how Jerry felt about Warlock. 2. Literally in the same sentence I expressed a lack of enthusiasm for the generally more liked Supergirl, Air Force One, and Total Recall (and those are just three examples). There are plenty of other Goldsmith scores which I’d consider far from favorites: King Solomon’s Mines does nothing for me. US Marshals does little for me outside of the theme in “The Pen” and a couple other cues. I don’t really like Ace Eli. The waltz in Boys from Brazil annoys me. I don’t think too highly of The River Wild or Wild Rovers because they are each chiefly

Night Crossing and Warlock are both among my favorite Goldsmith scores, with the latter particularly underrated by many. I'd rather listen to either of them than more widely beloved scores like Supergirl, Air Force One, and Total Recall! (But I realize I am in the minority there.) Yavar