Yavar Moradi

Haha. I would've said "who" in that case. It's the videos which are exciting: https://www.kickstarter.com/projects/129145902/black-patch-the-man-jerry-goldsmith-new-recording/posts Yavar

Still, they've been sharing session videos with backers which are super exciting! Yavar

I mean they literally just finished recording two more wonderful Goldsmith scores that would otherwise be lost to time…though I guess it’ll be 2022 before that album’s fully ready. But sure, I’m in for another Yavar

Great use of music by the great Shirley Walker, Carl Johnson (I noticed some “Beware the Grey Ghost”), and others in that promotional vid… I really hope this indicates they’ll be employing some of the composers who worked with Shirley on the original animated series a quarter century ago, and I really really hope it indicates they’ll be given a budget for a real orchestra rather than having to use samples as on Justice League. Yavar

This new Ace Eli program by Neil S. Bulk (and restored by Chris Malone, fixing SO MUCH horrible wow and damage on the FSM edition) is a far more enjoyable listening experience. I always regarded the score as an interesting curiosity at best, but now I can actually enjoy it as music. I think having a great-sounding full mono Goldsmith presentation of his original vision for the score, sans song, also really helps. The FSM was an odd mixture of stereo and mono, rescore and original score. The 19% off sale right now going on at LLL helped take the sting off of having to re-buy the exact same Tora! Tora! Tora! master I already had... Yavar

I think my biggest hang up with the Tadlow is that some of the rhythms are just off in the action music at times. Yavar

For what it’s worth it’s my least favorite Tadlow Goldsmith, and I almost never listen to it, favoring the original recording instead. I’ll be interested if you find it more thrilling as I do. Yavar

Uh.... you're not sure if The Blue Max is going to be a keeper? (Von Ryan's Express isn't bad of course, but it isn't The Blue Max.) Suffice to say I'll be very, very surprised if you don't keep it. And this is a score that reveals more with each listen, and gets better and better the more you go back. If you want to see chronologically, the News page (and yearly Archives) at Jerry Goldsmith Online are probably the best reference: http://www.jerrygoldsmithonline.com/news.htm Not exactly. Vol. 1 had The Blue Max (reissue of OOP definitive LLL expansion from several years before) and Von Ryan's Express (never before released by LLL, but a reissue of OOP Intrada expansion from several years before, but still apparently missing one cue)... I've heard tell of some minor sound tweaks and such to this volume, but don't know specifics. Vol. 2 had two titles never before released by LLL: The Flim-Flam Man (*expanded* by one missing cue over the FSM edition from a couple decades ago) and The Detective (identical program to the Intrada version previously paired with Von Ryan's Express and the original release as part of the Varese Sarabande Jerry Goldsmith at 20th Century Fox box set -- frustratingly, even though there was room on the disc, this left off a lot of source music overseen by Goldsmith as well as TWO score cues which were included on the Twilight Time Blu-ray isolated score track, albeit one of them from a music & effects source). Vol. 3 had three titles never before released by LLL: Goldsmith's great finale cue from Flaming Star (his first ever work for the studio was as part of a "committee score" during a turbulent time at Fox, when multiple different composers wrote original music in a patchwork... the complete score was released as a Twilight Time Blu-ray isolated score track years ago but this is the premiere of any of it on CD, and also the first time we hear the Goldsmith cue with its original recorded ending rather than the revised ending in the film), Goldsmith's first ever full score recorded for the studio, The Stripper (also the first feature film directed by Franklin Schaffner that he scored, though they'd worked together in live television; this is a greatly improved, much better sounding presentation compared with the original FSM release from two decades ago), and finally a significant expansion almost doubling the length of SPYS (also its first time available outside of the expensive Varese Goldsmith at Fox box set, which had less than 19 minutes of the score). Vol. 4 is actually the first time since Vol. 1's The Blue Max they have chosen to reissue a previous Goldsmith Fox expansion of theirs, Tora! Tora! Tora! (confirmed identical to their 2013 edition), but it also features a rebuilt-from-the-ground-up (by Neil S. Bulk) version of Ace Eli and Rodger of the Skies, restored by none other than Chris Malone (the wizard behind the Take Her, She's Mine restoration for Intrada). The old FSM edition is again about two decades old at this point, and featured a number of damaged stereo cues which have now been repaired. This might be a revelation on the level of The Towering Inferno, which Chris also worked on... Do you mean this past 12 months? Or does "this year" = 2021? If the latter, we have had 13 Goldsmith releases so far, but two of those were LLL two-fers, so in terms of Goldsmith scores it would number 15. If you count Intrada's reissue of Rio Conchos/The Artist Who Did Not Want to Paint as two also (because of the latter short score), and if you count the 2.5 minute finale cue from Flaming Star included in LLL's Vol. 3, then the total still only comes to 17. But if by "this year" you mean "this past 12 months", then I think you're right that we've passed 20 titles. Yavar

@Jay maybe it's because Sony had overseas rights in Japan, or something? Maybe the rights split made it so that nobody had perpetuity rights? https://www.soundtrackcollector.com/title/1873/Innerspace Or... half the original album was songs, so maybe that made it a "compilation" or something, which messed with the rights? But that wouldn't be consistent with Gremlins, which also had a half-songs half-score release originally on Geffen: https://www.soundtrackcollector.com/title/7584/Gremlins When FSM put out the definitive complete edition of that, they had to license the original Geffen album from UMG and the unreleased film cues from Warner Bros. Pictures, which is what I would have expected LLL had to do with Innerspace (but apparently not): And what about The Lonely Guy, released by Intrada a couple years back? That had an original album release (again songs + score) not on Geffen but on MCA, another UMG-owned label: https://www.soundtrackcollector.com/title/28129/Lonely+Guy%2C+The Intrada had to license the original album from UMG and the previously unreleased music from Universal Pictures (a wholly different entity now, as I'm sure you know): And what's really weird is that Intrada (unlike FSM for Gremlins!) actually has the GEFFEN logo on the back cover, even though according to Soundtrack Collector both the original LP and cassette release of The Lonely Guy were not on Geffen but were on MCA! Yavar

Awww yeah... FSM user "steffromuk" to the rescue with two beautiful new separate covers for the latest flight-themed Goldsmith at 20th release: @Brundlefly you should add these two (and maybe Flaming Star, to complete the set?) to your first post. In other great news, from the press release regarding Ace Eli: "ACE ELI presents two unique programs – The first is the original Goldsmith score in mono, in the film’s original sequence. The film was later recut and additional music was written with contributions from Alexander Courage. These cues, and the song “Who’s for Complainin’?” are presented in stereo alongside surviving stereo Goldsmith compositions in a sequence closer to the released version. TORA! TORA! TORA! utilizes the same master as our previous release. Both previously out-of-print scores return here with all-new art design by Jim Titus and new in-depth liner notes by writer Jeff Bond. The reissue, limited to 2000 units, is produced by Mike Matessino and Neil S. Bulk, with ACE restored, mixed and mastered by Chris Malone and TORA mastered by Dan Hersch and Mike Matessino." The audio miracle worker who restored the supposedly-unsalvageable Take Her, She's Mine for Intrada last year (to say nothing of The Towering Inferno for La-La Land) has lent his magic touch to this release...if I'm ever going to fall in love with this score it'll be now... Yavar

@Jay I think it's possible UMG may not even have perpetuity rights to Innerspace because the back cover of the prior release doesn't mention them (as would typically be done for any entity licensed from), only Warner Bros.: It's weird, right? Yavar

What makes you think anything would be held up by approvals at WMG? No one at the labels has said anything about that. And the original Innerspace album was on Geffen I believe, so if they have perpetuity rights I think that would be UMG they have to deal with. But we *do* know that Warner Bros., the film studio has become more difficult and expensive to deal with… that’s why LLL had The Adventures of Batman and Robin’s cover on their poster over *two years ago* and it still hasn’t come out! The Swarm finally came out in early 2020 but it had been in the works for years, as I understand it. Yavar

I’m pretty sure MV said that a few months before a certain pandemic hit, @Jay… it may be delayed but I doubt they’ve dropped it from their to-do list. They have to know it’ll sell… Yavar

@Jay I do of course remember Roger’s post, but you must be forgetting the later post from Mike Mattesino (on the FSM board I think) where he expressed some hope about eventually talking Williams into it, essentially saying “never say never”. Yavar

Can’t wait for an official release of this on CD, and I imagine at that point all will be revealed. It’s gotta happen eventually…right? Yavar