Yavar Moradi

I don’t find it forgettable; I just don’t like it much! Yavar

Huh! Maybe their streaming rights for the original album are in perpetuity but their physical album rights are not? Yavar

Yup that's exactly it! It was a surprise to me too, but Roger investigated and discovered Varese only had a term license, not a perpetuity one as they seemed to get 90-95% of the time throughout the decade. With Total Recall and Basic Instinct I think it had to do with the studio producing them not granting perpetuity licenses at the time (like how Disney wouldn't grant one to them for McNeely's Iron Will, which is how Intrada was able to expand that a few years ago), but I don't know what the precise explanation is with Matinee (Universal has granted perpetuity licenses on other titles I'm pretty sure). Yavar

The (first) crowdfunding campaign to record premieres of General Electric Theater scores by Goldsmith just successfully finished this morning (including a second score as a stretch goal)! https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith?ref=discovery_location If you missed it, I'm sure the two scores will be available for regular sale as lossless downloads later. And if at least two more GE Theater scores by Goldsmith can be successfully funded next, there will be enough music to justify a CD edition. Oh...and Intrada announced Matinee complete this morning too. It's a good day for Goldsmith fans. http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8918 Yavar

Except it wasn't expanded by Quartet, but Music Box (their first Goldsmith): https://www.musicbox-records.com/en/cd-soundtracks/11031-legend.html Yavar

Uh... you think Intrada was going to price SpaceCamp at $19 for a single CD? Last year they charged $22 for a 26 minute Goldsmith album. https://store.intrada.com/s.nl/it.A/id.12187/.f Yavar

Last call for anyone here interested… just over 80 minutes to go! Yavar

For anyone who's still somehow on the fence about supporting this (for so little money!), Leigh has just provided a third and final enticing sample of the "Sarah's Laughter" score, music Jerry Goldsmith wrote for the series in late 1959 (the episode aired January 3, 1960, two days after his first Twilight Zone) which apparently only survives in written form today: https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith/posts/3514151 The cue is titled "Birthday Present", and it's a nice little gift for us to receive as the campaign is nearing its (very successful) end! Yavar

Roger shared the Rare Breed and Story of a Woman news; Sugarland had been previously revealed, I think possibly on the FSM board by Mike. Yavar

Sometimes cues that go unused in the film are included on original soundtrack albums! Prominent examples date all the way back to at least The Blue Max by Goldsmith, which had major highlight cues omitted from the film entirely, and replaced with tracked music (or horribly truncated). For a film music album, why does it matter what was USED in the film rather than what was WRITTEN AND RECORDED FOR the film? Your logic is the kind that supports that terrible "Ultimate Edition" of The Phantom Menace, exactly matching all the music in the film -- to a fault (with edits and omissions of recorded music). For a more recent example that I personally worked on, we can look at Varese's new Deluxe Edition of Lionheart from last year. Goldsmith's masterful score for that film is perhaps even more badly treated within it than The Blue Max decades before! Goldsmith wrote and recorded two back-to-back cues for the film which introduced the theme for the primary antagonist ("Bondage" and "The Black Prince"). But they were left off both original volumes of music from the film, and left out of the film itself. I only knew these cues existed because I researched and found them listed on a (legal) website: http://collections.new.oscars.org/Details/Archive/71302978 So I knew for sure these cues were written, but were they recorded? I searched far and wide, with many different people, but long story short: Doug Fake of Intrada had them because he was there at the original Lionheart sessions (immediately preceding the sessions for Intrada's new recording of Islands in the Stream) and he had made a reference copy for himself. They weren't in as high quality sound as Varese's original album masters, but once I heard the transfer of those cues I knew they MUST be included on the new edition -- they are INTEGRAL to the architecture of the score as Goldsmith originally conceived it, because without them the theme for the primary antagonist is first introduced in an action cue where it's jumbled in with a lot of other musical material. It isn't established on its own in straightforward guise right beforehand, as it should have been, before Goldsmith plays around with it in that action cue. And even though those two cues constitute less than five minutes of music, they are a very important five minutes of music and the whole score program absolutely would have been diminished without them, no matter that they didn't appear in the film (which by the way almost nobody saw anyway, so why would you care what was in the film Bruce?) Yavar

Or you don't. The majority of people interested in an expansion want every note recorded for a film. (Do you dispute that, or do you just need them to still be unsatisfied or frustrated when a score is revisited for expansion?) Yavar

But Bruce -- for people like you and Thor, the original album is already there. The Deluxe Editions are for everyone else who wants the rest of the music. How does their existence hurt you? Logically, people who were satisfied with the original album (like you) aren't going to buy the expansion anyway. People who were NOT satisfied with the original album are obviously coming to an expansion for unreleased music. And because any cue in the score could be someone's favorite, it makes most sense for it ALL to be included. Just look at The Bourne Identity recently where people are lamenting missing cues. I am sure it's a dealbreaker for some. Yavar

But what Bruce complains about is 47 tracks where they aren't combined together into longer tracks. I don't understand how that sounds any different to someone's ear. If you want the unexpanded version of the score that already exists for your listening tastes. Only Looney Tunes of these is two discs. If it had been the one disc that Bruce Botnick had originally planned, it would have OMITTED Goldsmith's excellent opening cue (which was on the original album), OMITTED the superior film (and original album version) of the Area 52 cue with Sally Stevens as vocalist evoking the theremin, and OMITTED Goldsmith's original Road Runner cues, among other things. Again, for people like you and Thor there's already a single disc version designed by the composer for "listening experience". Don't begrudge the rest of us wanting an expanded edition with everything available. See @Jay -- there are absolutely people who would have complained if The Iron Giant had been pushed to a second disc. Yavar

If you mean leaving out music, no I'm sure that would not have helped sales. And I don't understand how having fewer tracks is "listener friendly" -- can you hear it when a track change happens? Yavar

And the excellent DELUXE EDITIONS of Robocop 3 (Poledouris), Looney Tunes: Back in Action (Goldsmith), Babe (Westlake), and Wild Wild West (Bernstein) are all under $10! (Sad that they apparently didn't sell better, but AMAZING deals for all three.) Yavar