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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Actually the three titles (which we already knew about from board postings) that have been transferred but were (hopefully temporarily) nixed for release by Williams were The Rare Breed, Sugarland Express, and Story of a Woman. The Secret Ways does get brought up in the podcast but Mike says he's not even sure if elements survive for it since it is such an early work (while confirming that they do for those other three later Universal scores). That said, we know that Jerry Goldsmith's Universal scores survived from only a year later in 1962 (Lonely Are the Brave and Freud), so I'm not sure why Mike thinks a 1961 score would be less likely to survive. I got that impression too, though there are certainly multiple other Fox titles (including The Paper Chase and Conrack which were included by FSM when they put out the original Poseidon Adventure release) which could use definitive/improved new editions. It's a fantastic podcast and I only wish it had been longer! Yavar
  2. I liked whatever wild and weird movie Kate McKinnon and Chris Hemsworth thought they were in. Leslie Jones was also pretty good. But sadly the two “main” characters played by Wiig and McCarthy were terrible, and the movie was mostly in “their” world. Yavar
  3. The question for me is: will this be an improvement over the Intrada as much as LLL’s The Blue Max was? If so I think it’ll be worth the re-buy for me (and also for new John Takis notes!) Yavar
  4. I agree with everything you wrote, except my favorite two parts of The ‘Burbs are the western theme (sometimes with musics gunshots lol) and the horror(?) theme (with organ). I love every last element of The Shadow and The ‘Burbs though, to be clear. Yavar
  5. I love all three central themes (plus assorted motifs!) in The Shadow. In contrast I dig the textures of Total Recall (but The Shadow has great ones too), but the main theme I think is really lame. Only good melody in the score is The Mutant and it only appears the one time! Yavar P.S. I also adore The ‘Burbs....maybe even more than The Shadow!
  6. Neil S. Bulk about this release on the Jerry Goldsmith Online forum: http://www.jerrygoldsmithonline.com/forum/viewthread.php?tid=5129 Surprising to learn the wonderful Intrada was not the film takes! Yavar
  7. That’s my favorite of his 90s work — I’m the rare person apparently who will take it over Total Recall any day. In fact if I were prompted to pick something from the last couple decades of his life I think it would be my desert island pick. I agree that it’s endlessly relistenable. I just relistened to the whole 85 minute score last night while doing dishes and it was as fresh and awesome as it ever was. It feels like Jerry’s (more action-filled) 90s successor to Star Trek: The Motion Picture IMO. Yavar
  8. My favorite Jerry Goldsmith score is The Artist Who Did Not Want to Paint, but since it was written for a short film it’s only 12.5 (sublime) minutes long, and I wouldn’t want to limit myself to that, great as it is. My favorite Goldsmith feature score is Lonely Are the Brave, and I might go with that, but I’m leaning towards something with more variety... what I would consider to be Goldsmith’s magnum opus and at an hour and a half in length, one of the longest and most substantial works in his entire output: QBVII. Yes, if I can only pick one to have with me, it would be that — because it has so many different Goldsmiths represented in it! It’s got a bit of action, a bit of horror, a bit of his fantastic choral writing (a full year before he won his Oscar for The Omen), a thrilling fanfare, a sequence of his great middle eastern sound, a lot of his great Jewish sound, his avant garde side, romantic side, and more! Enough variety, thematic material, and development of it to sustain many many repeat listens and discover more each time. Utter masterpiece. Buy it if you don’t already have it: https://www.tadlowmusic.com/2013/12/qb-vii/ Yavar
  9. @ATXHusker Nothing official, but I wouldn’t expect the next batch from them until early 2020 at this point. Yavar
  10. I also love Chain Reaction with its unique electric guitar flavor. IMO besides maybe The Hijacking, the parts of AFO that are arguably stronger than Chain Reaction are mostly by Joel McNeely, channeling 70s Goldsmith. And we know thanks to that Bruce Botnick interview that soon we will be able to assess US Marshals in complete form as well, which I think is the only one remaining of Jerry’s “autopilot action scores” of the 90s that has yet to be expanded. I’ve always had trouble with that score’s similarity to Star Trek: Insurrection, which is unfair because it was written a bit before that, but as a Trek fan I discovered Insurrection first (and despite re-using a motif from US Marshals it’s still the most consistently enjoyable of Jerry’s TNG Trek film scores IMO). @Kasey Kockroach have you listened to my Goldsmith Odyssey Interview with Bruce Broughton? We discuss Shadow Conspiracy (Jens and I also admire that score): http://goldsmithodyssey.buzzsprout.com/159614/2083614-odyssey-interviews-bruce-broughton Yavar
  11. At FSM raferjanders has made a few more, and revised (and IMO improved) his Nevada Smith: Will Penny: Walk Like A Dragon: Branded: Can't wait to put these into iTunes! Yavar
  12. A generous person gave me some quick custom covers they made for themselves, and told me that I could share them on the forums too for others, though they didn't want any credit. So here they are! And raferjanders on the FSM board made a couple covers as well... I think I like his cover for Waxman's The Furies best: And here's his for Nevada Smith: Yavar
  13. In general Williams doesn't like his source music included on these, it seems. If you'll recall, he only allowed the Superman source music out on the Superman II/III set from LLL, not the Superman set proper. And I suspect that Poseidon Adventure and Towering Inferno have their source music included because it was already released by FSM in the past before Williams got involved in these specialty label releases, and leaving it off now would 1) make this release miss stuff that had been on a previous release, and 2) not actually accomplish much beyond annoying people at having to own both, because those pieces are already "out there" on a commercial release. Earthquake is in a different situation because the album recording came out on CD before this big soundtrack specialty label boom, and the film recording had never been released before. There is no earlier edition of the score with a definitive presentation of the source music to compete against. So in this case Williams might have "had his way" more, no doubt helped by the fact that including more Earthquake source music would have required a second disc for the score, just for that alone. Yavar
  14. Well, the existing CD of The Swarm (pretty sure there is only one) is "complete" from Prometheus, at 73 minutes long. That said, I think as with their Basic Instinct, or the Varese Deluxe Edition of Total Recall (or for a more recent example, Varese Stargate DE vs. new LLL), there were film takes and such left off. So on both of those great Goldsmith scores Quartet was able to offer a more definitive two disc edition. And Jerry's original album arrangement of the score (one of his best, with unique edits and such) has never been officially released on CD. So people speculate that LLL is working on a definitive two disc set, with the first disc the complete score with all film takes, and the second disc containing the original album's CD premiere, plus any alternates. Probably something similar to LLL's two disc release of The Blue Max. Yavar
  15. Like the orchestra players in most US cities (there are a few exceptions like Seattle I believe), those in Chicago are part of the AFM just like LA and New York, so I wouldn't think Lincoln would be any different from scores recorded at either of those places: https://cfm10208.com/ Yavar
  16. But not recently. They just referred to two more batches this year early on after the February batch. I think there’s a good chance it’s delayed until early next year, considering it’s December and we still haven’t heard anything. Yavar
  17. Were you also proud to pronounce this a “bottom of the barrel” release as a result? Yavar
  18. Nonsense. I don’t mean this to sound as harsh as it does, but to be perfectly frank you are only displaying your own ignorance. Nevada Smith is prime 60s Newman and has been one of his most requested scores for decades. It was assumed to be lost except for the album re-recording which was done with a reduced orchestra. Ditto for Raksin’s Will Penny — one of his best scores and most requested on CD. The Furies (Waxman) is a great film which was released by none other than the Criterion Collection! I’m glad to see the music get a release. I’m not a big Riddle fan but El Dorado is also pretty well known. Now most of the rest of the film titles I confess I don’t know, but dismissing them and this release overall as “bottom of the barrel” without even giving sound clips a chance is just downright insulting on your part. Here’s the Nevada Smith OST for any curious, but just realize that this was a an album re-recording made with reduced orchestra, and LLL has not even licensed it for inclusion on this set anyway. Still it should still convince you (the open-minded among you, anyway) that the score is excellent: Here’s the film version of the Main Title: Damn good stuff if you love westerns as a film music genre! Composed around the same time he did How the West Was Won, and maybe an even better score overall though HTWWW’s main theme can’t be beat. Yavar
  19. But Thor! The FSM was a clunky expanded presentation with poor sound quality (and some cues presented *damaged*, even!) — and it was done without Williams’s approval, which I know you care a lot about! This set on the other hand will have much better sound, is approved by Williams and done the way he wanted it done, and it includes the CD premiere of his abbreviated *original album program* — I thought that these (and improved sound quality) were what you lived for! Yavar
  20. This for me is the greatest release of the batch, and the best deal as well. Newman’s Nevada Smith film recording, at last! Ditto Raksin’s Will Penny! (The album recordings could still use official CD releases in great sound, but licensing them probably would have really upped the cost of this set like the Williams disaster set...) Waxman’s The Furies! And plenty other scores by interesting composers to discover! Yavar
  21. Yes. No. But this Schifrin score sounds GREAT! I went fairly reluctantly, but I had to sit through it in theater, because my wife really wanted to go (growing up a Hispanic girl in L.A., Dora was somewhat special for her)... and I must say, I was pleasantly surprised! I thought it was a delightful little film even though I had no connection to the show. It was a silly kids movie yes, but better than most such, in part because it was so entertainingly self-aware. The score was very good, and I for one am actually excited that the fun song from the end of the movie (written by one half of Flight of the Conchords, Bret McKenzie) is being included on Intrada's album because it was not released digitally. Yavar
  22. Towards the end we do yes, though I don’t really hear the Goldsmith influence directly in the music. But considering I’m a big Orville fan, it’s tangentially Jerry-related because it’s a Star Trek homage, and it’s the most recent media project Broughton has had, yes...we spend a while talking about it. Broughton was one of our most engaged guests. This was also truly a nice bit of timing with our recently having covered more of Jerry's fine Gunsmoke work on The Goldsmith Odyssey, since Bruce got his composing start at CBS television on that very same show! His memories of his CBS years were a particular gift that kept on giving in this conversation, as he worked closely with a lot of people who knew Jerry from his time under contract there just over a decade earlier, and (before he even got to know Jerry better) he found his way into multiple recording sessions, such as Brotherhood of the Bell! Among a wide variety of subjects spanning the breadth of his entire Hollywood career, we also discuss the three (!) times he was asked to adapt a Goldsmith theme, his insights into incorporating unusual instruments with the typical symphony orchestra, and his experience in the world of concert music, with an exclusive clip of his upcoming Trombone Concerto, "Quaternity"! Here’s the direct link: http://goldsmithodyssey.buzzsprout.com/159614/2083614-odyssey-interviews-bruce-broughton I hope you all enjoy listening to the conversation as much as I enjoyed having it, and I hope you'll chime in with any thoughts should you feel so inclined. Yavar P.S. In addition to Bruce himself, I'd like to thank Doug and Roger of Intrada, and their friend at Disney Randy Thornton, for their kind assistance in facilitating the inclusion of a precious 30 seconds of the unreleased score to Soarin' Around the World, which was so helpful to illustrate Bruce's skillful putting Jerry's melody into new ethnically flavored musical settings. I think it was way back in a 2016 interview where Bruce originally revealed that Doug was working on a set of his Disney Parks compositions, so I'm sure everyone here will be pleased to know that work on that has not been abandoned, almost four years later. I for one am sure that whenever it comes out, it will be worth the wait!
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