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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Not at all CutThroat Island level, but here are a couple other good 90s pirate scores to represent: https://youtu.be/v-pz17PBs_s And this for my money is far superior pirate music from Zimmer than most of his Pirates of the Caribbean work (Up Is Down maybe being an exception but I heard one of his assistant composers wrote that): Yavar
  2. All right since we’re going classical, I’ve always thought the opening of this work by Bizet sounded particularly pirate-y: (music starts 25 sec in) This is music for a theatrical play (so very much a predecessor of the film score) but alas not music actually about pirates. Yavar
  3. One of the best pirate scores EVER, original tracks never released but there’s this great re-recorded suite on Chandos: another absolute classic; Clifton Parker’s score for the very first live action Disney feature (again there’s a modern Chandos recording with over 20 min of the score): Not *exactly* a pirate movie, but another cracking seafaring score by the same composer over a decade later: Anne of the Indies by Waxman has some awesome stuff...for your compilation I’d use the Kunzel suite (which I can’t find online at the moment) but here’s the original recording: You should get this fine Kunzel album which in addition to a great sounding suite from Anne of the Indies also has other goodies like Waxman’s Captains Courageous and Bernstein’s The Buccaneer: https://www.discogs.com/Erich-Kunzel-Cincinnati-Pops-Orchestra-Masters-And-Commanders-Music-From-Seafaring-Classics/release/8869332 Some Captain Blood and The Sea Hawk by Korngold would also be good to include — maybe the Gerhardt recordings there. This is the one awesome cue I would absolutely prioritize including from the Pirates of the Caribbean franchise: I’ll come back if I think of more. Yavar
  4. I believe you, but I'm curious: how is it that classical labels (like Sony for example -- think their recent set of Gerhardt recordings, 12 CDs for around $30) can keep reissuing the recordings which they own in inexpensive budget box sets? (And why do they often opt for cardboard boxes over jewel cases, for such sets?) Is it just greater volume, or what? And why would it cost more for Varese to reissue a recording they made, than it would for Silva to do one of theirs? Aren't the recordings owned, outright? I don't think they were ever made with AFM musicians, so there shouldn't be re-use fees to worry about. I get if there are mechanical licensing fees to the music publisher or whatever, but again how does Sony do something like that Gerhardt box at $30? Is it just because they own pressing plants? Yavar
  5. Sorry for the late reply, but I think it's one of Goldsmith's greatest scores. Probably top 10 for me. For my colleague Clark at The Goldsmith Odyssey, it is his #1 favorite Goldsmith score. Yavar
  6. Personally what I think might sell well on CD is a budget box set (CDs in sleeves, inside an attractive cardboard box, a la what a lot of classical labels have done) of all of Varese’s re-recordings. Silva has regularly done budget repackagings and they seem to keep being able to mine sales from their back catalogue of recordings. Or if that would be too big of a box set to try out, how about just a box set of the Varese Herrmann re-recordings, to test out the waters with something smaller (and Herrmann is a very popular composer still). Say $50 or $60 to own all of the Herrmann re-recordings Varese has done (all the McNeelys plus Debney’s 7th Voyage, etc.) People love a bargain, and Varese already spent the money and owns the recordings, largely making what profit they would off of them. Everything at this point would be gravy... Yavar
  7. Haven’t had a chance to thoroughly go through it yet I’m afraid. I did notice a few things I would change but thought I should just present all suggestions at once. Yavar
  8. Not really “unheard” as Intrada released it (1500 copies I think) in 2002 at the very beginning of their Special Collection line almost two decades ago! And in those 18 years, it has become one of the most expensive Intrada releases on the secondhand market, going for $200-250 on Discogs, eBay, and Amazon Marketplace. A handful of folks at FSM have regularly been clamoring for a reissue because the original is so out of reach financially, so essentially this is Intrada saying “We Hear You”. Dunno if I’ll rebuy it myself. It’s a good score though. Kinda wish I’d sold my old copy a while back when I was a poor student... The Rosenthal score I really want Intrada to remaster (and expand if possible) is his The Bourne Identity. It is frickin’ awesome and out of print for much longer than Mussolini. Yavar
  9. 29% of the original half hour album is his work, and he claimed in this conversation I had with him that he composed 30% of the score, though I haven’t calculated time on this new release tracklisting: http://goldsmithodyssey.buzzsprout.com/159614/1746388-odyssey-interviews-peter-bernstein Essentially, this is the Bernstein Star Trek: First Contact, where father called son when there was a crazy post production time crunch on the film (listen starting around 94 minutes into the interview.) Peter’s stuff is great, as can be heard in the cue from the original album above. Yavar
  10. Only if we are talking theatrically released films. Plenty of fantastic scores for TV feature films (including The Man, which was released theatrically in some overseas markets) which remain totally unreleased. my favorite is probably Crawlspace but many people love Pursuit, which has a similar “mod” style to Shamus. Have some other corrections to make to that post, too. Now if we are talking 70s and 80s Goldsmith scores that lack an expansion (which I thought was the subject being brought up here), that’s a much longer list, including stuff like The Other and MacArthur (film recording actually totally unreleased) from the 70s and stuff like Under Fire and Link from the 80s. Yavar
  11. Whereas City Slickers II got a rather more generous 50 minute album on Columbia, the original City Slicker album on Varese was just 37 minutes...so it’s possible there could be more substantial material to expand it with. But someone more familiar with the film would have to speak to that. We already know Intrada asked Horner about Young Guns and he nixed it at the time. Yavar
  12. I'm curious about your thoughts after listening to it! I realize how much I've neglected this thread, so I have some belated updates to share... first, we followed up our lengthy conversation with Neil S. Bulk with an even lengthier conversation with Chris Malone, our longest episode to date (we didn't split this one because there wasn't a good splitting point, but trust me, it flies by!) https://goldsmithodyssey.buzzsprout.com/159614/4802774-odyssey-interviews-chris-malone (This is Chris with Eric Tomlinson, who recorded many Goldsmith scores, including Tora! Tora! Tora!, Ransom, Take a Hard Ride, The Omen, High Velocity, Damien: Omen II, The Boys from Brazil, Alien, Caboblanco, Outland, Night Crossing, Supergirl...) And in his Gold Nugget series, Jens had a conversation with Bryan Erdy, who among other things talks about the ballet set to Goldsmith's score to Capricorn One: https://goldsmithodyssey.buzzsprout.com/159614/4163672-gold-nugget-7-dropped-names-with-bryan-erdy And finally, this past weekend we released the first in a new series called Soundtrack Spotlight. For this one (just half an hour!) I'm joined by Doug and Roger of Intrada to talk about their new release of The Don Is Dead, with generous sound samples: https://goldsmithodyssey.buzzsprout.com/159614/5097955-odyssey-soundtrack-spotlight-the-don-is-dead-1973 @karelm @Brundlefly @Display Name @TownerFan @Mr. Breathmask @Faleel J.M. @El Jefe @Modest Expectations @Laserschwert @publicist @BrotherSound @Modest Expectations @Jay @Stefancos @Jurassic Shark @Disco Stu let me know what you think! Yavar
  13. Do I love The Don Is Dead as much as I love High Velocity? No. But this new album in superb sound quality has totally made me a believer in this score, which I didn’t really click with before... anyone who would like to hear some for themselves can check out this special sneak peek podcast I did with Roger and Doug at Intrada: http://goldsmithodyssey.buzzsprout.com/159614/5097955-odyssey-soundtrack-spotlight-the-don-is-dead-1973 Let me know what you guys think! Yavar
  14. You should at least include the miniseries and TV movies! Technically, you already included The Man, which is a TV movie apparently released theatrically in certain places outside of the United States (much like the Jane Eyre that John Williams scored). Yet you omitted The Red Pony, which was on TV in the States but similarly released theatrically in a few other places. But all of Jerry's miniseries and TV movies are not that complicated to include (no worries about "what episodes did he score?" or anything), they are feature-length works, and most of them have been released so it'd be helpful to have them in this impressive table... I'm happy to help out, info wise, if you like. Speaking of which... The Crimebusters was a theatrical film release which was edited from episodes of the Cain's Hundred TV show that Jerry wrote the theme and several episode scores for. I don't believe he did any additional scoring for the film, and I kinda doubt they even re-recorded his TV show cues...as happened for some of his music on the similar Man from U.N.C.L.E. movies a couple years later, which FSM did release on this album: https://www.filmscoremonthly.com/cds/detail.cfm/CDID/372/Spy-With-My-Face-The-Man-From-U.N.C.L.E.-Movies-The/ Cain's Hundred has been released (great album), so technically the score to The Crimebusters has had a release too: https://www.filmscoremonthly.com/cds/detail.cfm/cdID/429/ Yavar
  15. What denotes whether a release is “proper”, in your book? I find nothing improper about the Varese Goldsmith at Fox box. Are the Rozsa scores that are only available in the FSM Rozsa at MGM box also improperly released to you? How many scores being lumped together on one release makes them improper? I assume the recent LLL Paramount Westerns set is improper? Is the FSM Goldsmith three-fer of Hawkins/Winter Kill/Babe improper? You seem to be okay with their release of Coma, even though it was paired with two non-Goldsmith scores... you seem to be counting Intrada’s releases of Von Ryan’s Express/The Detective and Shock Treatment/Fate Is the Hunter even though they are pairings like the Varese Mephisto Waltz/The Other... I think if it’s been legally, commercially released it should count. Make it consistent, ya know? In any case saying “no release yet” is certainly incorrect. FWIW, S*P*Y*S seems to be about two thirds complete on the Fox Box. The Other is just a little over half the score on album, though. Yavar
  16. “Chinese Love Theme” >>>>>>>>>>>>>>>>>>> that other theme; Jerry knew it too which is why he picked the former to feature in his original Overture. Yavar
  17. Do I love The Don Is Dead as much as I love High Velocity? No. But this new album in superb sound quality has totally made me a believer in this score, which I didn’t really click with before... anyone who would like to hear some for themselves can check out this special sneak peek podcast I did with Roger and Doug at Intrada: http://goldsmithodyssey.buzzsprout.com/159614/5097955-odyssey-soundtrack-spotlight-the-don-is-dead-1973
  18. Hey who wants a sneak peek at The Don Is Dead? http://goldsmithodyssey.buzzsprout.com/159614/5097955-odyssey-soundtrack-spotlight-the-don-is-dead-1973
  19. This is one of my Top 10 favorite Williams scores; I look forward to listening to it with your analysis! Yavar
  20. I don’t fall in love with everything of Goldsmith’s and I’m not expecting you to either. If you’d said you disliked the scores I would have been like, “there’s no accounting for taste!” But “boring”? I just don’t see how one can listen to the music examples I posted and call that music boring! Whether they are “casual listening” or not seems like a very different matter from whether they are “boring” or not...in fact the two might be opposed? Don’t know what you mean about “worth a scholarly look”. Yavar
  21. It’s not, but I’m mystified why you don’t like either of those (and they don’t really sound similar to each other either, IMO). I mean, the *album* for Ransom has shitty sound quality and frankly sucks (three repeated cues when there’s more good score in the film that could have been included? One side in mono?) But what don’t you like about the score itself? And I realize High Velocity isn’t popular with a lot of people for some reason. I just can’t fathom why that is, unless they hate the cimbalom I love so much... But how does one not like Jerry’s dark brass action writing? How does someone not like this?? Don't understand it. I’ll be happy if I like The Don Is Dead as much as Ransom (Surely it should have the advantage of a better album and sound quality). I’ll be very surprised (pleasantly) if I like it as much as Contract on Cherry St. or High Velocity. Yavar
  22. Ah, got it...so “mentioned very often”...by one person. No offense to publicist but I think he’s in the minority finding The Don Is Dead more of an exciting prospect than any other unreleased Goldsmith score. But maybe I’ll hear Intrada’s mastering of this score and be blown away by it. It’s certainly possible. Yavar
  23. Wha? Who said that? I’m excited to hear this one (especially because Jeff Bond told me that parts of it sound like Contract on Cherry Street, one of my favorite Goldsmith scores). But there is NO WAY this score is more “essential” than Black Patch or Face of a Fugitive! In fact it’s not even more in demand; I recently did a poll of what Goldsmith premiere people wanted most, over at the FSM board. The Don Is Dead got fifth place (originally sixth, but after I prompted non-participants to weigh in before the final tally, one person voted for it as their only pick and bumped it up): https://filmscoremonthly.com/board/posts.cfm?threadID=140075&forumID=1&archive=0&pageID=2&r=377#bottom So over there, folks consider not only Black Patch and Face of a Fugitive more essential, but also Shamus and the rejected score for The Public Eye. And, my number of votes, Pursuit (which was in fifth place before that single vote bumped up The Don Is Dead, ranked-choice-wise). For my tastes, there are at least a half dozen *other* completely unreleased Goldsmith scores that would excite me more than this one...Crawlspace and The Man, in particular. Yavar
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