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Yavar Moradi

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Everything posted by Yavar Moradi

  1. Shared at the John Barry group on Facebook: And from @bruckhorn’s link which you quoted: Yavar
  2. Fair enough. I’m glad to have it, but most fans of the score feel it’s not a particularly faithful rerecording as it was reconstructed by ear from the film (they didn’t access written scores for it). We strongly prefer the original album even though it’s shorter. The rerecording is also not even close to complete, as this new book dramatically reveals. It’s only “complete” in terms of what made it into the film but Barry wrote a ton more music than that and a NEW, actually complete recording needs to happen some day. Yavar
  3. You should be. It’s one of Barry’s best and my personal favorite! Yavar
  4. Tallying votes for this shortly… anyone who wants their vote counted in the first round, please make sure to actually vote using the poll function at the top of this! Some very close races between this board and FSM… Yavar
  5. I guess we are interpreting the quotes differently @Tom Guernsey -- to me, if symphonies "must be all-embracing" that means they each have a little bit of everything rather than having a distinctive sound world of its own, which is what I associate with Sibelius symphonies which are all interrelated and tight within each other. Yavar
  6. I think that's more like what Sibelius (allegedly) said to Mahler than the other way around... https://sibeliusone.com/wp-content/uploads/2018/11/Vignal_Sibelius-and-Mahler.pdf Love both composers but Sibelius is one of my five favorite composers of all time, and part of that is because each of his works has such a distinctive sound world (much like one can say about Herrmann or Goldsmith in the world of film music) Yavar
  7. That's why I provided ways to become familiar! Check out the cue two minutes into the Climax episode "A Matter of Life and Death", for example... or literally ALL 24 minutes of the masterpiece that is "1489 Words" (CBS Radio Workshop). Yavar
  8. Then pick what intrigues you most out of the first four options, because those are all synth-free! Yavar
  9. Leigh wanted me to include it as an option to gauge interest, but if you’re honestly more excited for two other things I don’t think voting for them will make Lionheart unlikely to be run as a campaign. It just might not be put on the front burner quite as quickly. Yavar
  10. I'm definitely a Moon Knight fan! Very cool. Yavar
  11. Over the course of the past two years Leigh Phillips has successfully self-produced new recordings of 79 minutes* of previously unreleased Jerry Goldsmith music written for eight episodes of the long-running TV anthology series The General Electric Theater (*including the gorgeous 9 minute bonus score called "Autumn Love", written for the CBS Music Library in the late 1950s). Last year Leigh already announced his intention to produce a new recording of Lionheart in 2024, but this is a mammoth project which requires a great deal of planning and materials. There is a chance he might be able to start a smaller project beforehand, and so with his blessing we are going to conduct a poll online to see what film music fans might be most excited for him to tackle next. At Leigh's suggestion I'll still include an option for Lionheart for folks who truly see that as their highest priority (the prospect that they are most eager for) out of these, and allow TWO votes for each person, from this list. This vote absolutely WILL impact what Leigh prioritizes next, so please don't hold back in sharing your thoughts and preferences here! (But please don't suggest other titles not on this list of options, such as In Harm's Way or The Satan Bug -- these are bigger projects and Leigh doesn't want to consider any of those until Lionheart is done.) 1. Thriller Volume 3: Fairly self-explanatory... as a follow up to the two beloved Tadlow Music volumes co-produced by Leigh years ago, this would include suites from the four remaining Goldsmith scores for the series which have not yet received modern recordings, plus suites from three Morton Stevens scores. To find out the scores Leigh has in mind, plus hear samples from them (taken from the DVD M&E tracks), check out this short podcast conversation with Leigh: https://goldsmithodyssey.buzzsprout.com/159614/8425660-odyssey-interviews-leigh-phillips 2. Jerry Goldsmith at Climax Mystery Theater: Uniquely in his entire career, Goldsmith was the primary composer for this live (and originally in color, for those with the right equipment!) anthology TV series during its entire four-season run. With a few exceptions, whenever an episode required original music, he was the one who provided it. But unfortunately, many of the easily-accessible extant episodes of this series are ones which didn't require original music, so we have exactly three hourlong episodes in our possession for which Leigh could reconstruct the scores by ear, and use to produce a new recording: "Dr. Jekyll and Mr. Hyde" (written for only three instruments in 1955, Leigh is a particular admirer of this one and would like to let it shine in modern sound), "Trail of Terror" (which has a lovely romantic theme that stands out in a few cues), and "A Matter of Life and Death" (my personal favorite -- just watch at least the beginning of this episode and marvel at the thrilling opening cue which sounds like fully mature Goldsmith, around 2 minutes in): 3. Jerry Goldsmith at The CBS Radio Workshop: Aside from "The Thunder of Imperial Names", re-arranged for wind band, none of Jerry Goldsmith's radio compositions have ever been released on album. That was one of four segments of the CBS Radio Workshop episode "1489 Words" which I and my cohosts at The Goldsmith Odyssey regard as Jerry Goldsmith's very first masterpiece, written earlier in 1957 before he even tackled his first film score Black Patch. Basically a series of four concert works setting famous poetry to music, conceived for narrator and orchestra, each one of them is a gem but especially the first lengthy segment "The Highwayman" which is positively spine-tingling at times. If you don't know this work already, check it out here in its original radio version narrated by Jerry's friend, actor William Conrad: https://www.youtube.com/watch?v=QFleK1sVxQs For this new recording project, a version of all four pieces both with and without narration would form the centerpiece of the final album. But Goldsmith creatively scored at least a half dozen episodes of this series total, over a one year period. Here is our podcast coverage of his first score for the series, very much in his modernist style: https://goldsmithodyssey.buzzsprout.com/159614/14067728-episode-41-storm-cbs-radio-workshop-1956 He also first crossed paths with Ray Bradbury on this series, brilliantly scoring a pair of short story adaptations: https://www.youtube.com/watch?v=aWiDEj-6Xbk All in all, his music for this show constituted the most creative and experimental of his '50s output. 4. Three Western Premieres by Jerry Goldsmith: The western genre was one in which Goldsmith particularly excelled, and we have access to three projects he worked on which have never before been released on album: the dark score for the lost 1959 feature-length Playhouse 90 "Out of Dust" (IMDb's synopsis: "On a cattle drive across the prairie, the sons of a wealthy cattle baron plot his death"), a contrastingly light and energetic score for the unsold 1961 half-hour pilot "Mister Doc" which eventually was folded into the final season of The General Electric Theater (IMDb's synopsis: "Western comedy about a pharmacist and his son at the turn of the 20th century"), and last but not least Goldsmith's final work for CBS Radio, the 1958 western adventure series Frontier Gentleman, for which he composed the main theme and three full episode scores. Listeners of The Goldsmith Odyssey will remember that from our pilot episode, where we played some excerpts from all three Goldsmith scores for the show: https://goldsmithodyssey.buzzsprout.com/159614/653347-episode-0-live-television-and-radio 5. Jerry Goldsmith's All-Synth Scores, for Orchestra: Alien Nation and Runaway seem generally well-liked, but with the latter in particular I think most Goldsmith fans tend to agree that the composition itself is much better than the very dated synths. Since Jerry basically "orchestrated" that score for synthesizers, I have long thought it would translate particularly well to a real orchestral ensemble, with synth being just an added element for some sci-fi flavor. Goldsmith's other all-synth score Criminal Law may be one of the most generally-hated scores of his entire career, but wait until you listen to this Leigh Phillips mockup which gives an idea of what it could sound like if performed by an orchestra. In my opinion, it's like hearing a whole new score! https://mega.nz/file/eyQVAZaA#UqwCtT_L9TCdzlLU7Ox0KxMwE6BwGADwgiCjKYun_Xo Leigh has been intrigued by the prospect of arranging these for orchestra for well over a decade now, and has floated the idea of tackling a 20 minute suite of highlights from each score to create an hourlong album. If there's enough interest, maybe the shortest score Criminal Law could even be recorded complete (the Varese album leaves off a few cues) because with 20 minutes from each of the other two scores, the whole thing would still fit on a single CD. 6. I am most eager for a new recording of Lionheart. HAPPY VOTING! (Remember, you can choose TWO.) Yavar
  12. You can hear three different excerpts from it in the IFMCA awards announcement video: I'm glad Dial of Destiny and The Piper won their respective genre categories, but my score of the year was (quite unexpectedly, as I heard it at the very last minute) The Peasants, written by a total newcomer to film music who's primarily known as a rapper. This was not on my 2023 film music bingo card but WOW is it an incredible, unique, and memorable score... gorgeous melodies too. With apologies to Hisaishi/Boy and the Heron and Powell/Migration, both of which are fantastic, I think it's an even better animation score. Yavar
  13. I gotta disagree with your characterization that "no one cares that the song isn't included". I think a lot of fans care that the song isn't included -- they're super grateful and relieved that it was left off! Yavar
  14. I still really dig the original 10+ min concert piece which is on YouTube (the same performance Jordan Peele ran across, apparently!) So awesome. My favorite new music in Nope is honestly his Morricone western homage...one of the very best I have ever heard. Yavar
  15. Exactly, @Raiders of the SoundtrArk. I think @Nick1Ø66 if you were to see the film, and then watch some of the TV episodes Clarkson directed, you would be dumbfounded at the difference. No way in hell did she approve this sloppy, technically incompetent, work. I'm not saying she's some amazing director and there was a great film to be found in this, but she's been directing TV for a couple decades now and the half hour I saw of this film is far more amateurish than any TV show I've watched. Yavar
  16. Easily the best creepy choral piece since The Omen's "Ave Satani", IMO! Yavar
  17. I had to walk out of Madame Web after only half an hour it was so bad. Clarkson did a lot of very good directing work on TV before this (multiple very cinematic shows like TURN, Jessica Jones, and Succession) so yeah I totally believe she was largely fucked over by meddling incompetent Sony executives on this. Yavar
  18. Honestly the 2006/2013 edition is very good too. I found the 2020 only a slight improvement over that master, though it was nice to have the full score chronological without Goldsmith’s trims and edits. Yavar
  19. It’s not bad at all, but very good! It’s definitely the best-sounding and most complete release of the score up until that point. I’ve been enjoying it for years. If you want to sample it, it’s on YouTube (albeit not in lossless of course): The funny thing is that even though JTW keeps saying Intrada falsely marketed the 2020 release as “definitive”… they didn’t mention that word in their 2020 announcement: https://www.filmscoremonthly.com/board/posts.cfm?threadID=142438&forumID=1&archive=0 Yavar
  20. To be clear, in your case @Trope I'm not laughing at you for being ridiculous, but because your sense of humor amused me. How do you know that about the liner notes already without reading them? But what really confuses me is... are you angry because this is the "same"/"identical" product, or because it's been "impoved"/made "better"? Because they both can't be true at once. The 2006 and 2013 editions are virtually identical. Not just the same number of discs but same number of tracks, same sound quality, same notes, and almost the same packaging. I do recall some people were upset in 2013 that Intrada was "lowering the value" of their edition which had been strictly limited to 1500 copies which sold out in like two days at the time. Again, you seem to be contradicting yourself. Either it's the same product (as the 2013 one was, essentially, compared to the 2006) or it's a new product "with a better configuration" which you're upset about being better than the one you have (which itself was at the time a new and improved product with a better configuration, compared to the earlier editions). Which is it? In your later post where you provide back cover images it's clear that Disc 3 of the 2024 edition has five additional tracks when compared against the Disc 3 from 2020. So it seems clear to me that it's not "identical", even apart from the matter of sound. Yavar
  21. Yes they have, and I appreciate your nuance. I don't really agree it's a false equivalence because it's still a case of a Hollywood studio (or home video label) later putting out an improved edition of a film which renders the earlier edition obsolete and inferior. That's the case JTW is angry about here and I regard format change as rather incidental to that. But fine, if you don't want to jump formats there are plenty of examples of a DVD or Blu-ray being released as the BEST version of it available on home video at that time, and then a couple years later a full expensive restoration of the film elements is undertaken and lo and behold, a new BEST version comes out in the same format. I don't think purchasers of the previous edition, now rendered inferior, are entitled to free copies of the new edition. I have over a decade and a half of experience in the music industry. Not really in the world of film music but rather classical music, as a buyer for the retail operations of performing arts organizations (3.5 years with the L.A. Philharmonic, most of that at the Walt Disney Concert Hall's LA Phil Store, and now going on 11 seasons with the Santa Fe Opera Shop). I also managed Joel's Classical Shop in Houston (now moved and renamed as Classical Music of Spring, because the original founder/owner passed away) for over two years, seeing it through the tricky period of its transition to new ownership. Believe me when I tell you I've seen it all, in terms of ALL the major classical music labels (and a fair number of smaller independent ones too) reissuing, remastering, repackaging, recombining, revisiting, etc. And yes, some of those were new SACD editions of things that had only been on CD before, or Blu-ray Audio editions of things only on CD or SACD before. (Almost always the SACD editions were hybrids that also had a regular CD layer, and oftentimes the Blu-ray Audio editions would include separate CD copies which were also based on the rebuilt master that was the same source for the Blu-ray Audio disc.) But the vast, vast majority were just new editions on CD, frequently claiming improved sound and sometimes featuring never-before-released bonus tracks and such. And if some folks in film music land think that Inchon or Die Hard or Predator or The Blue Max have been reissued too many times in new-and-improved editions, and get resentful of their old editions being rendered inferior, WOW do I hope these disgruntled persons never get into the wide world of classical music because their brains will completely short-circuit. Basically, the music collector market dictates this! It's a rare and special even for a film score to get newly recorded; very few film scores have been recorded twice much less three times like say Vertigo. But there are literally HUNDREDS of recordings of the Beethoven symphonies. New ones get produced and released on album every. single. year. And yet even though say the Osmo Vanska Beethoven cycle on BIS is a spectacular modern multichannel recording in state of the art sound released on hybrid SACD for a very reasonable price, and his interpretation of the symphonies is so fresh and exciting it made them come alive again to the ears of this poor jaded classical music fan who's heard enough of the Beethoven symphonies (except maybe the super underrated fourth) to last a lifetime already... Deutsche Grammophon is still going to keep releasing new and improved editions of their classic Karajan cycle (actually Karajan recorded a full Beethoven cycle at least three times!) over and over, for the rest of time until our species destroys itself. When a recording is popular and keeps selling, it will keep getting reissued (as long as licensing is still possible -- I realize that sometimes it isn't, in our world, because a licensor stops cooperating as with Warner Bros. a few years ago). And if improvements are possible, a label is likely to do them because it will ensure better sales. Simple as that. But with JTW, it's like he's never encountered this phenomenon before -- even though he participated in it with the 2020 edition of Inchon -- Intrada's fourth release of the score in their long history with it! So I got a question for you, @JTW -- you were happy enough at the time with Intrada putting out their 2020 3CD edition of the score. You bought it, secure in the knowledge that it was "definitive", and you believe only 2020 edition purchasers are entitled to a free copy of the new 2024 edition from Intrada. ...why don't purchasers of the previous 2006/2013 edition matter to you? When the 2006 2CD edition came out, Intrada acted like that was the definitive-as-possible last word on the score, to the point that when they reissued it seven years later in 2013, it actually was a wholly identical master, with only the slightest changes in packaging! But in 2020 you didn't want to torch Intrada, even though they were rendering all copies customers had purchased of the 2006 and 2013 editions (and I might add, their original 1988 expansion) "obsolete". 2020 was the first time they redid the edits and everything in high resolution, but they were using the same source as the 2006/2013 edition. So did they have an obligation to send copies of the new edition to all previous customers back then? No, you don't care about that because you weren't among those customers (as I was!) -- you were just among the new customers purely benefitting from the new edition. And you're only so very upset now because now it's happened to you. Interesting. Yavar
  22. That's my favorite element of the entire score too. I especially like the duduk accompaniment. Yavar
  23. Ouch, you got me! I'm such a disgusting shill because I live in reality and don't think Intrada is obligated to go out of business so that you and everyone else who bought Inchon in the past can have a free new copy. If you can't because you don't have the disposable income in 2024 that you used to have in 2020, I'm sorry to hear that (and I've been there, man, not being able to buy new film music releases for years in a row because I didn't have the stable financial situation to afford it). And this is the part of the story where most people start looking at you funny. This is just, simply speaking, nuts. If you were in Intrada's shoes you wouldn't do that in a million years. There is absolutely ZERO basis for your claim of "false advertisement". Intrada didn't lie in 2020; as far as they knew that was the best the score was ever going to sound, because they were working from first generation elements. I'm pretty sure they DON'T expect everyone who bought the 2006/2013/2020 editions to re-buy now. But for anyone who loves the score enough and has the disposable income to afford a new edition, Intrada is bringing the title back into print sounding as good as it can sound. Since they now know that the backup safeties had better sound, if they just put out a straight reissue without any improvement at this juncture, THAT would be the dishonest move. It's unacceptable for you, and maybe a few other entitled people. And frankly, you can go ahead and keep crying about it I guess. Most film music fans understand at this point that occasionally new editions will come out that are improvements over the old editions they have, and that they can CHOOSE to buy the new editions if they have the disposable income and feel so inclined. Intrada NEVER said their old set "is no good anymore". That is YOUR assessment. Plenty of us have been enjoying that set for years now... or the 2013 set...or the 2006 set. I guess when new 4K editions of films come out from Hollywood studios, you send their home video departments angry letters telling them they owe you a new copy of the film, because when you bought a DVD copy they told you it was "the definitive edition" and now with the new release (from the same elements they've always had) it turns out they LIED to you and your old set is "no good anymore". Good grief. With the messed up world we have, THIS is the crusade you choose to go on, I guess. I have far more comprehension of the situation than you do, and a whole lot more perspective on it. Plenty of other people here have chimed in with reasonable takes on this situation. You're the one whose sense of entitlement has seemingly overwhelmed your ability to comprehend reality. But if you "don't have anything else to say" to me, then I guess I'll take that as a win. The JWFan board software literally just informed me at the bottom that you wrote another reply to me though, lol... EDIT — there it is! All I see here is you making yourself look bad. So I'll keep laughing at you whenever you make another ridiculous and entitled post that says Intrada is "guilty of false advertisement" and is obligated to go out of business because they didn't test the mixed down Len Engel safeties sooner. Yavar
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