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Yavar Moradi

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Everything posted by Yavar Moradi

  1. I mean, it was available for quite a few years after its release in 2012, and I'm sure most Goldsmith fans collecting from 5-9 years ago picked it up because it was a substantial expansion. But I agree it should be brought back into print. It's so damn good. Yavar
  2. I don’t think Intrada’s notes comprehensively listed every appearance. I mean, there it is at 1:19 of The Poppy Fields (Main Title)! On the original half hour album for this great score, it only appeared a single time (briefly in the final cue)! I agree it’s a stunner; the huge Intrada expansion was truly a godsend and made this score shoot up to the top of Jerry’s 90s output for me. Yavar
  3. Neil makes it sound like it's kind of a First Blood situation -- the original album contained most of that score, but certain beginnings and endings of cues were restored when Intrada did a re-arranged complete & chronological revisit this past decade. Jeff Bond said the following on Facebook: I wonder if LLL might be pursuing similar revisits to the other two scores in this unofficial trilogy, all put out by Prometheus in the 90s: High Velocity and Breakout. I *think* Breakout might have been complete & chronological (though I'm not positive), but Hig
  4. Could they have? Some studios have different rules, and don't usually allow pairings like Fox or Paramount, who are (or at least were) more flexible. Can you think of any examples of Columbia/Sony-owned scores being paired on disc? I suspect these were separate deals on Intrada's part and they weren't able to pair. Yavar
  5. According to Doug Fake, it was a cumulative minute from various trims here and there throughout the score: http://store.intrada.com/s.nl/it.A/id.12121/.f Yavar
  6. According to Jeff Bond who wrote the notes, yes: This was also a (slight) expansion, featuring around a minute more music than the FSM edition (where it was trimmed because it was damaged). Yavar
  7. Considering these are all premieres I'm not sure a series is necessary... I mean a John Williams premiere score release is going to sell on its own, right? That said there are some obvious pairings here if a label felt like doing so, and I for one would love some Jim Titus-designed FLIPPER COVERS. The Secret Ways / The Killers The Rare Breed / The Plainsman Story of a Woman / The Screaming Woman (only an original main title for this, right?) Pete 'n' Tillie was already released by Varese as a pairing for their Stanley & Iris Del
  8. Good to know @Jay thanks! I'm not someone who has a problem with mono (it can sound absolutely fantastic, like LLL's release of Archer) but I do think it'd be nice for them to put it in the product description, because a lot of people do care about mono vs. stereo. Yavar
  9. Yeah and I agree this is a rare Goldsmith score where I don’t need to play every single note for maximum enjoyment... but you guys both really want to leave off the McNeely action cues? IMO they’re some of the best stuff in the score! Yavar
  10. June 1st they are releasing Shamus by Jerry Goldsmith. Yavar
  11. I mean, the ILLUSTRATED one, obviously... Yavar
  12. Thing is, Finn wasn't supposed to be "supporting cast" -- in The Force Awakens he was an equal main character to Rey! He's the one who first picks up that lightsaber in the forest! But I agree, in TLJ he goes from being more of a...Scotty, in Star Trek parlance? And in The Rise of Skywalker that gets even worse, and he pretty much goes full Chekov... For me there's bad stuff that stands out (the Emperor despite McDiarmid having fun again is so dumb) and there's also some good stuff that stands out, namely Kylo Ren again -- the only character decently well handled through
  13. ....on what criteria? How was "subverting expectations" about his ego? Couldn't it simply have been about what he thought was best for the story? I don't think The Last Jedi is perfect by any means, but IMO all the Luke Skywalker "subvert expectations" stuff that people like you are so very upset about was the saving grace of the movie, and though he didn't agree with the direction taken with his character, Mark Hamill gave an amazing performance. It surprises me that so many people expected to discover Luke to be practically the same as he was at the end of t
  14. I mean, sure, it'd be nice to have the five re-recorded cues from the best possible source included with the complete film recording, and maybe the sound could be improved a bit further with new tech, who knows? For now I'm quite happy with the FSM release(s) -- excellent sound to my ears! And for my iTunes, I just deleted the four poorer-sounding album recording cues from the FSM release of The Prize, and imported the five superior-source album recording cues from the FSM release of Poltergeist, as "The Prize Album Recording":
  15. I mean, FIVE of them were twofers (and I'm not counting pairings with non-Goldsmith scores) and one of them had *THREE* Goldsmith titles, so it's even more impressive than that, really, in terms of quantity of Goldsmith scores... and most of them, especially early on, were premieres! Not entirely accurate. I was tempted to include mention of the situation in my list above, but I figured it would be too confusing and my post was already overwhelming enough. But I guess I'll explain here: The Prize was actually the very first Jerry Goldsmith score to receive a u
  16. No, Moradi weeps because he doesn't know when he's going to manage to fit Soundtrack Spotlight recordings into his schedule for this incredible deluge of Goldsmith releases. (If he'd known what he was in for over the next year, he might not have started this popular new podcast sub-series.... we want to go back to recording regular episodes more, well, regularly!) There are plenty of new Goldsmiths to hope for, still. And the ones that are lost to time like Black Patch could still be re-recorded, and ones that were written but never recorded like Babe and The Kid could receive prem
  17. Here are the Goldsmith albums put out by FSM in chronological order of their original release, and the status of them being revisited (or not...or very unlikely because the FSM albums are still being kept in print): 1. Stagecoach / The Loner: released by FSM as Vol. 1, No. 1 in May 1998, later revisited by La-La Land in June 2012, remastered and with certain overlays/sweeteners restored for the first time; now OOP so could potentially be revisited in their new Goldsmith at 20th series (as The Blue Max was) FSM product page: https://www.filmscoremonthly.com/cds/detail.cfm/CDID/
  18. I confess that I may be in the minority on this one but I grew up with my grandmother reading me the original L. Frank Baum book(s), and so when I saw the film it felt totally off and bothered me. Always has, even though I like "Over the Rainbow" and the scarecrow's song, and the transition from B&W to color is pretty inspired. Dorothy is way too old and the film isn't weird enough and is far too sunny. I resent the film's popularity because it virtually guarantees we will never get a good faithful darker adaptation of the amazing books (Disney's Return to Oz in the 80s is probably the cl
  19. Two of my least favorite (and sooo overrated) movies of all time (though on entirely different levels; I don’t care for The Wizard of Oz as an adaptation of the book but at least it isn’t chock full of racism). Yavar
  20. Oops! You're right. Jerry scored only one episode of The Waltons which aired in 1973: S1E17 "The Love Story". The rest (and the new theme, since the pilot telefilm The Homecoming from 1971 didn't include it) were all done in 1972 Yavar
  21. My friend, that's not even all! 10. The Waltons (TV series theme actually SIX to EIGHT substantial episode scores in the first season, 1973) 11. Police Story (TV series theme and pilot score, 1973) And he did all of these with no additional composers (just orchestrators). It is one of his most insane years of output, for sure... but 1961 was even crazier! Yavar
  22. Probably same here. Those were great revisits of great scores even though there wasn't much "new" on them. But The Don Is Dead and Take Her, She's Mine were scores I once dismissed (based on film rips), but now I really like them both quite a bit, thanks to the great-sounding new albums. And Morituri even though it only had a minute of additional music over the FSM was almost like hearing a whole new score for me, thanks to the sound improvement. Before it was one of the Goldsmith scores I listened to least often, but now I "get" it, and it's good. Yavar
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