Yavar Moradi

Isn't it possible that Varese got perpetuity rights on the CD format only, but their early 90s agreement just didn't include other avenues of release like downloads? Yavar

Since Rozsa didn't really write all that many (I'm guessing you're referring to Knights of the Round Table, Ivanhoe, and ... El Cid?) I guess I agree with you! Same, but I think we are in the minority. First Knight is exactly the kind of Goldsmith score most "normie" soundtrack fans gravitate to, over stuff I love more like Lonely Are the Brave or 100 Rifles. Yavar

When I've seen people use the word as an adjective rather than as a noun (i.e. "one of those old Hollywood epics") it's almost always a compliment. Hardly any? It has absolutely ZERO synth elements of any kind. I think it was Goldsmith's first fully-orchestral score since... King Solomon's Mines about a decade before it? That said, between First Knight and Lionheart, I prefer Lionheart, synths (and occasionally poor orchestral performance) included. Yavar

My Goldsmith Odyssey cohost W. David Lichty is with you 100%. Yavar

Worth a revisit though, so many years later… Yavar

So basically modern live action Star Trek has finally arrived at The Orville season 1 scoring from half a decade ago. Yavar

Matinee might underwhelm a bit if you just experience it on album. I saw the film for the first time last year in preparation for the Goldsmith Odyssey Soundtrack Spotlight, and it make the score totally click for me. Wonderful movie. Yavar

Yup. You'll probably regret it if you don't. Yup, and plenty of other people besides. This is not SPYS where I'm in the minority liking it. Yup... the only part I don't much care for is Arthur's Fanfare. But that's just briefly in a few cues. What you said, both times! Yavar

Might be another case like the Silvestri twofer batch where only one title gets a digital release in addition to the CD. No doubt due to whatever Varese's original perpetuity licensing agreements were. Yavar

I think it was my cohost and editor David Lichty who shared it at FSM this time. Thanks for posting it here Tallguy, and glad you enjoyed it! This is my favorite Goldsmith score for Dante (and I love the film too but as of this past year I think I rate Matinee even higher as a film). What’s yours? Yavar

Yeah hopefully a hi res release of this master comes out, because this was mastered from analogue tapes rather than a DAT (rendering the existing hi res release somewhat meaningless). Yavar

It’s because it was decided there weren’t enough new recordings to justify their own category as they used to get. I think it’s weird too, even as a member of IFMCA. I wish the new recording category stayed as its own unique separate thing no matter what, even if there were fewer new film music recordings produced than there are nominee slots (not a point we are at, yet). But the combining of the archival, compilation, and new recording categories into one are why there are 10 nominee slots instead of 5. Yavar

The original Ant-Man is still one of my favorite MCU movies. The lower stakes, the father/daughter dynamic, and of course Michael Peña really made it a unique entry. I didn’t like the sequel *as* much but it was still good. Yavar

Well, only 20 minutes of score on the original release possibly might even be too short of an album selection for Thor. I’m pretty sure I ran by Free Willy 2 as an example (only three score tracks/10.5 minutes, or 9.5 minutes less than Shattered got) in one of our conversations on the subject years ago, and he agreed that something like that absolutely deserved an expansion. Yavar

Is there something incorrect about my use of the word “technological”, relating to my lack of knowledge about film technology of the time (ie how long a reel was)? Yavar

Indeed — and his live TV and radio output in the 1950s is kind of a great untapped treasure trove of goodies, which Leigh Phillips’s new Goldsmith Anthology project is hoping to tackle further, after recording everything we can find of Goldsmith’s output for General Electric Theater. While Goldsmith himself told Jon Burligame that he started on that show in the mid 50s while it was a live program, not long after he started Climax, the earliest episode we’ve been able to confirm him working on (by finding the actual written music) is “Hitler’s Secret” in 1959, which was a filmed episode. Incidentally that’s one of two more scores for the series which Leigh just recorded last week, and for anyone who likes Dark Jerry this will be a real treat, a powerful 9.5 minutes of concentrated brass and percussion tension. But yeah, it’s amazing to think that less than a year ago, it sure seemed like nobody would bother touching live TV/radio 50s Goldsmith, which would require re-recordings for super obscure material. And now a world of possibilities has opened up! His output in 1959 and 1960 for Playhouse 90 in particular is thrilling to contemplate because these were basically feature length stories (the “90” is for “90 minutes”, so these were basically TV movies of the 50s), and Jerry was afforded a larger orchestra budget and could afford close to 20 musicians, sometimes more… Yavar

Thanks! It’s actually more than 100 scores if one counts each episode score individually (I just combined into one entry for each show, so The Waltons or Gunsmoke for example becomes one “score” rather than the six different scores they each are.) Yavar

Why can’t a survivalist be gay, by nature? Shunned by society and shunning it in return.. makes perfect sense to me, whether or not fungi are turning people into zombies. (He was a gay survivalist before that event.) So…where exactly is the inconsistency, to you? Yavar

Anyone else think it’s pretty weird for Jay to call me out like this? Jay, if nobody here cared about that “other website” (the frickin’ Internet Movie Database) and didn’t appreciate my comments about it, how come I got *14* positive reactions from my first two posts mentioning it? To me that indicated some interest here about the review bombing, so it’s not at all unreasonable that I would bring up it happening for an episode that hasn’t even aired yet. That said, despite your oddly directed criticism of me, I applaud and appreciate you for your much more detailed posts/reviews about each episode of this fine series so far (I’ve “liked” every one!) and I look forward to more. I’ll try to write more on the subject myself going forward. Yavar

Wow, and now even though today’s episode doesn’t have Bill and Frank in it, it’s still getting ratings-bombed at IMDb in advance of it even being released later today. Yavar

When did you try? I think they might be taking a vacation. Maybe give email one more shot, and then try the FSM board because they seem to answer inquiries there. Yavar

How can you know without actually watching it? It’s a masterpiece with incredible acting performances, and since you strangely dislike Pedro and Bella in this, I guess you should know that they are only briefly in the beginning and end of the episode, not the focus of it at all. Yavar

I found a number of things to add even there. Here's my expansion of your list, but in the ones I've added I'm skipping speculation about how well they'd sell... also I've added purple to signify "completely unreleased": Potential Releases: Timeline - only OST exists, surefire seller Soarin' Over California - only ride cue commercially released, loading and unloading (what they call "fill and spill") cues remain unreleased though there's a YT upload of the former Disney's The Kid - never recorded but Goldsmith wrote two dozen cues which exist at the Academy's Margaret Herrick Library, and a new recording could be produced The 13th Warrior - only OST exists, must be licensed out by Disney, surefire seller Mulan - only OST and FYC exists, must be licensed out by Disney, surefire seller Fierce Creatures - only OST exists (several film cues remain unreleased) 2 Days in the Valley - only posthumous OST exists, moderate seller Angie - only OST exists, moderate seller City Hall - only OST exists, good seller Babe (the Gallant Pig) - never recorded but Goldsmith wrote 17 cues (covering over 80% of the film) which exist at the Academy's Margaret Herrick Library, and a new recording could be produced Malice - only OST exists, moderate seller Six Degrees of Separation - only OST exists, bad seller The Vanishing - expansion almost complete, moderate seller Medicine Man - only OST exists, must be licensed out by Disney, surefire seller Mr. Baseball - only OST exists, bad seller Mom and Dad Save the World - only OST exists, moderate seller Not Without My Daughter - expansion almost complete, however: lost elements, bad seller Brotherhood of the Gun (aka Hollister) - theme only (several versions); score composed by Joel Goldsmith H.E.L.P. - theme only (format music including Main Title); scores composed by Joel Goldsmith Gremlins 2 - expansion complete, but sound is inferior to the original album thanks to Labson mastering Leviathan - only OST exists (potential expansion by Quartet), surefire seller Link - only OST exists, commercially (expanded boot has poor sound) Innerspace - expansion almost complete, surefire seller Supergirl - expansion almost complete, must be licensed out by Silva, surefire seller Under Fire - only OST exists (Twilight Time Blu-ray iso track is music & effects) The Secret of NIMH - expansion only added a single cue (almost 10 minutes still missing) Raggedy Man - only OST exists The Final Conflict - expansion almost complete, surefire seller MacArthur - only (re-recorded) OST exists, surefire seller Twilight's Last Gleaming - only OST exists, good seller Damien: Omen II - expansion already complete, surefire seller The Cassandra Crossing - expansion already complete, good seller High Velocity - only OST exists, good seller Damnation Alley - Intrada had to re-record synth elements; score is OOP and especially deserves a re-release if original synth elements are ever uncovered Ransom (aka The Terrorists) - only (terrible) OST exists Only in America (aka The Best of Times) - only four brief cues (two minutes) released by LLL in 2022 taken from the pilot film's mixed audio track; complete score would probably require a new recording Indict and Convict - score for TV movie starring William Shatner and Eli Wallach The Waltons: "The Foundling", "The Typewriter", "The Star", "The Ceremony", "The Literary Man", "The Love Story" - Goldsmith wrote the series theme and scored these six episodes; tapes are lost and might require a new recording Pursuit - score for TV movie starring Ben Gazzara and Martin Sheen The Other - Varese only released a single track 23 minute suite on album covering about half the score (Twilight Time Blu-ray isolated score track preserves film micro-edits) The Mephisto Waltz - only OST exists (several cues are missing and mix is entirely different from the film) The Last Run - only (re-recorded) OST exists; film recording is apparently lost Crawlspace - score for TV movie starring Arthur Kennedy Do Not Fold, Spindle, or Mutilate - score for TV movie starring Myrna Loy Lights Out: "When Widows Weep" - TV pilot score Hollywood Television Theater - theme only The Ballad of Cable Hogue - only OST exists, ~7 minutes of score unreleased (plus lots of source music) Bracken's World: "A Score Without Strings" - episodic TV score The Chairman - only OST (+ one additional short cue fragment) exists (Twilight Time Blu-ray isolated score track is music & effects) "The People Next Door" (CBS Playhouse) - score for TV movie starring Lloyd Bridges and Robert Duvall In Like Flint - Intrada released the OST, Varese released less than half the film recording (Twilight Time Blu-ray isolated score track preserves film micro-edits) Our Man Flint - Intrada released the OST, Varese released less than half the film recording (Twilight Time Blu-ray isolated score track preserves film micro-edits) The Legend of Jesse James: "Things Don't Just Happen" - episodic TV score The Satan Bug - premiere release has only half the score free of intrusive sound effects In Harm's Way - expansion only added a single score cue and two source cues (over half the score still unreleased!) Ben Casey: "Eulogy in Four Flats" - episodic TV score Shock Treatment - expansion almost complete Gunsmoke: "Doc Judge", "The Blacksmith", "The Wake", "Love Thy Neighbor", "Old Faces", "Whispering Tree" - six episodic scores for this western TV series Destry: "Destry Had a Little Lamb", "Law and Order Day", "Stormy Is a Lady" - three episodic scores for this western TV series Breaking Point: "A Little Anger Is a Good Thing", "So Many Pretty Girls, So Little Time" - at least two episodic scores for this western TV series The General With the Cockeyed Id - commercially unreleased; bootleg exists with terrible sound Take Her, She's Mine - 2020 premiere release still missing a number of cues Chrysler Theater: "A Killing at Sundial" - series pilot score Lilies of the Field - only OST exists Kraft Mystery Theater: "Shadow of a Man" - episodic TV score Freud - Varese shouldn't own perpetuity rights, but their expansion wasn't quite complete and omitted two alternates present on the LP release (including the music tracked into Alien!) Wagon Train: "The Ah Chong Story", "The Wagon Train Mutiny" - two episodic TV scores 87th Precinct: "Step Forward" - episodic TV score General Electric Theater - at least 9 scores for this series; Leigh Phillips has so far newly recorded 4 of them but the original recordings are completely unreleased Thriller - Leigh Phillips did re-recorded suites (cond. Nic Raine) representing a dozen of Goldsmith's scores for this series; four scores of his remain completely unreleased (the original recordings were only available on DVD isolated music & effects tracks) Tomorrow's Newspaper: "All Day to Live" - unsold pilot score Rawhide: "Incident in the Middle of Nowhere" - episodic TV score The Twilight Zone - some scores are incomplete and two of his scores are unreleased (apart from isolated score track w/ dialogue bleed): "The Four of Us Are Dying" and "Nightmare as a Child" The Expendables - unsold pilot score Have Gun — Will Travel: "The Fatalist", "A Head of Hair" - two episodic TV scores Studs Lonigan - a handful of short score cues are missing, plus an original Goldsmith source cue based on his main theme Playhouse 90 - two scores partially released; many others totally unreleased Perry Mason: "The Case of the Blushing Pearls", "The Case of Paul Drake's Dilemma" - first score released complete; second score entirely unreleased The Lineup: "Wake Up to Terror", "The Strange Return of Army Armitage", "Lonesome as Midnight" - first score partially released; other two scores (and new Main Title!) unreleased Peck's Bad Girl - theme and multiple episode scores Pursuit - short-lived 1959 anthology series for which Goldsmith wrote at least one score Black Saddle - theme only; multiple commercial covers have been released but never original Man on the Beach: "Saturday Night in Santa Monica" - unsold pilot score; only partially released as "Jazz Theme #1" on Twilight Zone album World in White - unsold pilot score The Sergeant and the Lady - unsold pilot score Studio One - at least nine scores (five minute fragment of one of them was released as "Jazz Theme #2" on Twilight Zone album, but I am SO not counting that as a release for this series) Frontier Gentleman - theme and three episodic scores; his final work for radio The Wanderer - unsold pilot score Crime Classics - unsold pilot score Climax! - who knows how many original scores? (I've confirmed at least three) CBS Radio Workshop - at least six extant episodes including the masterpiece "1489 Words" CBS Suspense - at least four extant radio episodes CBS Romance - at least seven extant radio episodes Hallmark Hall of Fame - at least three extant radio episodes Columbia Workshop - one extant episode (his first original radio score, in November 1951) I daresay it's a pretty comprehensive list now! Maybe time to launch a 2023 thread, @Brundlefly? Just this past Monday Leigh Phillips newly recorded two more General Electric Theater scores: "Hitler's Secret" and "The Legend That Walks Like a Man", which should be released to Kickstarter backers in 6 weeks or so, and to the general public in a few months... Yavar

Yeah, but what alternate indicators do we have available? Yavar

Wow, since my post it’s dropped even further to a 7.9 now, compared to 9.2 for the first two episodes. And Ms. Marvel, one of the best Disney+ MCU shows, is sitting at a 6.2. Really sad how much bigotry exists, isn’t it? Yavar