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Yavar Moradi

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Everything posted by Yavar Moradi

  1. You are not mistaken. Also OMNI put out the complete written score to Star Trek: The Motion Picture, including three unrecorded alternates, one of which Joe Kraemer impressively mocked up and shared online! And that's after 2020 gave us 1. The Swarm (LLL) 2. Morituri (Intrada) 3. US Marshals (Varese) 4. Take Her, She's Mine (Intrada) 5. Voyage to the Bottom of the Sea (LLL) 6. The Don Is Dead (Intrada) 7. The Last Castle (Intrada) 8. The Blue Max / Von Ryan's Express (LLL) 9. The Flim-Flam Man / The Detective (LLL) 10. Inchon (Intrada)
  2. New modification to my old list... before (on page 2 of this thread, the post linked just above) I had titles that had been released complete in black, and titles that still had unreleased music in blue. Now I've colored the Fox titles already still in print (or only recently out of print, like Magic and Sleeping with the Enemy) black since many were released not long ago and they seem least likely to be released in this series. Titles that have already been released in LLL's new Goldsmith at 20th series, I have put in gray because as far as LLL is concerned, they are done. Titles
  3. Without a doubt. Each is over an hour long. The Varese 90s CD was about half of each score (and the LP album recordings that Intrada put out were less than half of each, albeit with some different selections). There are a bunch of great and fun cues unreleased on CD but included on the Mike Mattesino-produced isolated score tracks for the Twilight Time Blu-rays. The problem with those tracks (as with The Other) is that it's always the film edits of cues, so that it matches to screen as an iso score. So there are bits and pieces (as on The Other) which are intact on the short CD album but trunc
  4. Ah, right, thanks. Then since Diary of Anne Frank wasn't on that poster of the first 1500, it's my guess. Yavar
  5. One difference I can see is that the possibilities are more endless for the Universal Classics collection. That's still a largely untapped well, with output from dozens upon dozens of composers working at Universal over the course of many many decades. Goldsmith at 20th seems a lot more finite, even if they manage to find some or most of the more obscure unreleased TV things I listed here: Plus certain scores they are unlikely to revisit in this series -- Intrada just did Morituri and Take Her, She's Mine last year, and still has Alien, Patton, and The Sand Pebbles 2 CD sets in
  6. Could be The Diary of Anne Frank by Alfred Newman or The Adventures of Batman & Robin by Shirley Walker and co. Either one would be an instant buy for me. Yavar
  7. In case folks here missed them, user "steffromuk" over at the FSM forum has posted a fantastic set of cool individual custom covers with more subtle "Goldsmith at 20th" branding, for all seven films represented in the series so far... http://live.staticflickr.com/65535/50738547472_742a31e605_h.jpg http://live.staticflickr.com/65535/50738436376_1b77510932_h.jpg http://live.staticflickr.com/65535/50738437896_d90c191649_h.jpg http://live.staticflickr.com/65535/50738437391_a438ea90c3_h.jpg http://live.staticflickr.com/65535/51192902521_4b
  8. Check out the Deluxe Edition of Hellboy if you haven’t! Good all the way through! Yavar
  9. Thankfully Djawadi has come a long way as a composer since scoring the very first MCU film Iron Man all the way back in 2008. Thanks GoT! I’m cautiously optimistic about this. Yavar
  10. Oh so you never got the 1989 Intrada recording with the London Symphony? That was my introduction, so it was cool many years later to get the original recording and compare the differences. I have no reason to suspect a new edition could be coming out, but I certainly hope Varese doesn't control it (like they weirdly do for The Ballad of Cable Hogue, also another Goldsmith western Club premiere release which has never been revisited later by another label). It seems like it would be a natural release for Intrada, since they have a good relationship with Universal, and Dou
  11. Don't believe so! What's remarkable about Goldsmith's two trilogies is how different his approach to each was... With The Omen he kinda reinvented himself with every score; each of them is so very unique. The original is iconic and probably the creepiest choral music ever written. The sequel is very different in tone; not nearly as creepy but kinda fun and gleeful in its depiction of evil... it's shorter and more energetic and he doesn't simply reprise Ave Satani even though it was such an iconic piece. Still, it sounds like it's part of the same musical world of the first score; s
  12. I'm so happy to hear you say this. I have always thought that SPYS foreshadowed the silly and creative zaniness of Goldsmith's output for Joe Dante, and in particular their final collaboration together, Looney Tunes: Back in Action, which was written almost three decades later. When I first heard THAT score, I thought to myself, "this doesn't sound like a score by an old man in his 70s; it has the freshness and vitality of something John Powell would write." At the time Powell was an up and coming composer whose music I had fallen in love with originally thanks to his collaboration
  13. I'm glad! In the film that cue is even more powerful, thanks to the incredible performances of Kirk Douglas and the luminous Gena Rowlands. I learned this past year that none other than Joe Dante has the same favorite Goldsmith feature score: Lonely Are the Brave. He's the first other person I've heard declare it as their favorite besides myself, probably because the film is comparatively so obscure. But it's just incredible. I even wrote an academic paper on the film with emphasis on the score. Technically it was written as five cues designed with s
  14. Haha. That’s because it’s not an Oscar but a Jerry. Yavar
  15. Wow I've really dropped the ball on updating this thread for the past...NINE MONTHS? So for those interested -- @karelm@Fancyarcher@Brundlefly@Display Name@TownerFan @Disco Stu @Mr. Breathmask @Jay @Laserschwert @publicist @Stefancos 2 @Jurassic Shark @BrotherSound@El Jefe @Modest Expectations -- here's a big update about the episodes produced during that time! First, the new Odyssey Soundtrack Spotlight series... that first one on The Don Is Dead was a big hit, as has been the series in general. We haven't been able to keep up with doing one for every new release (we
  16. Digital de-aging really didn't exist in 2003 when the film was made. That was Connery in an Indiana Jones-like role, in his mid 70s, and believable. Exactly this! Well said. Let's be at least cautiously optimistic until we see the actual film, okay? Mangold has done a ton of fine work. Yavar
  17. But you forget Ford was also in The Rise of Skywalker, and looked/felt the same as he did in The Force Awakens. The movie had a TON of problems and I understand people blocking it from their memory and all, but I actually thought the scene between Han Solo and Kylo Ren was great, one of the best parts of the film and it was wonderful to see Ford in the role one more time (and giving a very strong performance, frankly). Compare that to JJ Abrams bringing back Leonard Nimoy as Spock one more time for a single scene in Star Trek Into Darkness (god I hate that movie and that scene SUCKED), and the
  18. Let me recommend some stuff from my three favorite Goldsmith scores of all time to you, because not a single one of them has been mentioned: 1. The Artist Who Did Not Want to Paint -- This was a score for a short documentary film that played before roadshow showings of The Agony and the Ecstasy (scored by Alex North). It is my single favorite work by Goldsmith and there are two great recordings of it (the original and a re-recording with the London Symphony Orchestra). Here is the latter (which was my introduction to the work): 2. QBVII "A Kaddish for the Six
  19. How do you hunt down individual tracks, though? Just get 'em for 99 cents on iTunes? Many of his best tracks won't be available except on CD soundtrack albums for each film. Also... one of the things that makes Jerry Goldsmith the greatest film composer (in my opinion) is his musical architecture and the way he develops his thematic material throughout a score. If one just pulls out set pieces out of context, that is an aspect of his work that you'll unfortunately totally miss. I don't think Thor's playlist picks are a bad place to start given your parameters, especially since you'
  20. The guy was so insanely prolific (and fairly consistent) that I'm not sure a "definitive" Jerry Goldsmith playlist exists or is possible/practical; I totally understand his output being daunting. I'm daunted by it and I've been producing a podcast about his music for over three years now! (www.goldsmithodyssey.com) I have thought about compiling an iTunes playlist with every action cue he ever wrote (that I can get, anyway) and another one with every pretty cue he ever wrote...but I've never gotten around to doing it. Are you looking for a Spotify playlist of highlights, or something? I'm sure
  21. Huh -- if you're going to Frankenstein together a "best version" at some point from the two, I'd be curious which source you go with for each cue. Oh, by the way, while we now have "definitive editions" of every Goldsmith score for Schaffner, there are quite a few other great scores written for Schaffner films by other composers which are awaiting definitive versions: The War Lord (1965) by Jerome Moross with additional music by Hans J. Salter -- the existing album (released on CD by Varese) is pretty great but short (only a little over half an hour of music, with nine
  22. While it's certainly listenable and enjoyable to me, I think it was pretty noticeably recorded under less than ideal circumstances. But if it sounds completely normal to you vs. other Goldsmith recordings of the era, lucky you! When comparing with Star Trek: The Motion Picture recorded just one year before, the difference is pretty stark IMO. This is the first I've heard from someone who thinks the 2006/2013 version sounds better than the 2020 version, @Brundlefly. I don't notice any clipping but then I don't have fancy listening equipment. Yavar
  23. Yes but Brundlefly is saying that both Inchon and Lionheart are great compositions that could be more recognized as such if they were performed and recorded better (which would mean re-recording), which I think is fairly clear and reasonable to say. That can still be true even if the new editions of Inchon and Lionheart sound better than any previous editions. Jerry's music itself would still shine much more in a new recording. (That said I would want actual lost scores such as Black Patch or Pursuit to be prioritized for new recordings, personally, since otherwise we don't have them on album
  24. How did you mix things up? Technically speaking, I guess it is a bit more complicated. The first Schaffner-Goldsmith collaboration was, I'm fairly certain, an episode of the live TV program Playhouse 90 in the 50s. On that show in particular, Goldsmith met a number of directors he later collaborated with on feature films (being live TV means the communication between composer and director would be even closer than on a feature film), including Franklin J. Schaffner, John Frankenheimer, Buzz Kulik, and Boris Sagal (I guess Masada is technically a miniseries). As for The
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