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Yavar Moradi

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Everything posted by Yavar Moradi

  1. I understand the issues with Air Force One, though they aren't dealbreakers for me. U.S. Marshals I have absolutely no issues with (short cues/tracks are no problem at all for me, unless there are long silences between them or something) aside from the fact that I've never really warmed up to the score. Yavar
  2. @Brundlefly, to add to your 2020 list... Voyage to the Bottom of the Sea "Jonah and the Whale" expansion by La-La Land! And that's not all...according to Jeff Bond who produced this set, https://filmscoremonthly.com/board/posts.cfm?threadID=140523&forumID=1&archive=0 HOLY SHIT!!! I for one can't wait to see a tracklist! I reiterate: LOST (previously unknown to even exist) JERRY GOLDSMITH SCIENCE FICTION THEME TO BE PREMIERED ON THIS SET!!! Yavar
  3. Well, I'd just ask you to speak for yourself then, rather than declaring collectively "we're out of Goldsmiths" which isn't remotely true. Horner's Willow was an early favorite of mine when I would young, but at this point I consider it merely "good" (I'll take Krull almost any day), and an expansion of it a much lower priority than at least a third of the Goldsmith scores Varese still controls. Yet it's your #1 most wanted expansion at this point, despite the fact that we already got a very generous 73 minute album! Much of the unreleased music from Willow is variations on that same material (which itself was heavily indebted to a piece of folk music and several concert hall composers, of course). I just don't understand why that music, to you, is "must have" material while you dismiss the unreleased 20 minutes of music from say, The 13th Warrior which is a similar situation IMO. And 13th Warrior is one of the lucky ones, that got an original Varese release well over 30 minutes long. Many of these others like Love Field have had UNDER 30 minutes released! Yavar
  4. I just directly linked to their image itself, since someone at FSM helpfully provided the direct URL. But you're welcome. Yavar
  5. Can't wait to hear what previously unreleased Goldsmith might be on this, but even moreso... LEITH STEVENS sci-fi scoring! Seriously great and underrated composer. Yavar
  6. Not even close! Love Field has a central action cue (in the film) and a hell of a lot of other music (not in the film or on the original 28 minute album) still unreleased. I think an expansion of that would likely be a revelation. Speaking of more classic scores, The Other and both Flint scores are *over half unreleased*! Now we do have the Twilight Time isolated score tracks which double the time and give us an idea of all the other wonderful music that hasn't been put out on CD...but all three of these feature film micro-edits and such and even they are not the complete scores. The Mephisto Waltz is missing at least three cues as well as missing overlays and generally having an inaccurate mix on the previous Varese release. This is a masterpiece that needs a definitive edition. Medicine Man and City Hall are only missing 12-15 minutes of music, but I love both scores and want every note. Rudy and The 13th Warrior are generally beloved and even if the ~20 minutes of unreleased music is just more variations on the same material, I think it's still perfectly valid to want them...this is Goldsmith we are talking about, and he almost always did *something* new with each variation. Hollow Man and Along Came a Spider are not favorites of mine at all but they're missing a lot more music and I know many people do want them. And even though there are boots of varying quality, we *obviously* need definitive official editions of both Matinee and Looney Tunes: Back in Action (complete with the John Debney finale cues...so that there IS a finale to the score even if it doesn't quite reach Goldsmith levels). C'mon. Oh yeah...Timeline too! (Even though the boot sounds great...gimme officially licensed, all the way!) Oh yeah and "honorary Dante score" Mom and Dad Save the World has some great unreleased music (and the boot is TERRIBLE sounding). How could I forget? (So many people seem to.) Yavar P.S. you're the only one bringing up Criminal Law, publicist...even though I don't think that score deserves the hatred it gets it's not remotely one of my favorites, and I think the existing album is the complete score or very very close to it.
  7. Some fun behind the scenes stories about working on this and other Star Trek releases for LLL, FSM, and Intrada, here for your listening pleasure in the latest Goldsmith Odyssey Interview: http://goldsmithodyssey.buzzsprout.com/159614/3978677-odyssey-interviews-neil-s-bulk-part-1 http://goldsmithodyssey.buzzsprout.com/159614/3978893-odyssey-interviews-neil-s-bulk-part-2 Yavar
  8. For anyone curious about what Take Her, She's Mine sounded like before Chris Malone got ahold of it, Chris gave us a sample of the "before", which we incorporated into the latest Goldsmith Odyssey Interview with Neil S. Bulk, who also worked on that release. Check out our conversation if you have the time; we cover all or most of the Goldsmith releases Neil has worked on, over the years... http://goldsmithodyssey.buzzsprout.com/159614/3978677-odyssey-interviews-neil-s-bulk-part-1 http://goldsmithodyssey.buzzsprout.com/159614/3978893-odyssey-interviews-neil-s-bulk-part-2 Yavar
  9. For those interested, Neil S. Bulk talks about his several projects (Basic Instinct, Total Recall, and the most recent Great Train Robbery) for Quartet, including some fun behind the scenes detail, in this new Goldsmith Odyssey Interview: http://goldsmithodyssey.buzzsprout.com/159614/3978677-odyssey-interviews-neil-s-bulk-part-1 http://goldsmithodyssey.buzzsprout.com/159614/3978893-odyssey-interviews-neil-s-bulk-part-2 For those wondering what is unique about the new GTR, we cover a bit of that here. Enjoy! Yavar
  10. Haha I was struck by that too! (I was like...have I been pronouncing the film title wrong all these years? I've certainly heard the word as a verb pronounced the way he does, i.e. "I don't recall" but I don't recall hearing the NOUN version of it pronounced that way in any context before, if that makes sense...) For those wondering what we are talking about, I present: the latest installment(s) of Odyssey Interviews: http://goldsmithodyssey.buzzsprout.com/159614/3978677-odyssey-interviews-neil-s-bulk-part-1 http://goldsmithodyssey.buzzsprout.com/159614/3978893-odyssey-interviews-neil-s-bulk-part-2 It was a good chat -- @karelm @Fancyarcher @Brundlefly @Display Name @TownerFan @Mr. Breathmask @Faleel J.M. @El Jefe @Modest Expectations @Laserschwert @publicist @BrotherSound @Modest Expectations @Jay @Stefancos @Jurassic Shark let me know what you think! Yavar
  11. You seriously don't hear the similarity in the Main Title for both scores? Yavar
  12. Exciting update from James TODAY! https://filmscoremonthly.com/board/posts.cfm?threadID=136694&forumID=1&archive=0&pageID=1&r=585#bottom Yavar
  13. Yeah but I was replying specifically to Brundlefly's comment, which didn't seem limited to expansions: "I skipped every release from any pre-Jaws score that there ever was. From there on, it's just The River, Monsignor (which I am both willing to buy), Heartbeeps and SpaceCamp." Yavar
  14. Is it possible to hear Korzeniowski’s work anywhere currently? Yavar
  15. I had the opposite reaction. Already a fan of Korzeniowski, when I watched the first season of Penny Dreadful, I was swept away by his music — to me all very much in his established sweeping post-minimalist romantic style (the cue I posted illustrates that quite thoroughly I think, and it was also very powerful in the show), albeit dark (*at times*) ...frankly I consider it some of his best work, and perhaps the best TV scoring of the past decade. It is FAR superior to something like Copernicus’ Star, which has moments/cues of greatness that are pure Korzeniowski, but also suffers greatly from some obvious temp-tracking (Pirates of the Caribbean being the most egregious). Thor, writing this makes me question how carefully you really even listened to the three Penny Dreadful albums (I’ll already assume you didn’t have any interest in assessing his score in show context, where IMO it shines even more). Using Locke & Key as your “ultimate sign” that “Korzeniowski has been swallowed by more generic tropes” and is “without any trace whatsoever of his usual skill and style”... well, Thor, maybe that’s because Locke & Key was entirely composed by a composer named Torin Barrowdale? That’s uncharacteristically sloppy of you, to pass such dismissive judgement on Korzeniowski for a score he had no involvement in whatsoever. I honestly have no idea how you would make that mistake, which apparently has been quite the significant influence on your opinion of Korzeniowski’s post-R&J output. Yavar
  16. Agreed. Penny Dreadful is incredible. Surprised you don’t care for it, Thor. Yavar
  17. Wow, man — you skipped my FAVORITE Williams score of all time, JANE EYRE. You MUST check it out...it’s incredible: Huh? Of course all Varese single CD Club titles have $5 markup at other retailers because they don’t offer wholesale prices to them, but when buying directly from Varese it’s the usual $19.98... https://www.varesesarabande.com/products/cowboys-the-the-deluxe-edition It’s a wonderful score and the prior release didn’t remotely do it justice...I say get it as soon as you can! Yavar
  18. Guys Diamond Head is a drama, not a comedy... “Richard "King" Howland is a swaggering bigoted land baron living on the Big Island of Hawaii. He objects when his sister, Sloan Howland, announces she plans to marry Paul Kahana, a native Hawaiian, even though Richard is having a torrid affair with an Asian woman, Mai Chen. During Sloan and Paul's engagement party, Mai Chen's brother attacks Richard with a knife. Paul tries to break up the fight and is killed. Bitter at her brother for Paul's death, Sloan runs off to Honolulu where she is taken in by Paul's brother, Dean, and his family.” There’s more plot description too in the Wikipedia summary section, but that gets more spoilery and I think most of you can already tell this film’s not a barrel of laughs. https://en.m.wikipedia.org/wiki/Diamond_Head_(film) It was the first Williams soundtrack album for a film, I’m pretty sure, but definitely a dramatic effort. Yavar
  19. James Fitzpatrick's most recent post at FSM was just over two weeks ago (4/24): Not long to go now .... artwork and master should be going off to get manufactured early May .... https://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=2&threadID=138322&archive=0 Yavar
  20. Ah...well at the *very* top are the two Flint scores which are 60s, not 70s. And those films actually have a following...I guess you could think of them as the original Austin Powers films, spoofing James Bond but with an American agent played by the great James Coburn. Scores are *super* fun, with Jerry doing his own 60s spy thing rather than copying Barry. But the movies aren't crap or anything, and are somewhat fondly remembered still. As for The Ballad of Cable Hogue (the highest 70s title at the top) -- this is actually a *superb* film by the great Sam Peckinpah (The Wild Bunch). I highly recommend you see it if you haven't; it's unique, funny, and honestly emotionally powerful as well. I personally think it is Peckinpah's greatest film! (And Ride the High Country is what it is competing with, in my mind, though I do still like The Wild Bunch and recognize it as a great film as well.) Here's Ebert's review: https://www.rogerebert.com/reviews/the-ballad-of-cable-hogue-1970 I guarantee you this film would still be talked about even if Jerry Goldsmith hadn't scored it. (His score is marvelous in the film, by the way, but as an album listening experience is towards the bottom for me in terms of Goldsmith westerns.) The other two 70s films, The Mephisto Waltz and The Other, might fit your description of "obscure movies we'd all never be discussing if they weren't scored by a genius composer". They are somewhat well regarded by horror aficionados, I think, but I'm not one of those so I'm not sure on that. The Other was directed by the director of To Kill a Mockingbird. Raggedy Man is I think a fairly obscure movie, but at that point we are in the 80s, so not sure if you're including it in your comment. (And after that it's all 90s.) Yavar
  21. Ohhhh... the selling point there for me is that includes a little more music that was recorded at the LSO sessions but left off the original album because Jerry wanted it. Both versions sound pretty freakin’ amazing, let me tell you... Wall of Fire performed by the LSO is just awe-inspiring! Yavar
  22. I hadn't even realized that Intrada's reissue was remastered! (Or maybe I forgot.) I see now that they say it is slight: Doesn't sound like a huge improvement, if you already own the earlier edition. Great score though! Yavar
  23. Well that's for sure. And weird movies. And sometimes bad movies. Which among these looks weirdest to you? Yavar
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