Yavar Moradi

That's not Williams's quote. His quote went through "All unhappy". The rest of the stuff you added was the article's author putting his own spin on it which I think is REALLY a stretch (there is ZERO evidence to suggest Goldsmith was anything other than happy composing film music; his unhappiness came from elsewhere), a disappointing part of an otherwise good piece. Yavar

There was a promo?

That game also had an awesome Chad Seiter score, so it wasn't a total loss lol... Yavar

The L.A. Philharmonic actually has a history of recording Mexican film music that far pre-dates Gustavo Dudamel succeeding Esa-Pekka Salonen. May I introduce you all to an awesome film score called La Noche de los Mayas, from which Salonen recorded a great suite in the 90s? Dudamel did at least one movement with his Simon Bolivar orchestra: So I think there's a pretty good chance this awesome score is a central part of this new program. But I would be even more interested if they did any other film music by Revueltas or other Mexican composers... not that long ago Naxos did do a premiere complete recording of his very first film score, Redes (Waves), paired with Copland's very first film score: Good stuff! Yavar

I would love to get a new recording of Rambo III... not because it was poorly recorded but because it was poorly performed (Lionheart was noticeably performed better, IMO). And the orchestral End Credits from Rambo: First Blood Part II would be perfect to include with that. Excellent! Yavar

Oh I remember that answer in the other thread, I was curious about which single one you picked in this second round @Marian Schedenig. Check these out: Here's the point, in two tracks: Perfectly good! I think it works well in the film and is probably Jarre's best all-synth score. But this later orchestral arrangement I enjoy listening to much more on album: This I 100% agree with you on; it was my #1 choice too. The synth trilogy would be my last pick of these four options but I still would love to hear it and I think it's worth doing. Oh, Leigh still plans on doing it! He just wrote this in the FSM poll thread an hour or two ago: (bolding emphasis mine) And even that's not guaranteed. It's just a possibility. These polls might determine what Leigh starts tackling before Lionheart, or they might determine what he starts after Lionheart. He just endorsed my doing the polls because he was in a bit of limbo land with the Lionheart plans, and wanted to take the temperature of Goldsmith fans on what else they wanted. Yavar

This is the correct, healthy attitude to have. Yavar

I like what he did on III better though. More interesting because he put more of himself in it. Yavar

Which? Yavar

Very cool indeed! I asked him if I should run a poll, since there were so many good options we were discussing in our chat, and he was torn on what to do next. He immediately liked the idea and endorsed me doing it with the options I presented. I actually had a couple different options originally, but he wanted to keep it to six and wanted Lionheart to be one of them, but with that being added wanted people to initially be able to choose two options. Then I chose where to post it, starting with here and FSM but expanding it to also include the public Facebook group "The Cult of Jerry" for the second round, so that Leigh could share it from his own page there. He also agreed with me that a second round vote with the top decade winners from the previous round continuing would be good, and suggested we add Pursuit/Crawlspace as an option. (I had intentionally left that off the previous poll because I thought he wasn't ready to tackle that yet.) Yavar

Hey now Thor, you already voted at FSM

Doesn’t mean Lionheart won’t get done though! But yeah, even though Lionheart beat the Synth Trilogy by five votes in THIS forum, at FSM surprisingly the Synth Trilogy was a runaway 1st place while Lionheart was in last place! Yavar

The first round of voting eliminated some very promising possibilities -- not necessarily forever, only in terms of the next project prioritized. But this second and final round simplifies things with four options, one from each decade from the 1950s to 1980s -- please note the addition of the 1972 TV movie twofer, Pursuit/Crawlspace! Please pick only ONE option that you want MOST out of the following: 1. 1950s - Jerry Goldsmith at The CBS Radio Workshop (1956-1957): The centerpiece of this recording would be the great composer's very first true masterpiece, for the episode "1489 Words", basically a collection of four concert pieces featuring famous poetry set to music. Some people are already familiar with "The Thunder of Imperial Names" because it was later adapted into a concert work for wind band which has had multiple recordings released on album already, but never in Goldsmith's original orchestral version. But if you've never heard the other three incredible works that make up this program, you need to listen to this full radio episode. The opening piece "The Highwayman" is going to blow you away, I promise -- just imagine it in modern sound quality! 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, with fascinating and unique scores from a whole host of subjects, from scoring the Twilight Zone-esque "Jacob's Hands" to the Shakespearean "Hamlet Revisited"! 2. 1960s - Thriller Volume 3 (1960-1961): This important option would "close the book" on Goldsmith's output for the series, after the two fantastic volumes of suites that Leigh Phillips co-produced for Tadlow Music years ago. Four excellent Goldsmith scores remain unrepresented on album, and in addition to highlight suites from those Leigh also plans to tackle suites 2-3 of Morton Stevens's series scores as well (including the fan favorite "Pigeons from Hell"!) to fill out the disc. To hear excerpts from each of these episode scores (taken from the DVD's music & effects tracks), please listen to this podcast conversation with Leigh: https://goldsmithodyssey.buzzsprout.com/159614/8425660-odyssey-interviews-leigh-phillips 3. 1970s - Pursuit/Crawlspace (1972): These two TV movies released in the same year are definitely Jerry Goldsmith's greatest feature-length works which are yet unreleased (except for a single cue from Pursuit on a Silva compilation). The original tracks seem almost certainly lost forever, so a new recording is probably the only way these will ever happen. Here are the "Advance Liner Notes" I did at FSM years ago, both of which link to accompanying video of the films you can watch online to hear every cue: https://filmscoremonthly.com/board/posts.cfm?threadID=117275&forumID=1&archive=0 https://filmscoremonthly.com/board/posts.cfm?threadID=116952&forumID=1&archive=0 4. 1980s - All-Synth "Trilogy", Orchestrated (1984-1988): Not meant to replace the original all-synth versions of Runaway, Criminal Law, and Alien Nation, this will be something of a re-imagining by Leigh Phillips for orchestra with synth elements, allowing Goldsmith's compositions to flourish in a new context not hampered by budget. 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 roughly 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. Have a listen to Leigh's mockup of some action music from that score, which gives an idea of what it could sound like if performed by an orchestra. In my opinion it's something of a revelation: https://mega.nz/file/eyQVAZaA#UqwCtT_L9TCdzlLU7Ox0KxMwE6BwGADwgiCjKYun_Xo And here's a mockup he produced for Runaway (which to my ears has the most dated synths of the three): Happy voting, all! Yavar

I know and love the theme! I personally still hold out hope that the original recording will be released on album along with Joel Goldsmith’s orchestral scoring for the series. I feel the same way. CBS Radio Workshop is my #1 pick. I’ll set up the new poll here soon so we can vote in round 2 😊. EDIT: here's the new poll for folks --

Ok folks! Here are the results from the first round of voting, combining this forum's votes with those at FSM: 1st PLACE: the All Synth "Trilogy", Orchestrated with 49 votes! 2nd PLACE: Lionheart with 37 votes 3rd PLACE: Jerry Goldsmith at The CBS Radio Workshop with 35 votes 4th PLACE: Three Western Premieres by Jerry Goldsmith with 33 votes 5th PLACE: Thriller Volume 3 with 31 votes 6th PLACE: Climax Mystery Theater with 21 votes Here's what we're gonna do and it breaks my heart a little bit because some of these are my babies (Three Western Premieres did SO well at both forums!) ...but after discussing with Leigh, we have to let some go for now, and hold a second and final round of voting. Prompted by a point someone made at FSM, Leigh and I both like the idea of having an even spread over four decades if possible, going with just the top round one vote earner for each decade. And to my surprise he has acquiesced to add a NEW voting option, so that the 70s are represented! Here are the options for the second round of voting: 1. 1950s - Jerry Goldsmith at The CBS Radio Workshop (1956-1957) 2. 1960s - Thriller Volume 3 (1960-1961) 3. 1970s - Pursuit/Crawlspace (1972) 4. 1980s - All-Synth "Trilogy", Orchestrated (1984-1988) I'll have to start a new poll thread for these four options -- only one vote allowed each person, this time!

This is actually how I feel about Powell in general, and why I pretty much regard him as the modern Goldsmith. He's ALWAYS doing something interesting even in "throwaway cues" (i.e. those really just don't exist, for him). There's no tiresome repetition. He's always varying something. Yavar

I'm in for both Andor and Moon Knight for sure. Andor was not a good series. Andor was a f'ing AMAZING series... particularly the prison arc with Andy Serkis. Holy shit... I think that's honestly my favorite Star Wars, EVER. Like...better than Empire, even. (And no, musically it's not better than Empire of course but I actually do love most of the scoring for Andor even though most Star Wars fans seem to hate it.) Yavar

There's also more details about the organ needing to be re-recorded in Young's main video for the campaign. Yavar

That's a great Desplat program! My main disappointment is that The Curious Case of Benjamin Button was left off. Yavar

Same. And based on the 10.5 minute suite I've heard I think this may be his magnum opus. Intrada raised over 60k for their most recent (third overall) Kickstarter, the album for which just won an IFMCA award: https://www.kickstarter.com/projects/129145902/on-dangerous-ground-the-man-who-knew-too-much-new-recordings Yavar

Shared at the John Barry group on Facebook: And from @bruckhorn’s link which you quoted: Yavar

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

You should be. It’s one of Barry’s best and my personal favorite! Yavar

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

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