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Yavar Moradi

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Everything posted by Yavar Moradi

  1. And the Spotlight is ready! Enjoy, everyone... https://goldsmithodyssey.buzzsprout.com/159614/8553668-soundtrack-spotlight-goldsmith-at-20th-vol-3-the-stripper-1963-and-s-p-y-s-1974 Yavar
  2. OH PLEASE OH PLEASE OH PLEASE OH PLEASE let Bruce Timm bring back as many composers as possible from the incredible 90s series' Shirley Walker stable... Lolita Ritmanis, Michael McCuiston, Carlos Rodriguez, Carl Johnson.... literally anyone and everyone they can get back. Please, score gods. Pretty please. Yavar
  3. Oh yeah, the Russian theme and all its new variations is 100% my favorite thing about this score and the significant expansion. I actually popped in here to share the film The Stripper which is pretty decent (despite being taken away from Franklin Schaffner and recut and retitled against his wishes) and on is on YouTube for free: Yavar
  4. Just like in Great Britain, there are a ton of great Russian film scores by "known" concert hall composers of the 20th century. From Shostakovich to Schnittke, there's a ton of great stuff, and I totally agree Khachaturian fits right in there. Yavar
  5. Agreed...though on the new S*P*Y*S expansion it's the half hour of music (well, 34 minutes) that's the full expanded score and the glimpse through the keyhole Varese gave us 17-18 years ago was only 19 minutes. Yavar
  6. Cool. Wow we really went the opposite direction from Batfleck, with those ears. They are practically horns! But I'm in, regardless. Yavar
  7. Here's more detailed info about how the score was divvied up, which Mike Mattesino (who put the full isolated score track together for Twilight Time almost seven(!!) years ago now) posted at FSM in 2014: https://www.filmscoremonthly.com/board/posts.cfm?threadID=106527&forumID=1&archive=0 I for one would happily buy an album of the full score by the other composers, because they did fine work too even if Goldsmith's dramatic finale is the standout cue. Obviously he was incorrect about Goldsmith's cue being only 1 minute long, but I think it was because a little o
  8. Agreed it’s an awesome bonus; kudos to LLL for going to the trouble to include it! You can hear the shorter film ending of the cue (from the Twilight Time Blu-ray isolated score track) here early on in our Episode 16 podcast from a couple years ago: https://goldsmithodyssey.buzzsprout.com/159614/927433-episode-16-have-gun-will-travel-flaming-star-1960 It’s lossy podcast audio and if you want it in full lossless that Blu-ray is the only way to get it. I understand why LLL just put the longer original version on their Vol. 3 set though, especially if Jerry wasn’t involved in the re
  9. Curious what you and others think once you get your copies and listen! Yavar
  10. UPDATE: It is tons of fun! The score is so much more fleshed out now; it feels like a *score* instead of a jumbled grab-bag suite (still fun, admittedly) on the Varese box. There is a lot more development of the silly meandery main theme...but much more importantly, that fun RUSSIAN theme is all through this! On the Varese it was really only in two cues: "The Buy" near the end, and near the beginning my favorite cue in the score, "Anybody Got a Key?" But now it runs through the entire score almost as an equal counterpart to the main theme for the hapless Americans. It is introduced
  11. I'm particularly interested in a certain set of TV scores by not only Goldenberg but Gil Melle, Oliver Nelson, Patrick Williams, Jeff Alexander, Bernard Segall, Dick DeBenedictis... you know, a certain set of TV scores that has TONS more sales potential than anything else these talented composers ever wrote. There's even an original pilot TV movie score by Dave Grusin that could be included. Bruce knows of what I speak... Any other fans here? Yavar
  12. Oh man...sign me up for them mining some Golden Age Universal scores. All of those Miklos Rozsa noirs from the 40s in particular (a few of which were released on bootleg LPs, but I'd hope to get better sound on official CD premieres)... Frank Skinner's score for Hitchcock's Saboteur... oh yeah and his score for Arabian Nights is just wonderful. Yeah, I could definitely go for something old. Yavar
  13. I loved that film so I’d be onboard, though obviously they’d have to recast Cavill’s costar... Yavar
  14. The original album also had stuff like the (admittedly cool) Patrick Stewart narration which was not even in the film. I want a two disc set with every alternate and demo. Disc 1 would be all film versions of songs and score in chronological order. Yavar
  15. Make Track 1 of the Intrada LSO album (The Artist Who Did Not Want to Paint) priority listening, ASAP. My single favorite piece by Goldsmith and I like the incredible LSO version even better than the more intimate sounding original. Seriously, it's essential. Give it a try and maybe you'll be inspired to let the disc keep playing into Rio Conchos. Yavar
  16. All three scores in the trilogy are wonderful. I used to fantasize about Varese doing a trilogy Deluxe Edition box set along the lines of their Karate Kid set, since they control Cliff Eidelman's score (with some references to Poledouris) for the third score in perpetuity. But Free Willy 2 is by far the best of the three scores, IMO, but most people don't know it because only 10 minutes got released compared to almost half an hour for the scores on either side of it. That would be amazing. I know things it could be. I thought I knew what the three Golds
  17. And the music stays very good even as the films eventually get bad. If there had been a poll question about most consistent music from a series, I think I would have voted for Pink Panther. Love all the Mancinis, the Ken Thorne, and even the new Christophe Beck ones are fun enough. Yavar
  18. The Poledouris is almost certainly the long-in-the-works Conan the Destroyer...but I would be ecstatic for one of the two you mentioned. And more than anything else I want an expansion of Free Willy 2 -- the Sony soundtrack album only included three cues (about ten minutes) of that amazing thematic orchestral seafaring score, compared with its predecessor which also got a score/song combo album but which had almost half an hour of score and much better represented the highlights of that one. For Zimmer, Cool Runnings would be neat. For Elfman, I'd love for The Nightmare Before Christmas to
  19. Other important ones that could potentially be included... The Twilight Zone (technically started in October of 1959, so could I guess be disqualified even though it was primarily a 60s show) The Addams Family (they keep making more stuff in this franchise!) Lost in Space (there was the 90s film revival but also the recent Netflix series) Yavar
  20. I went with Star Trek for all of them, because Star Trek is better than everything. There is a TON of bad Star Trek, and even bad Star Trek music. But I also think for me it has the highest highs (including for music). For me the only one I waffled on was consistency. But I've only seen the original Psycho so can't judge that franchise really. I've seen most of the new Mission: Impossible movies and they were okay; I saw the first season of the original show and overall liked it better but never continued watching the rest of the show (and never saw the reboot). The James Bond film
  21. Varese-controlled so very unlikely to be in this series, unless LLL manages another sub-license like they did on the two Apes scores. Yavar
  22. 100% agreed, and dumping Pulaski after season 2 was a huge mistake on the part of the show. Nothing interesting happened with Crusher in the following five years... and the sooner her son Wesley could be out of the show too, the better. Yavar
  23. 15 more minutes for S*P*Y*S, almost doubling the length of the Goldsmith at Fox box suite. Hell yes. This is going to be fun. Yavar
  24. If you really love The Orville, you should at least try Star Trek: The Next Generation (maybe start with season 2 or only watch a handful of highest-rated episodes from season 1). The Orville is basically a love letter to The Next Generation. Yavar
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