Yavar Moradi

Which edition though? I will confess the FSM edition did little for me when I got it. But I adore the score now and cherish my LLL edition. Yavar

Personally I found this expansion to be a revelation, adding a ton of development and good variety to what was a fun but much more disposable score on the original half hour album. For $10 it’s a steal! Yavar

Yavar

Well to me it's more of a callback to Twilight's Last Gleaming and Damnation Alley (also in a nuclear context in both films, so I think it may have been an intentional reference!) Matinee was half a decade before Small Soldiers. Yavar

It came up in conversation with Intrada during our Matinee Soundtrack Spotlight recording several weeks ago. The Goldsmith Odyssey editor David Lichty happened to do a before/after comparison of one key cue, which you might find interesting. We are dropping the episode tomorrow night. Yavar

Hard disagree. It's absolute magic in the film itself -- just what it needed. Yavar

That’s what I want! Yavar

(Looney Tunes:) Back in Action

I like the Gremlins theme cameo and all the musical in-jokes throughout this clever score… but in terms of highlights it’s not even close. Yavar

Surely there must be a few exceptions though... like JFK I really hope doesn't include the original album. Blech. (Same goes for Born on the Fourth of July, to perhaps a lesser degree...) And I'm also good with how Presumed Innocent was done, presenting the unique album tracks at the end (the original album itself had some repetition). Yavar

It's not all set in stone besides first place and last place, but roughly: 1. The 'Burbs (forever my favorite; Jerry threw in everything and the kitchen sink and somehow it all gels together brilliantly!) 2. Looney Tunes: Back in Action (I know this may be high for some, and it's a somewhat compromised case since others had to finish the score due to Jerry's illness... but the sheer energy and creativity and complexity and variety of this score just boggles my mind that it came from a 74 year old man dying of cancer; it sounds like something written by a hungry up-and-coming John Powell of the period) 3. Small Soldiers (The Deluxe Edition was a revelation, as I said) 4. Explorers (works overtime to fix issues with the film) 5. Matinee (perhaps their most charming collaboration; even though it's 5th place I just love it) 6. Innerspace (I like a lot of it but it feels like less than the sum of its parts, to some degree) 7. Gremlins 2: The New Batch (better because more orchestral... though I don't like the Gremlins Rag arrangement as much as the original) 8. Gremlins (sorry Gremlins fans; I love the end credits and certain highlights, but a lot of the dated synth stuff is too grating for me) 9. "Boo!" (Amazing Stories) (it's...ok?) Now one conundrum is that for years I'd heard the story that Joe Dante collaborated with Jerry on the whole scoring of Twilight Zone: The Movie (after the other segment directors departed), and it would be quite high on my list of Goldsmith/Dante collaborations if it were true. But in our conversation earlier this month, Joe himself said he only worked with Jerry on his own segment, not the other three! So to be honest if just judging that segment of the larger TZ:TM, it might slot in just above "Boo!" now. Yavar

Oh really? Small Soldiers: The Deluxe Edition was a revelation for me (more than Matinee, because there was so much previously unreleased music). I never thought much of the original album, but in complete form it's now my third favorite Goldsmith/Dante I think! Yavar

Pretty sure it’s the studio and their lawyers that matter in this case. That’s why Quartet has done the definitive Total Recall and Basic Instinct — the studio in question didn’t grant Varese perpetuity rights. Yavar

Speak for yourself. For me the whole score is wonderful, and this previously-unreleased badass cue isn’t in the suite: https://www.dropbox.com/s/63xpcoqz1um2rkd/Number 4.mp3?dl=0 Yavar

I don’t find it forgettable; I just don’t like it much! Yavar

Huh! Maybe their streaming rights for the original album are in perpetuity but their physical album rights are not? Yavar

Yup that's exactly it! It was a surprise to me too, but Roger investigated and discovered Varese only had a term license, not a perpetuity one as they seemed to get 90-95% of the time throughout the decade. With Total Recall and Basic Instinct I think it had to do with the studio producing them not granting perpetuity licenses at the time (like how Disney wouldn't grant one to them for McNeely's Iron Will, which is how Intrada was able to expand that a few years ago), but I don't know what the precise explanation is with Matinee (Universal has granted perpetuity licenses on other titles I'm pretty sure). Yavar

The (first) crowdfunding campaign to record premieres of General Electric Theater scores by Goldsmith just successfully finished this morning (including a second score as a stretch goal)! https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith?ref=discovery_location If you missed it, I'm sure the two scores will be available for regular sale as lossless downloads later. And if at least two more GE Theater scores by Goldsmith can be successfully funded next, there will be enough music to justify a CD edition. Oh...and Intrada announced Matinee complete this morning too. It's a good day for Goldsmith fans. http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8918 Yavar

Except it wasn't expanded by Quartet, but Music Box (their first Goldsmith): https://www.musicbox-records.com/en/cd-soundtracks/11031-legend.html Yavar

Uh... you think Intrada was going to price SpaceCamp at $19 for a single CD? Last year they charged $22 for a 26 minute Goldsmith album. https://store.intrada.com/s.nl/it.A/id.12187/.f Yavar

Last call for anyone here interested… just over 80 minutes to go! Yavar

For anyone who's still somehow on the fence about supporting this (for so little money!), Leigh has just provided a third and final enticing sample of the "Sarah's Laughter" score, music Jerry Goldsmith wrote for the series in late 1959 (the episode aired January 3, 1960, two days after his first Twilight Zone) which apparently only survives in written form today: https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith/posts/3514151 The cue is titled "Birthday Present", and it's a nice little gift for us to receive as the campaign is nearing its (very successful) end! Yavar

Roger shared the Rare Breed and Story of a Woman news; Sugarland had been previously revealed, I think possibly on the FSM board by Mike. Yavar

Sometimes cues that go unused in the film are included on original soundtrack albums! Prominent examples date all the way back to at least The Blue Max by Goldsmith, which had major highlight cues omitted from the film entirely, and replaced with tracked music (or horribly truncated). For a film music album, why does it matter what was USED in the film rather than what was WRITTEN AND RECORDED FOR the film? Your logic is the kind that supports that terrible "Ultimate Edition" of The Phantom Menace, exactly matching all the music in the film -- to a fault (with edits and omissions of recorded music). For a more recent example that I personally worked on, we can look at Varese's new Deluxe Edition of Lionheart from last year. Goldsmith's masterful score for that film is perhaps even more badly treated within it than The Blue Max decades before! Goldsmith wrote and recorded two back-to-back cues for the film which introduced the theme for the primary antagonist ("Bondage" and "The Black Prince"). But they were left off both original volumes of music from the film, and left out of the film itself. I only knew these cues existed because I researched and found them listed on a (legal) website: http://collections.new.oscars.org/Details/Archive/71302978 So I knew for sure these cues were written, but were they recorded? I searched far and wide, with many different people, but long story short: Doug Fake of Intrada had them because he was there at the original Lionheart sessions (immediately preceding the sessions for Intrada's new recording of Islands in the Stream) and he had made a reference copy for himself. They weren't in as high quality sound as Varese's original album masters, but once I heard the transfer of those cues I knew they MUST be included on the new edition -- they are INTEGRAL to the architecture of the score as Goldsmith originally conceived it, because without them the theme for the primary antagonist is first introduced in an action cue where it's jumbled in with a lot of other musical material. It isn't established on its own in straightforward guise right beforehand, as it should have been, before Goldsmith plays around with it in that action cue. And even though those two cues constitute less than five minutes of music, they are a very important five minutes of music and the whole score program absolutely would have been diminished without them, no matter that they didn't appear in the film (which by the way almost nobody saw anyway, so why would you care what was in the film Bruce?) Yavar

Or you don't. The majority of people interested in an expansion want every note recorded for a film. (Do you dispute that, or do you just need them to still be unsatisfied or frustrated when a score is revisited for expansion?) Yavar