Yavar Moradi
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Posts posted by Yavar Moradi
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That's why I provided ways to become familiar! Check out the cue two minutes into the Climax episode "A Matter of Life and Death", for example... or literally ALL 24 minutes of the masterpiece that is "1489 Words" (CBS Radio Workshop).
Yavar
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47 minutes ago, Jurassic Shark said:
Then I'd like more synth-less scores!
Then pick what intrigues you most out of the first four options, because those are all synth-free!
Yavar
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Leigh wanted me to include it as an option to gauge interest, but if you’re honestly more excited for two other things I don’t think voting for them will make Lionheart unlikely to be run as a campaign. It just might not be put on the front burner quite as quickly.
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I'm definitely a Moon Knight fan! Very cool.
Yavar
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Over the course of the past two years Leigh Phillips has successfully self-produced new recordings of 79 minutes* of previously unreleased Jerry Goldsmith music written for eight episodes of the long-running TV anthology series The General Electric Theater (*including the gorgeous 9 minute bonus score called "Autumn Love", written for the CBS Music Library in the late 1950s). Last year Leigh already announced his intention to produce a new recording of Lionheart in 2024, but this is a mammoth project which requires a great deal of planning and materials. There is a chance he might be able to start a smaller project beforehand, and so with his blessing we are going to conduct a poll online to see what film music fans might be most excited for him to tackle next. At Leigh's suggestion I'll still include an option for Lionheart for folks who truly see that as their highest priority (the prospect that they are most eager for) out of these, and allow TWO votes for each person, from this list.
This vote absolutely WILL impact what Leigh prioritizes next, so please don't hold back in sharing your thoughts and preferences here! (But please don't suggest other titles not on this list of options, such as In Harm's Way or The Satan Bug -- these are bigger projects and Leigh doesn't want to consider any of those until Lionheart is done.)
1. Thriller Volume 3: Fairly self-explanatory... as a follow up to the two beloved Tadlow Music volumes co-produced by Leigh years ago, this would include suites from the four remaining Goldsmith scores for the series which have not yet received modern recordings, plus suites from three Morton Stevens scores. To find out the scores Leigh has in mind, plus hear samples from them (taken from the DVD M&E tracks), check out this short podcast conversation with Leigh:
https://goldsmithodyssey.buzzsprout.com/159614/8425660-odyssey-interviews-leigh-phillips
2. Jerry Goldsmith at Climax Mystery Theater: Uniquely in his entire career, Goldsmith was the primary composer for this live (and originally in color, for those with the right equipment!) anthology TV series during its entire four-season run. With a few exceptions, whenever an episode required original music, he was the one who provided it. But unfortunately, many of the easily-accessible extant episodes of this series are ones which didn't require original music, so we have exactly three hourlong episodes in our possession for which Leigh could reconstruct the scores by ear, and use to produce a new recording: "Dr. Jekyll and Mr. Hyde" (written for only three instruments in 1955, Leigh is a particular admirer of this one and would like to let it shine in modern sound), "Trail of Terror" (which has a lovely romantic theme that stands out in a few cues), and "A Matter of Life and Death" (my personal favorite -- just watch at least the beginning of this episode and marvel at the thrilling opening cue which sounds like fully mature Goldsmith, around 2 minutes in):3. Jerry Goldsmith at The CBS Radio Workshop: Aside from "The Thunder of Imperial Names", re-arranged for wind band, none of Jerry Goldsmith's radio compositions have ever been released on album. That was one of four segments of the CBS Radio Workshop episode "1489 Words" which I and my cohosts at The Goldsmith Odyssey regard as Jerry Goldsmith's very first masterpiece, written earlier in 1957 before he even tackled his first film score Black Patch. Basically a series of four concert works setting famous poetry to music, conceived for narrator and orchestra, each one of them is a gem but especially the first lengthy segment "The Highwayman" which is positively spine-tingling at times. If you don't know this work already, check it out here in its original radio version narrated by Jerry's friend, actor William Conrad: https://www.youtube.com/watch?v=QFleK1sVxQs
For this new recording project, a version of all four pieces both with and without narration would form the centerpiece of the final album. 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.
4. Three Western Premieres by Jerry Goldsmith: The western genre was one in which Goldsmith particularly excelled, and we have access to three projects he worked on which have never before been released on album: the dark score for the lost 1959 feature-length Playhouse 90 "Out of Dust" (IMDb's synopsis: "On a cattle drive across the prairie, the sons of a wealthy cattle baron plot his death"), a contrastingly light and energetic score for the unsold 1961 half-hour pilot "Mister Doc" which eventually was folded into the final season of The General Electric Theater (IMDb's synopsis: "Western comedy about a pharmacist and his son at the turn of the 20th century"), and last but not least Goldsmith's final work for CBS Radio, the 1958 western adventure series Frontier Gentleman, for which he composed the main theme and three full episode scores. Listeners of The Goldsmith Odyssey will remember that from our pilot episode, where we played some excerpts from all three Goldsmith scores for the show:
https://goldsmithodyssey.buzzsprout.com/159614/653347-episode-0-live-television-and-radio
5. Jerry Goldsmith's All-Synth Scores, for Orchestra: Alien Nation and Runaway seem generally well-liked, but with the latter in particular I think most Goldsmith fans tend to agree that the composition itself is much better than the very dated synths. Since Jerry basically "orchestrated" that score for synthesizers, I have long thought it would translate particularly well to a real orchestral ensemble, with synth being just an added element for some sci-fi flavor. Goldsmith's other all-synth score Criminal Law may be one of the most generally-hated scores of his entire career, but wait until you listen to this Leigh Phillips mockup which gives an idea of what it could sound like if performed by an orchestra. In my opinion, it's like hearing a whole new score!
https://mega.nz/file/eyQVAZaA#UqwCtT_L9TCdzlLU7Ox0KxMwE6BwGADwgiCjKYun_XoLeigh 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 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.
6. I am most eager for a new recording of Lionheart.
HAPPY VOTING! (Remember, you can choose TWO.)
Yavar- Tom Guernsey and Steffromuk
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On 22/2/2024 at 12:27 PM, Edmilson said:
Judging by the competition, I'd say Williams's win was well deserved. Though I still want to listen to The Piper. Love CY in his "horrific" mode.
You can hear three different excerpts from it in the IFMCA awards announcement video:
I'm glad Dial of Destiny and The Piper won their respective genre categories, but my score of the year was (quite unexpectedly, as I heard it at the very last minute) The Peasants, written by a total newcomer to film music who's primarily known as a rapper. This was not on my 2023 film music bingo card but WOW is it an incredible, unique, and memorable score... gorgeous melodies too. With apologies to Hisaishi/Boy and the Heron and Powell/Migration, both of which are fantastic, I think it's an even better animation score.
Yavar
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5 hours ago, DarthDementous said:
Ya can't say that and then not post the track
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1 hour ago, Cameron007 said:Gotta love how no one cares that the song isn't included. Speaks volumes.
I gotta disagree with your characterization that "no one cares that the song isn't included". I think a lot of fans care that the song isn't included -- they're super grateful and relieved that it was left off!
Yavar
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On 21/02/2024 at 4:53 PM, HunterTech said:
It's definitely an interesting pick. I certainly appreciated how varied Nope was in its sound, even if the standout track was one that he'd already written years prior:
8 hours ago, DarthDementous said:Oo he's got orchestral chops, that could bode well indeed
I still really dig the original 10+ min concert piece which is on YouTube (the same performance Jordan Peele ran across, apparently!)
So awesome.
My favorite new music in Nope is honestly his Morricone western homage...one of the very best I have ever heard.
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Exactly, @Raiders of the SoundtrArk. I think @Nick1Ø66 if you were to see the film, and then watch some of the TV episodes Clarkson directed, you would be dumbfounded at the difference. No way in hell did she approve this sloppy, technically incompetent, work. I'm not saying she's some amazing director and there was a great film to be found in this, but she's been directing TV for a couple decades now and the half hour I saw of this film is far more amateurish than any TV show I've watched.
Yavar
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2 hours ago, crocodile said:
Interesting choice. We shall see. I quite like Us.
Easily the best creepy choral piece since The Omen's "Ave Satani", IMO!
Yavar
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I had to walk out of Madame Web after only half an hour it was so bad. Clarkson did a lot of very good directing work on TV before this (multiple very cinematic shows like TURN, Jessica Jones, and Succession) so yeah I totally believe she was largely fucked over by meddling incompetent Sony executives on this.
Yavar
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Honestly the 2006/2013 edition is very good too. I found the 2020 only a slight improvement over that master, though it was nice to have the full score chronological without Goldsmith’s trims and edits.
Yavar
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It’s not bad at all, but very good! It’s definitely the best-sounding and most complete release of the score up until that point. I’ve been enjoying it for years. If you want to sample it, it’s on YouTube (albeit not in lossless of course):
8 hours ago, Marian Schedenig said:Ultimately, the only thing you're saying (over and over again) is that nobody should ever call a release "complete", "ultimate", "definitive", or anything similar. What I'm not sure is whether you'd be ok with anyone releasing music as long as it doesn't have any of those labels.
The funny thing is that even though JTW keeps saying Intrada falsely marketed the 2020 release as “definitive”… they didn’t mention that word in their 2020 announcement:
https://www.filmscoremonthly.com/board/posts.cfm?threadID=142438&forumID=1&archive=0
Yavar
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To be clear, in your case @Trope I'm not laughing at you for being ridiculous, but because your sense of humor amused me.
14 hours ago, JTW said:These are two identical Sets physically, the biggest difference is the improved sound quality and a couple of different takes. Intrada should automatically provide those who have proof they have the 2020 Set, a “replacement” copy. That would be fair on their part. Period.
14 hours ago, JTW said:That’s not how an honest business is conducted. If you said about one of your products that it was a “complete and definitive version”, and later you re-release the same exact product with a better configuration, the least you should and can do is to offer EVERYONE who believed your marketing and bought the original product you told them was “the best it can be”, to compensate them in some way, otherwise you’re simply deceiving them and that’s how bad business works.
14 hours ago, JTW said:To NO extent. Totally different Sets. Different design, different amount of music, different liner notes, different number of discs, different sound quality.
Intrada’s two Inchon Sets are physically identical. Same design, same amount of music, same number of discs, almost identical liner notes.How do you know that about the liner notes already without reading them? But what really confuses me is... are you angry because this is the "same"/"identical" product, or because it's been "impoved"/made "better"? Because they both can't be true at once. The 2006 and 2013 editions are virtually identical. Not just the same number of discs but same number of tracks, same sound quality, same notes, and almost the same packaging. I do recall some people were upset in 2013 that Intrada was "lowering the value" of their edition which had been strictly limited to 1500 copies which sold out in like two days at the time.
14 hours ago, JTW said:No. I’d rather they conducted an honest business and when reselling the same exact product with a different configuration, compensate those who due to believing their original marketing bought the original “definitive” product and now can’t buy the same exact product with a better configuration. That would be the honest and fair thing to do on Intrada’s part.
Again, you seem to be contradicting yourself. Either it's the same product (as the 2013 one was, essentially, compared to the 2006) or it's a new product "with a better configuration" which you're upset about being better than the one you have (which itself was at the time a new and improved product with a better configuration, compared to the earlier editions). Which is it? In your later post where you provide back cover images it's clear that Disc 3 of the 2024 edition has five additional tracks when compared against the Disc 3 from 2020. So it seems clear to me that it's not "identical", even apart from the matter of sound.
Yavar
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19 hours ago, Faleel said:
To be fair, a bit of a false equivalence, as 4K is not the same format as DVD.
All of the Inchon releases have been the same format, right?
Yes they have, and I appreciate your nuance. I don't really agree it's a false equivalence because it's still a case of a Hollywood studio (or home video label) later putting out an improved edition of a film which renders the earlier edition obsolete and inferior. That's the case JTW is angry about here and I regard format change as rather incidental to that. But fine, if you don't want to jump formats there are plenty of examples of a DVD or Blu-ray being released as the BEST version of it available on home video at that time, and then a couple years later a full expensive restoration of the film elements is undertaken and lo and behold, a new BEST version comes out in the same format. I don't think purchasers of the previous edition, now rendered inferior, are entitled to free copies of the new edition.
I have over a decade and a half of experience in the music industry. Not really in the world of film music but rather classical music, as a buyer for the retail operations of performing arts organizations (3.5 years with the L.A. Philharmonic, most of that at the Walt Disney Concert Hall's LA Phil Store, and now going on 11 seasons with the Santa Fe Opera Shop). I also managed Joel's Classical Shop in Houston (now moved and renamed as Classical Music of Spring, because the original founder/owner passed away) for over two years, seeing it through the tricky period of its transition to new ownership. Believe me when I tell you I've seen it all, in terms of ALL the major classical music labels (and a fair number of smaller independent ones too) reissuing, remastering, repackaging, recombining, revisiting, etc. And yes, some of those were new SACD editions of things that had only been on CD before, or Blu-ray Audio editions of things only on CD or SACD before. (Almost always the SACD editions were hybrids that also had a regular CD layer, and oftentimes the Blu-ray Audio editions would include separate CD copies which were also based on the rebuilt master that was the same source for the Blu-ray Audio disc.) But the vast, vast majority were just new editions on CD, frequently claiming improved sound and sometimes featuring never-before-released bonus tracks and such.
And if some folks in film music land think that Inchon or Die Hard or Predator or The Blue Max have been reissued too many times in new-and-improved editions, and get resentful of their old editions being rendered inferior, WOW do I hope these disgruntled persons never get into the wide world of classical music because their brains will completely short-circuit. Basically, the music collector market dictates this! It's a rare and special even for a film score to get newly recorded; very few film scores have been recorded twice much less three times like say Vertigo. But there are literally HUNDREDS of recordings of the Beethoven symphonies. New ones get produced and released on album every. single. year. And yet even though say the Osmo Vanska Beethoven cycle on BIS is a spectacular modern multichannel recording in state of the art sound released on hybrid SACD for a very reasonable price, and his interpretation of the symphonies is so fresh and exciting it made them come alive again to the ears of this poor jaded classical music fan who's heard enough of the Beethoven symphonies (except maybe the super underrated fourth) to last a lifetime already... Deutsche Grammophon is still going to keep releasing new and improved editions of their classic Karajan cycle (actually Karajan recorded a full Beethoven cycle at least three times!) over and over, for the rest of time until our species destroys itself.
When a recording is popular and keeps selling, it will keep getting reissued (as long as licensing is still possible -- I realize that sometimes it isn't, in our world, because a licensor stops cooperating as with Warner Bros. a few years ago). And if improvements are possible, a label is likely to do them because it will ensure better sales. Simple as that. But with JTW, it's like he's never encountered this phenomenon before -- even though he participated in it with the 2020 edition of Inchon -- Intrada's fourth release of the score in their long history with it!
On 15/02/2024 at 11:55 AM, JTW said:I wish you understood those who purchased this Set because Intrada told us that that was The Best and Complete Edition. Only, as it turns out, it isn’t. So Intrada says fu everyone who bought the previos set. So forgive us if we are pissed off.
21 hours ago, JTW said:Intrada has screwed me and everyone who bought the 2020 Set because they told us that that was the definitive edition of the score. Now they are saying it isn't and are offering the same Set with better sound quality and expect us to buy it if we want the new definitive edition. That's false advertisement, and they are not doing anything to resolve the situation for those whom they convinced to buy the 2020 Set. Yes, if a thousand people bought the 2020 Set, then yes, Intrada should provide all one thousand of them with a free goddamn copy of the 2024 Set!
Because that would be the fair and honest thing to do, no matter how much that costs them, because it cost me and all the other one thousand people our hard-earned money to pay for that Set to Intrada. They told us to buy that Set, and now they are telling us that that Set is no good anymore. Well that's just unacceptable, whether you agree with it or not.
9 hours ago, JTW said:I bought the previous set four years ago, and now I can’t buy this one, so instead of Intrada giving me a free copy since I bought the “definitive one” already, they’re telling me to buy the new one if I want to listen to it. Absolutely unacceptable marketing and customer service. These are two identical Sets physically, the biggest difference is the improved sound quality and a couple of different takes. Intrada should automatically provide those who have proof they have the 2020 Set, a “replacement” copy. That would be fair on their part. Period.
So I got a question for you, @JTW -- you were happy enough at the time with Intrada putting out their 2020 3CD edition of the score. You bought it, secure in the knowledge that it was "definitive", and you believe only 2020 edition purchasers are entitled to a free copy of the new 2024 edition from Intrada.
...why don't purchasers of the previous 2006/2013 edition matter to you? When the 2006 2CD edition came out, Intrada acted like that was the definitive-as-possible last word on the score, to the point that when they reissued it seven years later in 2013, it actually was a wholly identical master, with only the slightest changes in packaging! But in 2020 you didn't want to torch Intrada, even though they were rendering all copies customers had purchased of the 2006 and 2013 editions (and I might add, their original 1988 expansion) "obsolete". 2020 was the first time they redid the edits and everything in high resolution, but they were using the same source as the 2006/2013 edition. So did they have an obligation to send copies of the new edition to all previous customers back then? No, you don't care about that because you weren't among those customers (as I was!) -- you were just among the new customers purely benefitting from the new edition. And you're only so very upset now because now it's happened to you. Interesting.
Yavar
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That's my favorite element of the entire score too. I especially like the duduk accompaniment.
Yavar
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1 hour ago, JTW said:Thanks for protecting Intrada's interests.
Ouch, you got me! I'm such a disgusting shill because I live in reality and don't think Intrada is obligated to go out of business so that you and everyone else who bought Inchon in the past can have a free new copy.
1 hour ago, JTW said:I purchased the 2020 Set, and I can't purchase this new Set.
If you can't because you don't have the disposable income in 2024 that you used to have in 2020, I'm sorry to hear that (and I've been there, man, not being able to buy new film music releases for years in a row because I didn't have the stable financial situation to afford it).
1 hour ago, JTW said:Intrada has screwed me and everyone who bought the 2020 Set because Intrada told us that that was the definitive edition of the score. Now they are saying it isn't and are offering the same Set with better sound quality and expect us to buy it if we want the definitive edition. That's false advertisement, and they are not doing anything to resolve the situation for those whom they convinced to buy the 2020 Set.
Yes, if a thousand people bought the 2020 Set, then yes, Intrada should provide all one thousand of them with a free goddamn copy of the 2024 Set!
And this is the part of the story where most people start looking at you funny. This is just, simply speaking, nuts. If you were in Intrada's shoes you wouldn't do that in a million years.
There is absolutely ZERO basis for your claim of "false advertisement". Intrada didn't lie in 2020; as far as they knew that was the best the score was ever going to sound, because they were working from first generation elements. I'm pretty sure they DON'T expect everyone who bought the 2006/2013/2020 editions to re-buy now. But for anyone who loves the score enough and has the disposable income to afford a new edition, Intrada is bringing the title back into print sounding as good as it can sound. Since they now know that the backup safeties had better sound, if they just put out a straight reissue without any improvement at this juncture, THAT would be the dishonest move.
1 hour ago, JTW said:Because that would be the fair and honest thing to do, no matter how much that costs them, because it cost me and all the other one thousand people our hard-earned money to pay for that Set to Intrada. They told us to buy that Set, and now they are telling us that that Set is no good anymore. Well that's just unacceptable, whether you agree with it or not.
It's unacceptable for you, and maybe a few other entitled people. And frankly, you can go ahead and keep crying about it I guess.
Most film music fans understand at this point that occasionally new editions will come out that are improvements over the old editions they have, and that they can CHOOSE to buy the new editions if they have the disposable income and feel so inclined. Intrada NEVER said their old set "is no good anymore". That is YOUR assessment. Plenty of us have been enjoying that set for years now... or the 2013 set...or the 2006 set.
I guess when new 4K editions of films come out from Hollywood studios, you send their home video departments angry letters telling them they owe you a new copy of the film, because when you bought a DVD copy they told you it was "the definitive edition" and now with the new release (from the same elements they've always had) it turns out they LIED to you and your old set is "no good anymore".
Good grief. With the messed up world we have, THIS is the crusade you choose to go on, I guess.
1 hour ago, JTW said:And if you can't understand our position, then I don't have anything else to say to you, man, because either you're biased or you can't comprehend the situation.
I have far more comprehension of the situation than you do, and a whole lot more perspective on it. Plenty of other people here have chimed in with reasonable takes on this situation. You're the one whose sense of entitlement has seemingly overwhelmed your ability to comprehend reality. But if you "don't have anything else to say" to me, then I guess I'll take that as a win. The JWFan board software literally just informed me at the bottom that you wrote another reply to me though, lol...
EDIT — there it is!
15 minutes ago, JTW said:And you can laugh all you want, @Yavar Moradi, but your attitude isn't helping Intrada's case one bit. On the contrary, it's making them look bad.
All I see here is you making yourself look bad. So I'll keep laughing at you whenever you make another ridiculous and entitled post that says Intrada is "guilty of false advertisement" and is obligated to go out of business because they didn't test the mixed down Len Engel safeties sooner.
Yavar
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2 hours ago, JTW said:No. I would prefer if they would give a free copy to everyone who bought the 2020 3-CD Set, that would be the faur thing to do, otherwise this is a deliberate cash-grab and giving the finger to their customers.
I'm sure at least 1000 people bought the 2020 3CD set over the 60 days it was available. Probably even more. Do you have the slightest idea how much money Intrada would lose if they did that? There is ZERO incentive. If everyone had the same sense of entitlement you do, Intrada would be far better off just keeping to themselves that they discovered a better sounding version was possible. It's not Intrada "giving the finger to their customers" in the slightest. It's Intrada wanting to make a better sounding version available to those who are interested, and replacing all the previous buyers' copies is not REMOTELY practical.
As for "deliberate cash-grab"... you're a bit confused about how businesses work, I guess?
In any case, it's funny that you think only customers of the 2020 edition are entitled to this new edition for free, since that's the edition you happened to buy. So I guess it's just tough luck for folks who skipped the 2020 edition because they already had the 2006 or 2013 edition, which were from the same sources? How come in 2020 you weren't demanding that Intrada send replacement copies to 2006 and 2013 purchasers?
2 hours ago, JTW said:You’re such an understanding and loyal customer when it comes to Intrada. I wish you understood those who purchased this Set because Intrada told us that that was The Best and Complete Edition.
*I* purchased the 2020 set because Intrada told us that that was the best and most complete edition. And, at the time, it WAS! And furthermore as far as Intrada knew, that was going to be their final physical edition of the score because they were transitioning it to digital download only!
I simply understand that Intrada is a business and the people who run it are human beings who are passionate about film music like you or I, but they sometimes make mistakes and overlook things. There is not a single label out there that's perfect and never goofs on anything. Not LLL or Quartet or FSM and certainly not Varese Sarabande!
2 hours ago, JTW said:Only, as it turns out, it isn’t. So Intrada says fu everyone who bought the previos set. So forgive us if we are pissed off.
Again, this is far from the first time this has happened from Intrada or ANY other label. So yeah, you can be annoyed, or frustrated. But to act publicly like Intrada set out to rip off their customers and simultaneously demand that they send out replacement copies to all purchasers of the 2020 edition is, frankly, unreasonable and out of touch with reality.
1 hour ago, JTW said:They didn’t purposefully swindle the customers, but the way they’re handling this situation is not professional, to say the least.
According to you, the only professional way to handle this situation is for everyone at Intrada to slit their wrists by way of apology, figuratively speaking. Is there anything they could have done differently to satisfy you, besides sending you and every 2020 edition purchaser a free new 2024 3CD set?
2 hours ago, HunterTech said:Given labels have been upfront about how approvals from studios can really fuck over when releases come out (we're seeing this with Nightbreed and Octopussy), plus the fact every previous edition of Inchon has sold well for them, I really don't know why we must ultimately remain angry that they're basically doing what they can to keep doing business. Could things have been handled better? Sure, but I at least appreciate the transparency versus baselessly speculating that re-releases like these are purposefully designed to swindle the consumer.
Exactly. All of the labels have been dealing with insane approval delays and such, moreso this past year than ever before. I think Inchon is either a rare title they have perpetuity rights on (see also: Tombstone) or, at the very least, a title which they have a *very* long-term license on. So if they've got a hole in their schedule brought about by other titles being long delayed, it makes sense that this one would pop up more frequently as it's more straightforward.
42 minutes ago, HunterTech said:I know our sense of time has gotten severely warped in recent years, but is four years really too soon for this? Poor LLL had to deal with getting the better Die Hard materials after barely just repressing their previous edition of the score. It's kind of where the ill-conceived notion of labels deliberately withholding stuff came from for some, even.
Indeed, there have been far shorter spans of time in between editions of a score, just like the example you cite.
Yavar
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And of course he was also a fairly memorable part of The Kingsman franchise. Dude’s been in a lot!
Yavar
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The rest of his post didn’t really seem sarcastic, so I read his tone as differently than your post which was all about being silly and not because you actually thought those things.
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It's unfortunate, and I certainly wish I didn't have to spend $30 + shipping on Inchon again, as I already spent full price on the 2006 and 2020 editions, myself. But I understand why it happened (I too would assume it to be a waste of time and money to transfer tapes later mixed down as backups, rather than the earlier generation source), and I for one appreciate Intrada's honesty about it since they could have just said that a better-sounding source for the score newly turned up, rather than admitting that it was sitting there under their noses the whole time.
And again, this isn't the first time this has happened to a label. See Star Trek II.
And even if a better source hasn't been uncovered one way or the other, labels have revisited popular selling titles over and over, as with The Blue Max or the Williams JPs I mentioned. The latter had additional alternates/film versions added, similar to how Intrada has now added a few more alternates on Inchon. Of course the labels try to entice some repeat buyers. They have to make a profit on these things in order to keep going.
But what really pisses me off is the suggestion that Intrada deliberately withheld a better sounding source all these years, just so that they could dupe customers into buying yet another version.
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6 hours ago, JTW said:
And a “let’s not use the best available master tapes so that we can later re-release it and laugh at those fools who bought the previous release” step.
So let's see if I have this conspiracy theory of yours right... you think Intrada knew that the Len Engel mixed-down "safeties" sounded better four years ago, and deliberately didn't use them on that release, so that four years later they could make the same "fools" (which is how they think of their customer base) buy it all over again. Is that about it?
7 hours ago, JTW said:This is really annoying honestly. I spent good money on Inchon day one in 2020, and now four years later it’s re-released again, only with improved sound quality and different bonus tracks.
Would you have preferred they waited another couple of years? Would that have made it better? Or would you prefer they just keep the better-sounding source they embarrassingly discovered later hush-hush, horde it for their private use but never release it for Goldsmith fans to have the opportunity to buy it? (A source which original recording engineer Len Engel himself dismissed when he worked on Intrada's original expanded edition of the score in 1988, just eight years after he recorded the score for Jerry.)
THIS. HAPPENS. ALL. THE. TIME. (It's unusual for it to happen where the earlier generation source sounds worse, that's all.) But I didn't publicly whine about it when La-La Land found a better-sounding source for Danny Elfman's Batman, and then made me re-buy the same master of his Batman Returns as well, in a $60 4CD set when I already had spent that much money on two previous $30 2CD sets. And when the reverse recently happened for the two John Williams Jurassic Park scores, adding some new alternates and such (including previously unreleased film versions!) to the program making me tempted to double dip even though the 4CD set from just a few years earlier sounds almost as good and COULD have fit those alternates? I'm not throwing a public tantrum about that, even though I'm frustrated/annoyed I no longer have the most "definitive" release of those two scores that I thought I had.
And heck, I'm such a Goldsmith nut that to have the full set of spines line up on my shelf, I'm probably eventually going to cave and buy Vol. 1 of LLL's Goldsmith at 20th series, even though that volume out of all the volumes neither features new previously unreleased music (even alternates) OR a substantial sound improvement. But those dastardly folk at LLL knew what they were doing when they made THAT volume "Volume 1"... they knew it would nag at me to have Volumes 2-5 sitting next to each other on my shelf, and have that one missing. They're forcing me to spend more money on music I already have! They must be laughing at fools like me who bought their previous release of The Blue Max. Right?
7 hours ago, JTW said:Well thank you very much, Intrada for letting us know that our set is inferior, and the only way to get the new one is if we purchase the new set, again for good money, and we can use the old set as door stopper. Outrageous.
Yes, so outrageous that they wouldn't go out of business in order to replace every 2020 edition purchased by people. Actually they should not only have to replace copies for all "duped" purchasers of the 2020, 2013, 2006, AND 1988 editions, all of which used the inferior earlier generation source when the better-sounding "safeties" were *right there* in Len Engel's possession, but I think Doug Fake and Roger Feigelson should be put in prison for fraud at this point, and Intrada auctioned off and the proceeds distributed to all of the victims they have robbed of their good money, over the years.
Thank you for taking a brave stand on this grave injustice. You truly inspire us, the victimized customers of Intrada, with your rallying cry.
Yavar
Hans Zimmer's DUNE PART TWO (2024)
in General Discussion
Posted
I think that's more like what Sibelius (allegedly) said to Mahler than the other way around...
https://sibeliusone.com/wp-content/uploads/2018/11/Vignal_Sibelius-and-Mahler.pdf
Love both composers but Sibelius is one of my five favorite composers of all time, and part of that is because each of his works has such a distinctive sound world (much like one can say about Herrmann or Goldsmith in the world of film music)
Yavar