Yavar Moradi

It's just not very good.
 
Avatar is better.

Undoubtedly.  It's my favorite of all of his sentimental scores.  Pub has no room for sentiment in his shriveled heart.

I bought two copies in case I break one.

I really fail to understand why you are disqualifying things for random different reasons, publicist. The First Knight and Lionheart love themes don't count I guess because they're "medieval"...Medicine Man doesn't count because it's Barry-influenced...The Shadow love theme doesn't count because its a "side theme"?? (It's given plenty of variation in the full score.) To me you're coming across as arbitrary and silly with this. What reason are you going to give to disqualify The Salamander? And what if I go back further to the great love themes in Masada, Star Trek: The Motion Picture, Contract on Cherry Street, Breakout, QB VII, Justine, The Blue Max, Seconds, and the "Chinese Love Theme" from The Sand Pebbles (just to name my favorites)? I can't wait for you to explain why all of those themes don't count either.
 
Hell, his very first film score had an amazing long-lined theme for the main character which was used GORGEOUSLY for a love scene early in the film:
 
His third film score, Face of a Fugitive, had a really beautiful love theme that was almost Golden Age in style. Or at least, it was a theme for the female love interest (similar to as was done for Lonely Are the Brave a few years later).
 
Oh yeah, and Jerry's first ever masterpiece to my knowledge (written for radio months before Black Patch) also had a gorgeous love theme for "the landlord's daughter" in The Highwayman:
 
Yavar

Sooner or later I would have bought them anyway, so why not now, when they're cheap as hell?

The Burbs is one of the most intelligent scores I can think of. It's not outstandingly complex, but the narrative and the commentary of the score are something that is normally not part of a film score.
 
It's time to reissue it with a better flow by connecting some cues. The bleeding tracks and the missing film versions is also a reason for an update, let alone the fact that it's OOP.
 
Does Varese own The Burbs in perpetuity? 

Even more choosy guys like Williams or Horner have a good deal of stinkers on their resume, so i guess it's just not that easy. From what i could gather from agent Richard Kraft's notes on Goldsmith's (later) career was that it was hard work getting the guy good gigs for respected directors, as the playground was fiercely competitive and Goldsmith was not as adventuresome as he should have been working outside the LA film industry or taking gigs like writing for silent or more independent movies (the offers were there). 
 
Kraft detailed how much needling it took before he connected Goldsmith and small-scale director Fred Schepisi for 'Russia House', so for his fear of being out of work he lined up safe and often bad routine entertainment pictures because they were more easy to get by. Which, in effect, robbed him of chances to be considered by better directors.

That's nonsense, he reached his full potential even at the time of 'The Blue Max' and from the early 60's to early 80's rarely had any misses, even writing at full speed.
 
I think what you refer to is the changing landscape in commercial movies from the 80's onwards when 'reaching potential' was not on Goldsmith's agenda anymore. He wanted steady work and that automatically meant to lower standards and take a step back in regards to complexity etc. Many have raised their eyebrows at assignments like 'Mom and Dad Save the World' or 'Link' but i'm not sure we would have gained anything with only the 'Basic Instinct's or 'Russia House's on the menu, though it probably would have elevated Goldsmith's stature.

Goldsmith never reached his full potential.  He wrote too much, needed to be more choosy.
 
Prove me wrong.

All 3 TNG scored Jerry did are perfectly solid, if fairly unremarkable examples of late era Goldsmith action/sci-fi scoring though, wouldn't you agree.
 
 

So true.

Dennis the Menace is a better score than Home Alone, by a few dozen miles.

Twilight Zone: The Movie
 
Fuck, this is a great collaboration.

There is no reason to own the OST of the Final Conflict.
 
The Omen OST is great

"Flying Dreams"? Seriously? I always found that a gooey bundle of warmth.

Star Trek isn’t that great. 

I'm a big fan of First Contact and Insurrection. I never cared for the original.

What does everyone love but you just can't get into?
 
What do you love but everyone else can't get into?
 
In my case, there are many examples of unpopular opinions. But one of the most important is that I am a huge fan of Warlock. I think the expansion is really a gift from Intrada. It's a really ambitious score with excellent string writing. The reason why many people don't like it is probably because the partly intrusive synths overshadow the orchestra a bit.
 
Just listen to the eerie part from 2:26 to 3:00!
 

Rudy is supposed to be a great film indeed.
 
L.A. Confidential is the best film of the 90s. It's like a big reward for Jerry, after putting so much effort into thousands of shitty flicks. "You wanna compose 40 minutes of easy noir-styled music and thus get a credit in a film that's better than everything Johnny has ever scored?" It's nice to see Jerry being part of a cineastic masterpiece like that.
 
But I agree that the scores are no outstanding works in Jerry's career.

I didn't care for them, but now I'm starting to care for them.

His Western scores. Dont really care for them.

Alright, I ordered Bad Girls, Bandolero! Rio Lobo, Stagecoach, Take a Hard Ride and 100 Rifles/Rio Conchos at LLL! Including shipping costs that's 95€, so it's 13,50€ per score! Normally I would pay 150€, so that'd be 21,50€ per score! There is no way the toll is so high that it wasn't worth ordering it from LLL!

Thanks so much, Fancyarcher! Do you have a favorite episode of ours so far? Strengths/weaknesses to comment on?
 
I quite agree that there should be more composer-dedicated podcasts like this, both in classical and film music. (Are we the first film music podcast dedicated to a single composer? I think so...and definitely the first chronological journey like this. What about classical composers? Is anyone out there going comprehensive in covering Beethoven or Silbelius, I wonder?)
 
We're definitely excited to be tackling ALL of Goldsmith's output that we can find, no matter what he wrote for. We only decided to put off the bulk of his radio work for later because we thought that would make it take far too long to get to his film scores that people are much more familiar with. But we'll definitely circle back at the end for an Appendix covering everything we skipped.
 
Yavar

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Has anyone seen that?
 
There is a new segment of building a crate. At around 3:57, coming into the new segment, it somehow transitioned into the current Powell's writing style (from Powell's 90s-00s old style). Idk if it is just me, but it feels different.
 
Then there is a longer suite for Lando's Closet. I dont quite like it. the higher pitch kinda ruins in, sadly