Jerry Goldsmith's LIONHEART (1987) - 2021 2-CD Varese Deluxe Edition

[Jay 39,236]

 

Lionheart: The Deluxe Edition (2-CD)
Original Motion Picture Score
Jerry Goldsmith
UPC: 888072250079
Release Date: 04/30/2021
$ 24.98

 

Jerry Goldsmith reinvented himself numerous times over his storied career, but one of his most popular periods was for the 1980s wave of large-scale symphonic scores. Lionheart (1987) came at the crest of this glorious period, and saw his rousing symphonic style—with glorious melodies, dazzling orchestrations, and synthesized embellishments—tackle a young-adult adventure in the Crusades.

 

Lionheart marked Goldsmith’s final collaboration with his friend and most prolific director collaborator, Franklin Schaffner (Planet of the Apes, Patton, Islands in the Stream). The film starred Eric Stoltz as the leader of a Children’s Crusade of orphans against Gabriel Byrne as an evil Black Prince. Little-seen today, the project is perhaps best-known for Goldsmith’s magnificent score, which he recorded with the Hungarian State Symphony Orchestra; its stirring, noble main theme made its way into Goldsmith’s concert repertoire.

 

Varèse Sarabande’s album producers in 1987 adored the Lionheart score so much that they released not one but two volumes of vinyl LPs. Most, but not all, of the tracks were released on a single CD compilation in 1994. Now, this 2CD Deluxe Edition presents the complete contents of both LPs, in film sequence, and adds two additional, previously unreleased cues. Because the new cues are sourced from reference material, they are labeled as “bonus tracks” at the end of a shorter-than-expected disc one, so as to remain in chronological order. The new liner notes are by Tim Greiving.

 

Limited Edition of 1500 Copies

 

Disc 1
1. The Castle (1:26)
2. The Ceremony (2:49)
3. Bring Him Back (2:39)
4. Failed Knight (3:21)
5. The Circus (3:07)
6. Robert And Blanche (3:49)
7. Bondage (1:51)
8. Black Prince (1:55)

 

Disc 2
1. Children In Bondage (5:02)
2. The Future (1:58)
3. Gates Of Paris (2:09)
4. Paris Underground (4:09)
5. The Road From Paris (2:04)
6. The Banner / The New Court (5:58)
7. The Dress (2:23)
8. Mathilda (5:57)
9. The Plague (5:33)
10. Forest Hunt (7:45)
11. The Lake (3:37)
12. The Wrong Flag (3:16)
13. Final Fight (3:14)
14. King Richard / End Title (8:36)

©2021 Varèse Sarabande.

 

https://www.varesesarabande.com/products/jerry-goldsmith-lionheart-the-deluxe-edition-2-cd

[Ollie 1,111]

I had the 94 release plus the Vol 2 CD. That gave me the 19 tracks. I wonder if this means they had to source the film stems for the 2 “bonus” tracks? 
 

I didn’t realize Varese was announcing these early in the morning. I thought it was a mistake or joke, or someone had listed the iTunes release from 2012.

 

 

[Disco Stu 15,501]

I don't own any previous release of this score, the samples sound awesome, so I'm picking it up for sure.

[The Train Station 8,608]

The O---

[Jay 39,236]

8 minutes ago, Disco Stu said:

I don't own any previous release of this score, the samples sound awesome, so I'm picking it up for sure.

 

Exactly this for me

[The Train Station 8,608]

You people call yourselves film music fans??

[WampaRat 1,106]

I snagged the digital release of this as a reward for myself after finishing a semester of my MBA back in 2018. Great score! 
 

I made a custom cover for it too as something about the tiny title in it bothered me lol.

[Jay 39,236]

I put this together for anyone confused by the different editions

 

https://docs.google.com/spreadsheets/d/1raDnhD7EDhE72v9GcgTWdH8EWeWbaPmzrSrwWksRXVQ

[Jim Ware 548]

The Academy has Goldsmith's sketches - http://collections.new.oscars.org/Details/Archive/71302978

Quote

1-1 "The Castle," 3 pages; 

1-2 "The Ceremony," 3 pages; 

1-3 "Bring Him Back," 4 pages; 

2-1 "Failed Knight," 8 pages; 

2-2 "The Circus," 7 pages; 

3-1 "Robert and Blanche," 5 pages; 

3-2 "Bondage," 2 pages; 

4-1 "The Black Prince," 3 pages; 

4-2 "Children in Bondage," 11 pages; 

5-1 "The Future," 2 pages; 

5-2 "Gates of Paris," 4 pages; 

5-4/6-1 "Paris Underground," 8 pages; 

6-4 "The Road from Paris," 4 pages; 

7-2 "The Banner," 8 pages; 

7-3 "The New Court," 2 pages; 

8-2 "The Dress," 3 pages; 

8-3/9-1 "Matilda," 10 pages; 

9-2 "Saracen Ride," 2 pages; 

9-3 "The Plague," 6 pages; 

9-4/10-1 "Forest Hunt," 14 pages; 

10-2/11-1 "The Lake," 5 pages; 

11-2 "The Wrong Flag," 5 pages; 

11-3 "Final Fight," 7 pages; 

11-4/12-1 "King Richard," 8 pages; 

12-2 "End Title," 6 pages

 

[Incanus 5,795]

1 hour ago, Disco Stu said:

I don't own any previous release of this score, the samples sound awesome, so I'm picking it up for sure.

Ditto although I am very familiar with the score. This was one of my remaining Goldsmith holy grails.

[The Train Station 8,608]

You guys, I had all the music all along!

[Luke Skywalker 1,933]

So, why is mark hammil on the cover 

[Marian Schedenig 8,925]

So no remaster? It wouldn't fix the orchestra's performance, but I hoped a little more punch to the sound might help it.

 

1 hour ago, Jim Ware said:

The Academy has Goldsmith's sketches - http://collections.new.oscars.org/Details/Archive/71302978

 

Paging James Fitzpatrick and Nic Raine.

[The Train Station 8,608]

8 minutes ago, Luke Skywalker said:

So, why is mark hammil on the cover 

 

Why are you on the cover?

 

2 minutes ago, Marian Schedenig said:

So no remaster? It wouldn't fix the orchestra's performance, but I hoped a little more punch to the sound might help it.

 

Yeah why aren't they making it brighter and louder this time?

[Yavar Moradi 2,964]

2 hours ago, Ollie said:

I had the 94 release plus the Vol 2 CD. That gave me the 19 tracks. I wonder if this means they had to source the film stems for the 2 “bonus” tracks? 

Definitely NOT film stems, no. I was planning to save this story for an Odyssey Soundtrack Spotlight, but now I feel like I have to silence the speculation about sources...

 

Varese searched high and low for complete session tapes and really did their due diligence. Warner Bros, Taliafilm, Mike Ross-Trevor, Bruce Botnick...nobody had more music from this score. Nothing in Goldsmith’s own archives either. All Varese had to use was their original Vol. 1 and Vol. 2 album masters (thankfully those had been preserved in pristine condition and sounded fantastic.)
 

So Varese actually reached out to me many months ago to see if with my Goldsmith Odyssey connections, I knew anyone who might have more music from the sessions. I bothered a bunch MORE people, on the slim chance they might have something. (I.e., did Mike Lang happen to help do the keyboard overdubs after the Hungarian sessions, and might he therefore have a copy of the full score as recorded? Nope, he didn’t, and nope, he didn’t. But he IS a super nice guy and suggested even more people I could try.)

 

Finally, I remembered something at almost the last minute: Intrada’s re-recording of Islands in the Stream was done as a piggy-back fifth day of sessions at the end of four days of Lionheart sessions in Hungary. Doug Fake himself was there in Hungary, in 1986, for the original Lionheart sessions leading up to the first rerecording he produced with Jerry. And in multiple conversations with me, Doug has said, “I save everything I can.” Surely, Doug would have made himself a copy of those original Lionheart orchestral sessions, I thought! After all, this is the guy responsible for preserving copies of City of Fear and Studs Lonigan, for *decades*, which would otherwise be lost to time.

 

So very last minute (they were finalizing the track list), I asked Cary at Varese for permission to reach out to Doug, and thankfully (though skeptical there would be anything) he agreed to let me contact the head of another film music label about a high profile upcoming Varese edition, even though all my other avenues of inquiry over the previous week or two had come up empty.

 

Did Doug have tapes as I suspected he might? Yes, he had 84 minutes of Lionheart spread over three tapes he’d had made for reference purposes. These were not commercial audio cassettes, they were professional grade tapes. But they were still copies and never intended to be a source for an album. Doug told me this and warned me they wouldn’t be up to the quality of the album master tapes Varese had. In fact, he didn’t even know how they would sound because he hadn’t listened to them in decades. But we had no other avenues to check; this was a last ditch effort to include more music that would otherwise never get out to Goldsmith fans. So I put Cary and Doug in touch, and Doug generously had his tapes transferred to digital and sent to Varese.

 

It turned out the unreleased music totaled almost four minutes spread over two cues that went unused in the film. But I figured out where those cues should go in the film, and David at The Goldsmith Odyssey edited them in for the scenes they should have scored, and they were a perfect fit to the final cut of the film! These cues are in fact very important ones because they clearly establish the thematic material for the villainous Black Prince, before it gets incorporated into the action cue “Children in Bondage”, mixed in with a lot of other stuff. That cue was never meant to be the first appearance of the theme, and IMO its development makes so much more sense now, with those two cues preceding it.

 

One problem: since the two previously unreleased cues were definitely in inferior sound quality to the rest of the score, Cary wanted to put them at the end of disc 2 (after the end credits) as bonus tracks. I lobbied hard for them to be included in chronological order and just labeled with asterisks that they were in lower sound quality, but Cary didn’t like the thought of having great sounding cues on either side of poorer sounding ones. This is where Lukas Kendall, who also assisted Varese on this release, came in with a good compromise: keep the full score in chronological order which I felt so strongly about so that the thematic development can be preserved...but have the new cues end Disc 1 instead of Disc 2. That way they were still bonus tracks at the end of a CD rather than interrupting in between great sounding cues. So for those of you wondering why disc 1 is 22 minutes and Disc 2 is 62 minutes, this is why. It wouldn’t all fit on one disc, and it actually does work out well as a split because Children in Bondage is actually a great opener to Disc 2. If the extra music had survived the ages in pristine sound, The Road from Paris is where I’d have started Disc 2. But given the circumstances, I think the split makes total sense and I hope everyone else enjoys this new presentation of a top 10 Goldsmith score as much as I do.

 

I’ve probably gone on about this longer than I should, but I wanted to head off a bit of the Monday night quarterbacking (“I would have done it THIS way!”) I was seeing here and at FSM. Rest assured a ton of work went into this release and no decision was made lightly.

 

 

35 minutes ago, Marian Schedenig said:

So no remaster? It wouldn't fix the orchestra's performance, but I hoped a little more punch to the sound might help it.

 

Chas Ferry did remaster this actually. In fact I haven't even heard his work on it yet -- its very likely that he made the two new cues from Doug Fake's tape sound better than when I last heard them in the album mock-up I made. I'm very interested to hear what his new mastering sounds like.
 

35 minutes ago, Marian Schedenig said:

Paging James Fitzpatrick and Nick Redman.

 

I think you mean Nic Raine? Nick Redman is no longer with us and was not a conductor but an album producer for Fox. In any case, I would definitely be up for a re-recording of this score someday, and I know it's one Tadlow reconstructionist Leigh Phillips *almost* did a few years ago (Thriller narrowly beat Lionheart in a poll he ran, and thank goodness because those Thriller volumes actually made back their money which Lionheart probably couldn't due to how immense the expense would be.) But for now, let's celebrate the fact that the original (and still quite good) Lionheart recording under Jerry's baton has been reissued (and even expanded with two more cues) after being out of print and unavailable for *decades*! A lot of people are going to have the chance to own this masterpiece of a score again. I'm so glad Varese decided to revisit it.

 

Yavar

[Marian Schedenig 8,925]

12 minutes ago, Yavar Moradi said:

I think you mean Nic Raine? Nick Redman is no longer with us and was not a conductor but an album producer for Fox.

 

D'oh, of course. Stupid muscle memory. Nick Redman might have given us a nice Blu-ray with iso score, were he still here.

[Ollie 1,111]

@Yavar Moradi thanks!

 

Sorry to spoil your next podcast.

 

Varese kinda worded that weirdly so I was wondering if that meant it wasn’t from the actual sessions and they had to find a different source, hence the stems.

 

But a big thanks to you for your hard work in getting these added. And to Doug Fake as well. 
 

 

[Incanus 5,795]

Thanks for clarifying the situation with the new unreleased two cues @Yavar Moradi! The sequencing of the two discs makes perfect sense now. Shame about the lesser quality of the two cues but I am just really glad they were found in the first place after such arduous seach and could be included in the complete set.  

[Jay 39,236]

Yavar, thank you for that story - that was a fascinating read!

 

And thanks to you and Doug for getting those cues onto the new album!

 

One question remains - how was the clean ending to The Future created for this release, please?  If all they had was the OST and Vol 2 album masters, does that mean the team had to create a faked ending?

 

 

 

1 hour ago, Jim Ware said:

The Academy has Goldsmith's sketches - http://collections.new.oscars.org/Details/Archive/71302978

 

Thanks for that!

 

Is 9M2 Saracen Ride a cue included within the OST track "Mathilda" after 8M3/9M1 Matilda, or is it an unreleased / unrecorded cue?

 

Everything else makes complete sense and is added to the google doc.

[publicist 4,647]

1 hour ago, Jay said:

Is 9M2 Saracen Ride a cue included within the OST track "Mathilda" after 8M3/9M1 Matilda, or is it an unreleased / unrecorded cue?

 

It's not in the Mathilda cue, that's for sure. 

[Thor 8,227]

I have this one, which is all I ever need throughout the history of time itself:

 

[Yavar Moradi 2,964]

14 minutes ago, Thor said:

I have this one, which is all I ever need throughout the history of time itself:

 

 

We know, Thor. And we are happy for you. Now be happy for the rest of us that we are getting more music from this amazing score.  

 

1 hour ago, Jay said:

Is 9M2 Saracen Ride a cue included within the OST track "Mathilda" after 8M3/9M1 Matilda, or is it an unreleased / unrecorded cue?

 

Everything else makes complete sense and is added to the google doc.

 

That cue was recorded, and is even in the film! I actually posted a film rip of it in the Intrada forum's fun "That Unreleased Cue" thread, back on March 6, which you can find here (nobody even tried to guess it alas, and the one person who commented said, "That is one of those cues that would show up on the bonus section of an expanded album, perhaps titled "Generic Percussion #1" or something of that sort." I personally think that calling it "generic" is harsh; IMO it should appeal to people like me to who love the solo percussion writing in The Wind and the Lion:

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8073&start=150

 

Unfortunately, it was not on Doug's dupe tape of the sessions. Believe me that I (and David at The Odyssey) combed through that tape transfer looking for it. Not there, not hidden by being tacked on the end of any other cue. My suspicion, though I don't have documentation to back this up: since it was a percussion-only cue, it was recorded at a later pickup session, not the orchestral sessions attended by Doug and maybe not even in Hungary. (The keyboard overlays were done later and not recorded in Hungary either.) So yes, technically this release is still incomplete (but it's now "99.5% complete", as Bruce Botnick described Looney Tunes: The Deluxe Edition in his notes) and is missing one short half minute percussion cue that is in the film. If someone ever decides to run a Kickstarter to freshly record the complete score (hopefully using Jerry's original sketches in the Academy's Margaret Herrick Library, which was the link Jim Ware posted), I hope they include this short cue because I like it even though it really doesn't connect to the rest of the score in any way.
 

1 hour ago, Jay said:

One question remains - how was the clean ending to The Future created for this release, please?  If all they had was the OST and Vol 2 album masters, does that mean the team had to create a faked ending?

 

I don't know about "faked" but all they had were the album masters (and Doug's dupe tape actually bizarrely had that transition to the End Credits tacked onto "The Future" as well, to my surprise). I was told Chas Ferry the mastering engineer would trim the End Credits part off the masters for that Vol. 2 track. That's the best Varese could possibly do given the material they had.

 

Yavar

[Jay 39,236]

7 minutes ago, Yavar Moradi said:

That cue was recorded, and is even in the film! I actually posted a film rip of it in the Intrada forum's fun "That Unreleased Cue" thread, back on March 6, which you can find here (nobody even tried to guess it alas, and the one person who commented said, "That is one of those cues that would show up on the bonus section of an expanded album, perhaps titled "Generic Percussion #1" or something of that sort." I personally think that calling it "generic" is harsh; IMO it should appeal to people like me to who love the solo percussion writing in The Wind and the Lion:

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8073&start=150

 

Unfortunately, it was not on Doug's dupe tape of the sessions. Believe me that I (and David at The Odyssey) combed through that tape transfer looking for it. Not there, not hidden by being tacked on the end of any other cue. My suspicion, though I don't have documentation to back this up: since it was a percussion-only cue, it was recorded at a later pickup session, not the orchestral sessions attended by Doug and maybe not even in Hungary. (The keyboard overlays were done later and not recorded in Hungary either.) So yes, technically this release is still incomplete (but it's now "99.5% complete", as Bruce Botnick described Looney Tunes: The Deluxe Edition in his notes) and is missing one short half minute percussion cue that is in the film. If someone ever decides to run a Kickstarter to freshly record the complete score (hopefully using Jerry's original sketches in the Academy's Margaret Herrick Library, which was the link Jim Ware posted), I hope they include this short cue because I like it even though it really doesn't connect to the rest of the score in any way.

 

Fascinating!  Thanks for that!

 

7 minutes ago, Yavar Moradi said:

I don't know about "faked" but yes all they had were the album masters (and Doug's dupe tape actually bizarrely had that transition to the End Credits tacked onto "The Future" as well, to my surprise). I was told Chas Ferry the mastering engineer would trim End Credits part out from that source.

 

That means its faked!

 

It doesn't mean it will sound bad or anything - I'm sure it sounds perfectly fine and nobody would ever know just by listening.  But it does mean the actual full recorded ending remains unreleased as well.

[The Great Gonzales 6,242]

The two additional cues were "fake"d too

[Jay 39,236]

Ha!  I am curious to hear them - I love Yavar's description, about how they introduce themes that are later embellished in cues that have been released all along.

 

That kind of stuff is usually my biggest problem with an OST album, if I have one -- when the thematic development gets lost

[Yavar Moradi 2,964]

6 minutes ago, Jay said:

Ha!  I am curious to hear them - I love Yavar's description, about how they introduce themes that are later embellished in cues that have been released all along.

 

That kind of stuff is usually my biggest problem with an OST album, if I have one -- when the thematic development gets lost

 

Totally agreed -- especially with a Jerry Goldsmith score, when the architecture of the thematic development is always so compelling.

 

Yavar

[Jay 39,236]

For me, there is no better example than A.I. Artificial Intelligence.

 

When I first heard how that abandonment theme (I forget what Jeff Bond calls it now) is properly set up in "David And Martin" and "Monica’s Plan" before exploding in "Abandoned In The Woods", my mind was blown

 

Likewise in the same score, learning how the Blue Fairy Theme was supposed to be set up in "Immaculate Heart" and "To Manhattan" before running through the third act.... just as amazing

[The Great Gonzales 6,242]

42 minutes ago, Yavar Moradi said:

 

 IMO it should appeal to people like me to who love the solo percussion writing in The Wind and the Lion:

http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=8073&start=150

 

 

Yavar

You aren't  talking about the interminable marching percussion are you?

[scallenger 551]

@Yavar Moradi Thank you so much for your contribution to this release! This is one of my favorite Goldsmith scores! Your story alone helped me purchase it again despite having the two volumes already!

[Thor 8,227]

1 hour ago, Yavar Moradi said:

 

We know, Thor. And we are happy for you. Now be happy for the rest of us that we are getting more music from this amazing score.  

 

Absolutely! Knock yourselves out!

[Jurassic Shark 12,962]

Too bad the trumpet player blows.

[Romão 2,317]

I'm quite curious with the track assembly. I'm familiar with the score, but for some reason, I never tried a chronological assembly of the two albums I own. It will be interesting to better track the thematic development with this one

[bruce marshall 1,356]

Gee, that cover art reminds me of another film....

Hmmmm...

Can't quite place it...

Two word title starts with " S"

😝

54 minutes ago, Falco said:

You aren't  talking about the interminable marching percussion are you?

I kinda think he is😔

[Yavar Moradi 2,964]

38 minutes ago, Romão said:

I'm quite curious with the track assembly. I'm familiar with the score, but for some reason, I never tried a chronological assembly of the two albums I own. It will be interesting to better track the thematic development with this one

The chronological program (as well as the two added cues which introduce the Black Prince theme) makes a HUGE difference to the impression this score makes, IMO.

 

Yavar

 

P.S. The Wind and the Lion percussion writing I was referring to was the more “ethnic” stuff (look up “Saracen”), not marching stuff.

[The Great Gonzales 6,242]

Just curious have you rearranged Wind and the Lion into chronological as composed order Yavar?

29 minutes ago, Yavar Moradi said:

The chronological program (as well as the two added cues which introduce the Black Prince theme) makes a HUGE difference to the impression this score makes, IMO.

 

Yavar

 

P.S. The Wind and the Lion percussion writing I was referring to was the more “ethnic” stuff (look up “Saracen”), not marching stuff.

 

[Yavar Moradi 2,964]

21 minutes ago, Falco said:

Just curious have you rearranged Wind and the Lion into chronological as composed order Yavar?

Why would I have to? The fantastic Intrada expansion is complete and chronological as far as I know.

 

Yavar

[Jay 39,236]

I think he meant taking all the source music and putting it in between score tracks

[Bellosh 3,886]

That cover art is incredible

[Yavar Moradi 2,964]

38 minutes ago, Jay said:

I think he meant taking all the source music and putting it in between score tracks

Oh, if that’s the case I have no idea. Unless the source music is thematically connected to the score in some way, I don’t want it interrupting my score program. It’s interesting and nice to have it as a bonus, for sure. But usually not essential to me.

 

”Saracen Ride” is not source music by the way, as far as I can tell. (In the film Lionheart, there is no one visible playing it, and it would be kinda awkward if there were...would be like King Arthur’s servant with the coconuts or something, from Monty Python and the Holy Grail 😂 )

 

Yavar

[Jay 39,236]

4 minutes ago, Yavar Moradi said:

Unless the source music is thematically connected to the score in some way, I don’t want it interrupting my score program. It’s interesting and nice to have it as a bonus, for sure. But usually not essential to me.

 

I agree with Yavar Moradi

[Yavar Moradi 2,964]

Here’s a source cue I wish had been saved and released in chronological order with the rest of the score, written for a dance scene in Studs Lonigan and a cool/unique variant on the main theme:

Here’s another unreleased Studs Lonigan (regular score) cue, probably the most substantial of the ones left off whatever source Doug Fake had for that score...

 

Goldsmith Odyssey listeners will already know these two pieces (and all the other shorter unreleased bits) from our podcast on that score, where we cover every single cue:

https://goldsmithodyssey.buzzsprout.com/159614/866001-episode-15-studs-lonigan-1960
 

Yavar

[The Train Station 8,608]

5 hours ago, Thor said:

I have this one, which is all I ever need throughout the history of time itself:

 

 

The OST is shorter. Right up your alley!

[Yavar Moradi 2,964]

9 minutes ago, Unlucky Bastard said:

 

The OST is shorter. Right up your alley!

Haha yeah, I just realized Thor’s preferred program is technically an expansion. (“The Epic Symphonic Score” has everything from the original Varese Lionheart album, plus about half of Volume 2!)

 

Yavar

[Disco Stu 15,501]

7 minutes ago, Yavar Moradi said:

Thor’s preferred program is technically an expansion

 

He has only one option...

 

[Yavar Moradi 2,964]

Dammit, Stu, now I feel the urge to watch Harakiri again! Such a good film...will be tough to talk the wife into it even though it’s a Criterion release...hmmm....

 

Yavar

[Disco Stu 15,501]

4 minutes ago, Yavar Moradi said:

Dammit, Stu, now I feel the urge to watch Harakiri again! Such a good film...will be tough to talk the wife into it even though it’s a Criterion release...hmmm....

 

Yavar

 

Like most Takemitsu scores, not really meant for listening to outside the film, but boy does it help make the visuals even more striking in context.

[The Great Gonzales 6,242]

On 4/30/2021 at 3:49 PM, Yavar Moradi said:

Why would I have to? The fantastic Intrada expansion is complete and chronological as far as I know.

 

Yavar

One of the cues is in final film order, not scoring order IIRC

 

 

 

 

[bruce marshall 1,356]

2 hours ago, Yavar Moradi said:

Dammit, Stu, now I feel the urge to watch Harakiri again! .

 

Yavar

As long as you only watch it....😁

[Brundlefly 2,393]

Happy to finally see this score re-released that was OOP since long before I was born (which makes me wonder, why it's limited to frickin' 1500 copies only). I don't even really know and have never owned any version of the score, so this is a must-buy for me. I just hope that the artificial ending of The Future doesn't sound distracting in any form.

[Yavar Moradi 2,964]

It’s actually 2000 copies. I think we saw this on Looney Tunes too — there turned out to be another 500 copies, but Varese US listed the number *they* were allocated (1500 US copies here, 2000 for Looney). Someone shared a photo of their physical copy at FSM: