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In what parallel universe can I have an expanded LOVE FIELD done by Intrada and THE OTHER by LLL? 'Cause I want nothing from Varèse...
Hate to say it (for multiple much more important reasons) but this is the universe we are stuck with. What's the point in having animosity towards Varese? They are the ones who control all these titles I listed above (plus many more by other composers). Barring the rare sub-license like LLL did last year with PotA and Escape from PotA, Varese IS the only label that can do an expanded Love Field. Bruce Kimmel wanted to do The Other on Kritzerland years ago and couldn't, thanks to (ironically) the 90s album with Mephisto Waltz that he helped produce at Varese when he worked there. No point in crying about it, but there IS perhaps a point in expressing what we'd like Varese to concentrate on next! Again, in the past couple of years we've gotten Small Soldiers, Air Force One, *and* U.S. Marshals, which were the top three winners of the original poll I conducted. Doesn't that give a little hope that they might be listening to the fans? What's the point in complaining about Varese here? What's that gonna get us, in this reality?
Offer constructive criticism for Varese, sure (though preferably in a different thread?) but what is served by just writing them off entirely as a lost cause? Same question for TruPretender, plus: ALL of our beloved specialty labels produce limited editions, you know? Sure, Varese should have upped the number on some titles like Raggedy Man last year, but limited editions are a reality of the soundtrack specialty market. Why hate on Varese in particular for that? It's what allows these labels to release anything at all.
I for one am very excited to see what Varese might release next (and that's not just limited to Goldsmith). A couple years ago they gave me two of my biggest John Williams holy grails, for example, and the Deluxe Editions of Dracula and The Cowboys were both BRILLIANTLY produced albums.
Yavar
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Posted: |
Apr 26, 2020 - 3:41 AM
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By: |
JohnnyG
(Member)
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In what parallel universe can I have an expanded LOVE FIELD done by Intrada and THE OTHER by LLL? 'Cause I want nothing from Varèse...
Hate to say it (for multiple much more important reasons) but this is the universe we are stuck with. What's the point in having animosity towards Varese? They are the ones who control all these titles I listed above (plus many more by other composers). Barring the rare sub-license like LLL did last year with PotA and Escape from PotA, Varese IS the only label that can do an expanded Love Field. Bruce Kimmel wanted to do The Other on Kritzerland years ago and couldn't, thanks to (ironically) the 90s album with Mephisto Waltz that he helped produce at Varese when he worked there. No point in crying about it, but there IS perhaps a point in expressing what we'd like Varese to concentrate on next! Again, in the past couple of years we've gotten Small Soldiers, Air Force One, *and* U.S. Marshals, which were the top three winners of the original poll I conducted. Doesn't that give a little hope that they might be listening to the fans? What's the point in complaining about Varese here? What's that gonna get us, in this reality?
Offer constructive criticism for Varese, sure (though preferably in a different thread?) but what is served by just writing them off entirely as a lost cause? Same question for TruPretender, plus: ALL of our beloved specialty labels produce limited editions, you know? Sure, Varese should have upped the number on some titles like Raggedy Man last year, but limited editions are a reality of the soundtrack specialty market. Why hate on Varese in particular for that? It's what allows these labels to release anything at all.
I for one am very excited to see what Varese might release next (and that's not just limited to Goldsmith). A couple years ago they gave me two of my biggest John Williams holy grails, for example, and the Deluxe Editions of Dracula and The Cowboys were both BRILLIANTLY produced albums.
Yavar
I sounded harsh, I know, but I still lament the loss of those glorious days and I still consider Varèse a rather lazy label. I'm not totally dismissive - hey, I too bought DRACULA and THE COWBOYS and AIR FORCE ONE and a few others these last years and they're fine albums (although they come at higher prices than those of the other specialty labels, I must also add) - and I'll give Varèse the benefit of the doubt but to tell you the truth I'm usually much more excited about a new Intrada, LLL, Quartet or Music Box release nowadays. It remains to be seen if those guys there are listening to the fans and I never close the door to anyone.
In any case, I stated my preferences - oh, and I wouldn't say no to a Deluxe treatment of the delightful MOM AND DAD score too!...
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1. The Other (a masterpiece - this is a top priority IMO)
2. Love Field
3. Matinee
4. Mom and Dad Save the World
5. Medicine Man
6. Our Man Flint/In Like Flint
7. Rudy
8. Hollow Man
9. Timeline
10. Looney Tunes: Back in Action
... but everything listed is worth expanding/re-releasing (i.e. I would LOVE a remaster of "The Mephisto Waltz," but more "Looney Tunes" edges it out since that CD is missing so much, etc.).
I'll be honest. The Other would still be my #1 pick (above Love Field) like you and danbeck, IF we didn't have the Twilight Time isolated score track which doubled the time available. I ripped that and it's a great listen, so I am *somewhat* sated even though I would immediately order a new and improved Deluxe Edition of that (I agree) masterpiece.
For the purposes of my ranked choice tabulation, I'm afraid I can't deal with two scores (even though one is a sequel of the other) sharing a single spot; would you be willing to split the two Flint scores in your ranking, as other folks have done? Otherwise I'll just assume Our Man Flint is #6 and In Like Flint #7 (and Looney Tunes gets bumped either way, I'm afraid).
Spanosdm, same issue -- I'll treat Our Man Flint as #1 for you and In Like Flint as #2, unless you tell me otherwise (and Timeline gets bumped). Only way for the votes to be fair, and everyone's vote to be weighted equally. (Well, I guess I could split the points in half and give five to each Flint score for you, but I don't think that's what you'd want.)
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MacARTHUR Deluxe Edition.
I suppose Varese has still the rights for the record album version only but I am not sure.
Somebody around may clarify the issue?
I did, in my initial post: Varese did not premiere the album and did not get perpetuity rights; those lie with MCA (Universal Music Group) for this album recording, just like the album recording of Masada. In both cases Varese got a sub-license from them. To add the film recording, a label like Intrada or LLL would also have to work with Universal Pictures in order to include it along with the album recording licensed from UMG.
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It might seem a bit weird but my response to this one is to suggest a chronological re-release of the first 10 scores that Yavar listed.
Generally, older scores require more work to prepare for soundtrack release than newer ones. That’s not an absolute and isn’t meant as a comment with specificity on these scores. But I think in saving the past from the future, it’s often worthy to start back as far as we can.
Doing so also gets us to include a theoretically new edition of Medicine Man, which I think was a great blend of orchestra and synths, beautifully recorded by Mike Ross-Trevor.
Chris
Good point, Chris -- and a valuable insight from someone working in the industry restoring these scores. Oh how I wish you could tackle a true restoration of The Other, The Mephisto Waltz, Damien: Omen II, and the two Flint scores in particular, after hearing what impressive results you were able to achieve with Take Her, She's Mine which was previously declared unsalvageable.
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Why not a dream project: the Complete Jerry Goldsmith's 13TH WARRIOR + the Rejected Graeme Revell score.
That would be marvelous. I'm not a huge Revell fan in general but I *really* like his 13th Warrior score. In some ways it is more interesting than Jerry's, which is far more traditional (if still awesome).
--
Does Mulan not qualify because it's a Disney title? Because if it does, that's a top choice for me.
This is when reading the first post in a thread is helpful: No, Mulan doesn't qualify because it's not a title Varese controls -or- is likely to pursue, given that Intrada seems to have a lock on Disney titles...and even Intrada has said that (for now) Disney is holding onto Mulan themselves, and not allowing them to license it.
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Why everyone wants the same scores over and over again..I dont get but well...
Why not the rest of the unreleased stuff..not much left so...
Similarly: (most) people are sticking to the "same scores" because they read my initial post and know this is a thread about what *Varese-controlled* scores we want them to tackle next for expansion as Deluxe Editions. It's not about unreleased Goldsmith scores -- that said I do LOVE your list of wants (thanks for even including S*P*Y*S which I love even though many seem to hate), and if tapes for them can be found and restored, I look forward to them coming out on Intrada or LLL! (There's just no particular reason they would need to come out from Varese or even be likely to do so.)
Yavar
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nz, with you and any others who don't number choices, I will assume for the purposes of ranked choice voting that you have listed them in the order of priority.
--
I sounded harsh, I know, but I still lament the loss of those glorious days and I still consider Varèse a rather lazy label. I'm not totally dismissive - hey, I too bought DRACULA and THE COWBOYS and AIR FORCE ONE and a few others these last years and they're fine albums (although they come at higher prices than those of the other specialty labels, I must also add) - and I'll give Varèse the benefit of the doubt but to tell you the truth I'm usually much more excited about a new Intrada, LLL, Quartet or Music Box release nowadays. It remains to be seen if those guys there are listening to the fans and I never close the door to anyone.
In any case, I stated my preferences - oh, and I wouldn't say no to a Deluxe treatment of the delightful MOM AND DAD score too!...
Glad to hear that, but Varese is the only label that could bring such a treatment to us -- hence this thread! It is true that those other labels put out "catalogue" releases much more often than Varese does any more, so I understand your greater interest in them. But this is specifically about titles only Varese can control. With my reaction I may have unfairly lumped in your anti-Varese response with TruPretender's *much* more vitriolic anti-Varese response ("VS are a bunch of thieves"? REALLY?), for which I apologize.
Yavar
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Posted: |
Apr 27, 2020 - 5:08 PM
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By: |
BryonDavis
(Member)
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nz, with you and any others who don't number choices, I will assume for the purposes of ranked choice voting that you have listed them in the order of priority.
--
I sounded harsh, I know, but I still lament the loss of those glorious days and I still consider Varèse a rather lazy label. I'm not totally dismissive - hey, I too bought DRACULA and THE COWBOYS and AIR FORCE ONE and a few others these last years and they're fine albums (although they come at higher prices than those of the other specialty labels, I must also add) - and I'll give Varèse the benefit of the doubt but to tell you the truth I'm usually much more excited about a new Intrada, LLL, Quartet or Music Box release nowadays. It remains to be seen if those guys there are listening to the fans and I never close the door to anyone.
In any case, I stated my preferences - oh, and I wouldn't say no to a Deluxe treatment of the delightful MOM AND DAD score too!...
Glad to hear that, but Varese is the only label that could bring such a treatment to us -- hence this thread! It is true that those other labels put out "catalogue" releases much more often than Varese does any more, so I understand your greater interest in them. But this is specifically about titles only Varese can control. With my reaction I may have unfairly lumped in your anti-Varese response with TruPretender's *much* more vitriolic anti-Varese response ("VS are a bunch of thieves"? REALLY?), for which I apologize.
Yavar
I agree Dolores should have been released years ago.
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1. The Other
2. The Mephisto Waltz
3. Rudy
SCOTT
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Whichever has the most missing and is least well presented on disc at the moment - so at this stage it would probably be Along Came A Spider and The Other at #1 and #2. I'm not that fussed about the sound quality unless it's distractingly bad, because there's no way a score recorded half a century ago or more is going to sound as pristine as one recorded last Tuesday, and there's no reason why it should. I'm also not desperate for every last note and alternate. I like Mr Baseball, for example, but I don't need any more of it.
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Yavar, I've never understood this obsession of yours, wherein we're apparently not ALLOWED to wish for premiere releases from Varese, only expansions! Whereas it's OK if we wish for premieres from some other label. Where does this peculiar sentiment come from? Surely, Varese would be able to negotiate or acquire rights to release an unreleased Goldsmith score, just as much as Intrada or LLL or whoever else? Or am I missing something?
Thor, if I may try to explain this before Yavar returns for his own reply: It's a question of seeking to keep posts on-topic for this thread, which is intended to let Varese management gauge the level of prospective buyer interest among the remaining, not-yet-expanded Goldsmith scores which the label still controls. It would be off-track to talk in this discussion about what Varese "would be able to negotiate or require rights to release," because Yavar seeks our preferences (among THIS label's controlled-in-perpetuity titles) in case Varese brass would use this thread to determine their future expansions by expressed popularity here.
To get back on-topic myself, I don't have time yet to compile my own top-10 votes but will try later. (I don't figure there's a real rush.)
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Posted: |
Apr 28, 2020 - 10:39 AM
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By: |
Thor
(Member)
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Thor, if I may try to explain this before Yavar returns for his own reply: It's a question of seeking to keep posts on-topic for this thread, which is intended to let Varese management gauge the level of prospective buyer interest among the remaining, not-yet-expanded Goldsmith scores which the label still controls. It would be off-track to talk in this discussion about what Varese "would be able to negotiate or require rights to release," because Yavar seeks our preferences (among THIS label's controlled-in-perpetuity titles) in case Varese brass would use this thread to determine their future expansions by expressed popularity here.
Yes, I see your point (although the topic HEADLINE certainly opens up for both types of wishes), but this also relates to a discussion Yavar and I've been having over on JWFAN, wherein a thread speculating about the next Varese release also spurred a similiar 'limitation' from Yavar -- even if, in that case, there was no limitation to only expanded wishes in the original post.
So I guess it was more a general question than pertaining to this particular thread.
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nz, with you and any others who don't number choices, I will assume for the purposes of ranked choice voting that you have listed them in the order of priority.
--
I sounded harsh, I know, but I still lament the loss of those glorious days and I still consider Varèse a rather lazy label. I'm not totally dismissive - hey, I too bought DRACULA and THE COWBOYS and AIR FORCE ONE and a few others these last years and they're fine albums (although they come at higher prices than those of the other specialty labels, I must also add) - and I'll give Varèse the benefit of the doubt but to tell you the truth I'm usually much more excited about a new Intrada, LLL, Quartet or Music Box release nowadays. It remains to be seen if those guys there are listening to the fans and I never close the door to anyone.
In any case, I stated my preferences - oh, and I wouldn't say no to a Deluxe treatment of the delightful MOM AND DAD score too!...
Glad to hear that, but Varese is the only label that could bring such a treatment to us -- hence this thread! It is true that those other labels put out "catalogue" releases much more often than Varese does any more, so I understand your greater interest in them. But this is specifically about titles only Varese can control. With my reaction I may have unfairly lumped in your anti-Varese response with TruPretender's *much* more vitriolic anti-Varese response ("VS are a bunch of thieves"? REALLY?), for which I apologize.
Yavar
I agree Dolores should have been released years ago.
While working at Varése, the amount of releases Cary and Bryon and sometimes I wanted to get out was enormous and my gosh we tried are darnedest, but we got resistance from time to time from someone. I can't even begin to remember how many years Dolores has been being worked on 5 or more yrs I think.
On another note...
When you allow the other producers at the label to release the actual recording for a legendary film by one of the greats, but then take it back once the composer passes away because you want all the praise & admiration from the film music community and your friends after you release it, then it is not about the music nor the composer, it's about yourself. That is when it's time to take a step back and look within to find out, how I can get that passion back, that drive to make it ALL about the music.
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