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ALWAYS (Expanded)
IMAGES (Remastered)
Could the hat-trick be on?
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Perhaps it's LIONHEART and KNOWING on vinyl.
Just kidding!!
It's actually LIONHEART with correct booklets and THE BLUE MAX.
Just kidding again!!
Now, if only there were some other composers besides Goldsmith.
Just kidding again, folks!!!
Cheers
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Blue.
Blue balls.
Blue ball.
"Planet Earth" deluxe.
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Do you have Jerry Goldmsith's Estate permission to do said podcast?
Why on earth would we need it? (And why on earth is it any of your business? You tell me I need a hobby while your hobby seems to be not-so-subtle trolling on a film music forum.)
But if the Goldsmith Estate = Carol Goldsmith, then yes she's aware of the podcast and she approves of it. Hopefully if the glut of Goldsmith releases can calm down, I'll even find the time to interview her. The Soundtrack Spotlight series has sadly turned out to mean less time for Odyssey Interviews.
Yavar
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INSTINCT Complete
(Danny Elfman).
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Fingers crossed for MACARTHUR again....
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Mighty Morphin Power Rangers The Movie??
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But if the Goldsmith Estate = Carol Goldsmith, then yes she's aware of the podcast and she approves of it. Hopefully if the glut of Goldsmith releases can calm down, I'll even find the time to interview her. The Soundtrack Spotlight series has sadly turned out to mean less time for Odyssey Interviews.
That would be "a very special episode" of Goldsmith Odyssey, I would drop everything to listen to that.
Oh and speaking of Soundtrack Spotlight, I love listening to Bruce Botnick and he's an amazing dude, but he didn't seem to realize that what he had saved digitally for Along Came a Spider wasn't exactly what was on the original album. But I forgive him because when you've recorded Explorers (for example) maybe Along Came a Spider isn't at the top of your most memorable achievements.
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Yes,I would like an expanded MAC ARTHUR and an expanded 13th WARRIOR, but you won't get it. It's too good for Varese to release. They want only Goldsmith's minor scores from minor films.
Not that I don’t want expanded editions, but MacArthur and The 13th Warrior are pretty widely regarded as more minor scores than Lionheart (even if undeniably better performed). As for the films, they are hardly classics either. You’d be hard pressed to make the case for either being anything other than “minor” films, just like Lionheart (even if they were fortunate enough to get a wider theatrical release).
Oh. And you might not care for Looney Tunes: Back in Action but it was Goldsmith’s final score ever, for a high profile studio franchise, and it was a wonderful capper on his successful collaboration with Joe Dante and frankly his entire career in general. No “bloodletting” in it (which you seem to constantly complain about lately to the point that it’s getting weird...we are talking about music here — can you hear bloodletting in the music?)
I think you just LOVE to complain. It’s become your purpose in life; it gives you a sense of identity to complain about kids these days or whatever. The simple fact is that if Varese catered to your very specific tastes they’d probably be out of business. It’s sad, but Kev was spot on when he pointed to their premiere Conti and Rosenthal titles sitting in the mega discount bin. I desperately want some Roy Webb scores to be released but I have at least enough understanding of the current state of affairs to not browbeat and insult the film music labels because they aren’t churning those out.
As to MacArthur or 13th Warrior specifically... the latter is owned by Disney. When was the last time Varese put out a title licensed from Disney? I’m not saying it won’t happen but it’s probably more complicated than you realize as a backseat driver. As for MacArthur, I don’t know why it’s so hard for people to get this: Varese has no rights to MacArthur. They sub-licensed it from MCA (ie Universal Music Group) years ago, just like they did Psycho II, Explorers, and others. There is no reason to expect they’d be the ones to expand it.
Now why did Varese expand Along Came a Spider, no doubt the prime “bloodletting schlock” offender to your sensibilities? Hmm, let’s see... do they own the title in perpetuity? Check. And what studio released the film, and would have to be negotiated with for all the previous unreleased music? Oh, it’s our friendly neighborhood Paramount, one of the easiest studios to work with since 2009! So how DARE Varese occasionally go after some low hanging fruit they know will sell? (Looney Tunes: Back in Action for the record was much more complicated.)
Please Cody, start your own record label dedicated to Golden Age premieres, since that’s what you expect all the existing labels to invest their time and money in. Just take out a loan and do it. Put your livelihood where your mouth is, like Jose Benitez of Quartet, or MV and Matt of LLL. I promise I’ll be your first customer, even if you release a Tiomkin or Steiner score.  I’m sure you’ll show Varese how wrong they’ve been to concentrate on expanding scores by composers of “SCHLOCK”... like John Williams and Jerry Goldsmith, according to you a little further up this thread. I could almost set my clock to your regular negativity and attacks on the film music labels.
Yavar
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