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Nope Thor, not even a single rerecorded cue on a compilation or anything (like Pursuit got from Silva, or the theme from Shamus got from BSX before Intrada premiered the original score this year). Black Patch and The Man are both 100% unreleased in any music-only form, which makes this project a must. Wow! We recently talked about in another thread how BLACK PATCH and THE MAN are the only Goldsmith feature scores that haven’t yet had any kind of release. And now this! I’ll be backing this for sure. Thanks, Intrada! *features that received a theatrical release (The Man was produced for television in the States, but was deemed to be of such quality that — like Goldsmith’s The Red Pony or the Williams-scored Jane Eyre from 1970 — it received a theatrical release outside of the States.) There are quite a few other TV feature scores of Goldsmith’s which remain unreleased, such as the aforementioned Pursuit, plus Crawlspace (amazing score), Lights Out, Indict and Convict (TV feature starring William Shatner and Eli Wallach!), The People Next Door, and Do Not Fold, Spindle, or Mutilate… so buck up, Schiffy — plenty left out there to hope for, even if we discount all the unreleased episodic TV work (and why would we? — it’s amazing!) Yavar
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I mean, imagine Daddy-O, otherwise lost, was getting a modern rerecording with a great conductor and orchestra. That’s what it’s like for us Goldsmith fans…only better because Black Patch > Daddy-O These are two major holes (and quality scores) in Goldsmith’s filmography/discography being filled, the only way they can be. Yavar
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*features that received a theatrical release (The Man was produced for television in the States, but was deemed to be of such quality that — like Goldsmith’s The Red Pony or the Williams-scored Jane Eyre from 1970 — it received a theatrical release outside of the States.) THE MAN is apparently one of those projects that exist in that weird quantum state of being both a TV movie and a feature. Yes: produced to be aired as a network-TV movie, though instead released theatrically in the U.S. as well as in some other countries. But after disappointing domestic business, it ended up being seen by more people on TV anyway.
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No tapes for both (or not usable tapes) or is this just another case of people just want things to sounds like they were recorded yesterday?
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No tapes for both (or not usable tapes) or is this just another case of people just want things to sounds like they were recorded yesterday? Apparently you didn't make it as far as Intrada's second paragraph? https://www.kickstarter.com/projects/129145902/black-patch-the-man-jerry-goldsmith-new-recording "Due to his popularity, nearly every film score Goldsmith composed has been released in some form. But at least two works remain unreleased for the simple reason that the original recordings are missing. One is his first theatrical film score, the western Black Patch from 1957. The second is The Man from 1972, about America’s first black president. These are noticeable gaps in his discography and the only way to fill those gaps is through new recordings of the scores." Intrada has been searching for these for years. Sometimes things turn up, like Face of a Fugitive. I'm sure that if Intrada thought there was much if any chance of Black Patch and The Man showing up, they would not be spending the time/effort/cash to newly record them. This line is also significant: "Leigh Phillips is reconstructing both previously unreleased scores—Black Patch from Jerry Goldsmith’s own surviving scores and The Man from the film print." That means that while original written music survived for Black Patch (https://collections.new.oscars.org/Details/Archive/71302938), it apparently has not for The Man (probably because it was originally ABC TV rather than a Paramount feature film...who knows where it got filed and if it survived in written form?) This means Leigh has had to reconstruct the score, by ear, from the film audio. There are 2-3 cues which seem to be truncated in the film though, so if anyone knows the whereabouts of written music (even just sketches) for The Man, now is the time to please speak up! Yavar
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Couple of days? Actually it's only just passed the 24 hour mark in the past couple of hours! Amazing. Out of curiosity, does anyone remember how far along Dial M for Murder was, at the one day mark? It went past its goal with 404 backers. This is already more than halfway to that number, currently standing at 230... Yavar
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No tapes for both (or not usable tapes) or is this just another case of people just want things to sounds like they were recorded yesterday? THE MAN was a Lorimar production, and it has been long accepted from discussions of scores for the series The Waltons (which have been of interest to you, Justin) that said company's music masters are themselves long gone. BLACK PATCH was a low-budget Western distributed but possibly not actually produced by Warner Bros. Years ago I suggested to Lukas Kendall that FSM pair Goldsmith's relatively brief debut feature score with another never-released Western score, Alfred Newman's FIRECREEK from the same studio. Lukas replied that WB had neither tapes for BLACK PATCH nor information about who its owners were by then. I personally prefer film recordings, even monaural, to re-recordings "sounding like they were recorded yesterday," because new performances often might be note-perfect but short of the emotion or the urgency evoked within the originals for dramatic needs of the given film. I have known both of these scores from their movies for decades; and I accept that the film masters will not be forthcoming. So I'd rather have re-recordings than nothing. Appropriately, I made my first-ever Kickstarter pledge last night. And Basil: It's not too likely that Intrada will record Goldsmith's initial feature score and not include its main title. That saloon-piano music which you dismiss is not stock source music but a Goldsmith melody. I'll be pleased to have it on disc at last.
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BLACK PATCH was a low-budget Western distributed but possibly not actually produced by Warner Bros. Years ago I suggested to Lukas Kendall that FSM pair Goldsmith's relatively brief debut feature score with another never-released Western score, Alfred Newman's FIRECREEK from the same studio. Lukas replied that WB had neither tapes for BLACK PATCH nor information about who its owners were by then. And what did Lukas reply about Alfred Newman's FIRECREEK? I've been longing for that one for decades now; it's one of the westerns I grew up with from my father and I always thought it was a very cool score. And Basil: It's not too likely that Intrada will record Goldsmith's initial feature score and not include its main title. That saloon-piano music which you dismiss is not stock source music but a Goldsmith melody. I'll be pleased to have it on disc at last. What is your source that Goldsmith wrote that bit of source music? I have thought for a few months now that it might likely be him, because he did write a key piece of saloon source music (I think performed by Johnny Williams!) for his second western feature Face of a Fugitive, but I've been in communication with Leigh Phillips about his reconstructing work on this, and he wrote me back saying two important things: 1) "The documents we have state that it isn't Goldsmith (listed as anon)." and 2) that he did reconstruct the piece anyway (even though it's not in the written scores in the Herrick library, because apparently Goldsmith didn't write it) -- "It's been decided to include it as it features several times." Of course Leigh is not producing the album himself and maybe Doug or Roger could ultimately decide not to record/include it after all, since it isn't Goldsmith. But apparently that's the plan, for now. Leigh also confirmed to me that this was the only piece of source music he reconstructed from the film, so there will be no villainous harpsichord noodling on this, thank goodness! I'm with Basil in that I hope the player piano source music main title is not included in between Goldsmith cues (this film has a cold open which has original score before the main title) but either at the end of the album as a bonus, or perhaps as an easily-skippable very first track (similar to Bandolero's saloon piano version of the theme being used to open the album, though that was a little different as it was an actual Goldsmith composition). Yavar
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Agreed. It is an interesting and unique main title, conceptually, in the film… but I personally have no desire to have it on album no matter how good the sound quality is. https://goldsmithodyssey.buzzsprout.com/159614/656592-episode-1-black-patch-1957 On the other hand if you listen to this podcast episode you’ll find out that others feel differently — my friend Clark says he would want it on a hypothetical album release, so I think Intrada is probably smart to include it (hopefully at the very beginning or very end so that it is a “bonus” for those interested, but easily skippable for those who aren’t. Yavar
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£15,362 of £27388 pledged 262 backers 29 days to go. Seems well on course!
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