Agreed. No one has given a clear explanation on why this one hasn't been given the treatment yet...outside of saying that Silva holds the rights...but if it was that simple, they would have cashed in on that goldmine long ago, no?
Silva said they do not have the rights anymore for CD releases of it.
Varese having the tapes is not a surprise since they released it once before. Doesn't mean they are the ones that will expand it.
I don't care who it is, but it desperately needs a remastered expanded release. Wrong takes on both Silva and Varese editions. Lots of alternates. Jerry wrote a lot of music. I was hoping Quartet would do it as they probably wouldn't leave a single piece or take off. It could literally be 3 discs worth.
I did a score breakdown a while back and I discovered 11 unreleased cues and about 6 cues that sound like very different mixes! The film presentation alone would be 2 discs worth, and I'm sure a 3rd would be packed with alternates!
Does anyone know what the 9M-3 cue is from the Varese release? If I were to give it a name??? The beginning sounds a little like the beginning of The Vortex from the Silva release
With that – ‘Supergirl’ – television series – having 6 seasons – (which had concluded its run in November 2021)…
I always believed that the popularity of that show; would ignite interest in the release of Jerry Goldsmith’s score.
That's logical and reasonable. But the rights holders often take the opposite view - any earlier incarnation of the franchise will "compete" with the current one and so getting the rights is impossible.
Add to that the fact that SUPERGIRL (the movie) was independently produced by the Salkinds and then distribution was moved from Warners to Sony Tristar and then later required by Warners from Sony. I'm sure there are lots of reasons that securing the rights to the complete soundtrack is difficult.
Does anyone know what the 9M-3 cue is from the Varese release? If I were to give it a name??? The beginning sounds a little like the beginning of The Vortex from the Silva release
THEN the biggest of all - the "Love Theme" suite, a 2 or so minute suite, mellow and in the style of "Love Theme From Superman" track by Williams on S:TM Soundtrack.
Does anybody know more about the recorded but unreleased "Love Theme" suite? Hopefully someday we'll get to hear it.
THEN the biggest of all - the "Love Theme" suite, a 2 or so minute suite, mellow and in the style of "Love Theme From Superman" track by Williams on S:TM Soundtrack.
Does anybody know more about the recorded but unreleased "Love Theme" suite? Hopefully someday we'll get to hear it.
If memory serves, a reply post addressed whether the poster was recalling a portion of Roy Budd's eight-plus minute arrangement of "Supergirl" themes on "The Final Frontier" LP (and later CD). There is, indeed, a "mellow" rendition of the quieter parts of "First Flight" or "Arrival on Earth" or "Flying Ballet" [pick your track title] which clocks in at just under 2 minutes.
Of the three Goldsmith suites on the album: Alien, Final Conflict and Supergirl, the arrangement and performance of the opening and closing titles from Alien is the least offensive. But none of the suites are particularly well-considered, and Budd speeds through Supergirl as if he had just did a hit of cocaine.
I'm a huge Goldsmith fan but every time I try to make it through this score, I find I become distracted. It just doesn't resonate with me no matter how many times I try to give it another chance.
doesn't help that Williams' Superman is my all-time favourite score.
Different strokes for different folks, and all that… in my case, I'm rarely inclined to progress beyond "Fortress of Solitude" on the Superman album because what follows just doesn't hold my attention, whereas I've always been carried along by Goldsmith's dynamic rhythms and sparkling, Ravellian orchestration to the very end, particularly because of the glorious coda that segues into the end titles ("Final Showdow & Victory").
I've always quite liked the SUPERGIRL score. It's a bit clunky and could do without so many of the 'zings' and 'whooshes' and all the other Silly Synth-phonies that JG was wont to cram over and under his scores, especially from that period. But his Love Theme segment is perfect for the innocent beauty and sheer loveliness that was Helen Slater in the film (SWOON!!). And there's some great action and monster scoring that elevates the dog of a film above its placing. I'm quite happy with the combo of Varese LP/CD edition and the Silva expanded version, although I can understand JG nuggets wanting and needing the whole thing to be re-set and tidied up in a Deluxe Edition. I'd probably buy it too. I look back with fondness to the music.
