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1
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Gotta say you surprise me a bit, Thor -- I thought you cared most about premieres happening, and you picked the only one of the four options that ISN'T a premiere! 
Yavar
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I have a feeling I will be saving some money on this one
Don't be so sure Kev... It's almost an even tie between CBS Radio Workshop, Pursuit/Crawlspace, and the All-Synth Trilogy right now!
Now the question that haunt's me: what is Leigh Phillips' own choice/selection among these 6 proposals?
I don't think he wants to bias the results, but he also really likes a lot of these options (and some that got eliminated last round -- he's been talking to me about newly recording "Dr. Jekyll and Mr. Hyde" for years now). He LOVES "1489 Words" and thinks it needs to be done, but I don't think he's very familiar with the other CBS Radio Workshop scores. He also loves the idea of finishing off Goldsmith@Thriller, and even doing some of the best Morton Stevens scores for that series, and I know he's well familiar with those because he already picked out cues a few years ago.
Yavar
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Aye.
When I posted, it looked like the synth re-does were running away with it.
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Posted: |
Mar 6, 2024 - 9:05 AM
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By: |
Thor
(Member)
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Gotta say you surprise me a bit, Thor -- I thought you cared most about premieres happening, and you picked the only one of the four options that ISN'T a premiere!
Yavar
I support ALL of these choices. As you say, premieres of anything is A+. It's just that I, personally, have a long way to go before I can even consider the deepest corners of Goldsmith's work (heck, there are A list film titles of his I don't own, or have even HEARD!), so the synth-to-orchestra re-arrangement thing sounds more tantalizing for the moment. This as opposed to Williams, where those deepest corners of his work would get top priority.
Whatever wins, I support it!
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By my quick calculation, CBS Radio Workshop and the All Synth Trilogy, Orchestrated are in a perfect tie now... and they are both losing to Pursuit/Crawlspace by a single vote!
I am torn between 1 & 3, but probably 1 because I am familiar with Crawlspace and there are a lot of very short cues, which aren't that satisfying. Of course Pursuit, which I am not that familiar with may be spectacular, but hardly likely for a tv movie.
These are my top two picks as well. A couple points: Crawlspace is just over 22 minutes long, and Pursuit is just under 22 minutes long, but Crawlspace has 21 original score cues and Pursuit has 14, so the latter absolutely has a longer average cue length than Crawlspace. But it's not how long a cue is; it's how you use it. And Goldsmith got more mileage out of short cues than almost any composer I know, which I've discovered quite thoroughly in his radio and TV work. I personally think both Crawlspace and Pursuit are excellent, the former being more psychological/emotional character stuff while the latter is more following the action. But they would make an amazing pairing on album I think, and some of the shorter cues could be combined and flow well. Maybe there would even be room to add a third score as a stretch goal or something.
As for CBS Radio Workshop, I should point out that while "1489 Words" is basically three longer cues (or individual concert pieces, really), plus a short final one... the others are going to include multiple short cues which were more common for radio at the time. But again, Goldsmith does amazing things in short spans of time.
Yavar
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2nd round VOTE for next Leigh Phillips Goldsmith!
1) Leigh Harline
2) Stu Phillips
or
3) Jerry Goldsmith
Vote, please!
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#3, no question for me. That's right in the middle of my JG sweetspot.
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Leigh might find the time to expand in further detail since he's far more knowledgeable on this, but my understanding is that music publishing rights (think from entities such as ASCAP or BMI here in the States) are all that would matter in terms of producing a new recording. This is why re-recorded composer compilations have easily mixed film score excerpts from a wide variety of studios -- it's not a matter of having to license tapes from multiple film studios and such. (But when it's original tracks, compilations tend to be organized by studio -- think Goldsmith@Fox box, Herrmann@Fox box, Rozsa@MGM box, The Lion's Roar 2CD set from Rhino, or the single CD 20th Century Fox compilation Varese put out in the 90s...)
It's possible Leigh might feel like licensing stills of the movies, but I wouldn't be surprised if he skipped that as many re-recordings do, to save money. Neither of the Tadlow Thriller volumes had any images from the TV series, which would have required licensing from Universal I think. And I don't think any of the other Tadlow Goldsmith recordings featured images from those films (The Salamander, QBVII, Hour of the Gun, The Blue Max) either.
Yavar
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