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Posted: |
Sep 1, 2013 - 10:25 AM
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By: |
Rollin Hand
(Member)
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Apart from "The Rat Patrol" which recycled re-recorded cues from "Stoney Burke",
another series did it: "The Fugitive" and during its final season.
Read the cue list for the first episode that tracked Dominic Frontiere's Daystar music.
Tonight’s Episode: THE SHARP EDGE OF CHIVALRY
TEASER
scene: In the room of the female victim, Lt. Sloan gets up and asks Kimble as Baker his ID.
cue: Dominic Frontiere’s electric bass guitar sniper theme from STONEY BURKE’s “Point of Entry”. (Not used in the actual Act II scene)
ACT I
scene: Kimble comes out the trash can in the street and resumes to the building. Hidden under the staircase, Roger Roland eavesdrops and stares at a kissing couple.
cue: Dominic Frontiere’s “Point of Honor” (Lee Anne Hewitt love theme) from "Stoney Burke".
ACT II
scene: Opening Act – Roger cleans up the murder weapon in the room of the janitor.
cue: Dominic Frontiere’s “Point of Honor” (tense martial theme for Soames Hewitt) from "Stoney Burke".
scene: Kimble leaves the janitor’s room when he hears the police siren and hides under the staircase.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Contender”.
scene: Kimble comes out of the building, sees the police roadblock in the street and resumes to the building.
cue: Dominic Frontiere’s electric bass guitar sniper theme from STONEY BURKE’s “Point of Entry”.
scene: The police knocks on the door of the janitor’s room while Kimble hides the murder weapon in the vent.
cue: Dominic Frontiere’s electric bass guitar sniper theme from STONEY BURKE’s “Point of Entry”.
scene: Kimble comes out by the window and hides in the other apartment balcony.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Contender”.
ACT III
scene: Opening Act – Kimble is still hiding in the balcony.
cue: Dominic Frontiere’s electric bass guitar sniper theme from STONEY BURKE’s “Point of Entry”.
scene: In the janitor room along with Lt. Gerard, Lt. Sloan finds the hidden murder weapon – Kimble travels through the balconies and stops by Mrs. Murdock.
cue: Dominic Frontiere’s electric bass guitar sniper theme from STONEY BURKE’s “Point of Entry”.
scene: In the laundry basement, Roger attacks Mrs. Turney.
cue: Dominic Frontiere’s fast music from STONEY BURKE’s “Point of Honor”.
scene: In the laundry basement, Kimble carries shocked Mrs. Turney who rejects his help.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Contender”.
ACT IV
scene: Opening Act – Lt. Gerard talks to a cop and moves towards the entrance of the building.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Contender”.
scene: Coming out of the building, Roger runs away from the police.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Contender”.
scene: Along with Lt. Gerard, Lt. Sloan rushes to the apartment of Edward Roland who lets them in and picks up his son.
cue: Dominic Frontiere’s music from STONEY BURKE’s “The Journey”.
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I will have to listen to the cited episodes when I can. The pieces I most wanted to hear on The Rat Patrol CD ... at that point, I was unaware of this recycled music ... were used in The Zanti Misfits, when the car was traveling in the desert ... and, in The Rat Patrol, the cue usually used when German tanks were on the move. It seems such a military-like piece that I had trouble believing it was not specifically composed for TRP.
The Zanti Misfits cue with a martial leaning if from a "Stoney Burke" episode entitled "Point of Honor".
Leave me your e-mail adress and I will send you a SB report.
"The Rat Patrol" also contains other library cues.
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"Cody Bristol, son of a pistol, cock and ready to fire."
—Ves Painter (actor Warren Oates) from "Flight Night".
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Posted: |
Jul 25, 2021 - 5:48 PM
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By: |
ajant
(Member)
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I think the creator of this website https://davidjanssen.net/FugitiveMusic.htm may share a similar dream info@davidjanssen.net ; for LLL, Kritzerland, Intrada or Silva Music to release what's missing from LLL's first season Outer Limits boxed set AND at least most of the best of Stoney Burke. Of course, Chris Soldo and all of us also want to see the release of the best of the rest of Pete Rugolo's Fugitive library, much of which was hardly contained in that Silva Music CD. That was a real shame. Why couldn't Silva access and release at least most of the rest?
It's likely that the rest of Rugolo's Fugitive music is still in the CBS library vaults. And just as important, and fortuitous, they are almost certainly stems; isolated tracks not mixed with dialogue, so their original dynamic range should be intact. Otherwise, CBS probably never would have been able to re-engineer those DVDs, originally released with the bogus music, and then later-after waves of consumer protestations-turned around and did the right thing.
As for Frontiere's Stoney Burke tracks and what went missing from the LLL CD set, I may be wrong but as the LLL set credits cite https://www.emipm.com/en/, it's all owned by https://www.sonymusicpub.com/en. I just hope that the actual cues and parts of suites Elizalde and Farris pulled to score Stoney Burke are actual stems, if they still exist at all. I've yet to ask Sony-or their other production music wing https://www.apmmusic.com/ about this as I've been drowned in other matters to pursue actual planning for a soundtrack release, assuming licensing costs are affordable.
As for hope of releasing actual product, if anyone moves to get this done before I can I'd strongly suggest making the collection available as a UNcompressed 16 bit/48kHz or 24 bit/96kHz downloads. Not only would we avoid the needless and crazy costs of ~500 to 3000 copy CD pressing, artwork and packaging but as HDD space is cheap, people would be able to own the collection in potentially much better than CD quality sound.
I'm certainly not here to make money out of this thing and I doubt anyone else here is either. But if we think these points over together and bounce it off people like Chris Soldo, the LLL owners and maybe even Chris Malone in the UK-who's mentor Eric Tomlinson was the engineer who recorded all of Rugolo's Fugitive scoring-https://en.wikipedia.org/wiki/Eric_Arthur_Tomlinson -they may show us how to set up a website to make the collection of tracks downloadable and very affordable for everyone. https://www.malonedigital.com/articles.html https://www.malonedigital.com/contact.html
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I think the creator of this website https://davidjanssen.net/FugitiveMusic.htm may share a similar dream info@davidjanssen.net ; for LLL, Kritzerland, Intrada or Silva Music to release what's missing from LLL's first season Outer Limits boxed set AND at least most of the best of Stoney Burke. Of course, Chris Soldo and all of us also want to see the release of the best of the rest of Pete Rugolo's Fugitive library, much of which was hardly contained in that Silva Music CD. That was a real shame. Why couldn't Silva access and release at least most of the rest?
It's likely that the rest of Rugolo's Fugitive music is still in the CBS library vaults. And just as important, and fortuitous, they are almost certainly stems; isolated tracks not mixed with dialogue, so their original dynamic range should be intact. Otherwise, CBS probably never would have been able to re-engineer those DVDs, originally released with the bogus music, and then later-after waves of consumer protestations-turned around and did the right thing.
As for Frontiere's Stoney Burke tracks and what went missing from the LLL CD set, I may be wrong but as the LLL set credits cite https://www.emipm.com/en/, it's all owned by https://www.sonymusicpub.com/en. I just hope that the actual cues and parts of suites Elizalde and Farris pulled to score Stoney Burke are actual stems, if they still exist at all. I've yet to ask Sony-or their other production music wing https://www.apmmusic.com/ about this as I've been drowned in other matters to pursue actual planning for a soundtrack release, assuming licensing costs are affordable.
As for hope of releasing actual product, if anyone moves to get this done before I can I'd strongly suggest making the collection available as a UNcompressed 16 bit/48kHz or 24 bit/96kHz downloads. Not only would we avoid the needless and crazy costs of ~500 to 3000 copy CD pressing, artwork and packaging but as HDD space is cheap, people would be able to own the collection in potentially much better than CD quality sound.
I'm certainly not here to make money out of this thing and I doubt anyone else here is either. But if we think these points over together and bounce it off people like Chris Soldo, the LLL owners and maybe even Chris Malone in the UK-who's mentor Eric Tomlinson was the engineer who recorded all of Rugolo's Fugitive scoring-https://en.wikipedia.org/wiki/Eric_Arthur_Tomlinson -they may show us how to set up a website to make the collection of tracks downloadable and very affordable for everyone. https://www.malonedigital.com/articles.html https://www.malonedigital.com/contact.html
Have you heard any replies to your inquiries?
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Would love to one day own this set of tracks.
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Would anybody in-the-know know the answer...
While Frontiere is credited with "music by" on some episodes, others he is credited a "musical director"; does that mean the musical director credits are track jobs?
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SEASON 1:
Jack Lord is then modern-day cowboy Stoney Burke.
The series' main theme is provided by Frontiere. Frontiere also serves as an executive producer on all the episodes.
The series began in 1962 and lasted one full season.
Attention readers: I have been implementing a system that is nothing more than a note to myself; for cues that I want to include in a suite one day, for now on I will denote them with ^ symbol. It has no special meaning to anyone else but myself. No, the lack of an up arrow symbol doesn't mean the cue is bad (it just may have too much SFX or FX for suite use or just isn't worth my time to edit and include). Hence forth this system will be in all future threads and pre-exiting threads that I go back to for missed episodes. Anything in ( ) are just notes to the arrow and you need not bother with that. The system does not mean that I will make a suite or that one has been made, it's simply for my own reference if and when I do decide to.
"The Contender" (the first episode)
https://archive.org/details/e-1-the-contender
Alternative link: https://www.youtube.com/watch?v=5FATiLsA28A
Note: Even though Frontiere is credited as a "Musical Director" on this episode and half the series' run, it sounds like original music (though some cues are tracked again and again), so I am covering all the episodes.
Highlights:
0:16 in.^
6:15 in.^
11:32 in. And the source cue that immediately follows it and the cue after the commercial break.^(first)
14:57 in.^
16:14 in.
21:04 in.^
23:40 in. Joining a cue already in progress. I'll have to compare it directly, but I think it might just be part of the above cue edited out, up until about the horse not being for sale alive.^
28:27 in.^
38:26 in. Joining a cue already in progress. And the cue after the commercial break.^(both)
46:49 in.
48:01 in.^(parts)
(Note to Me: 32:20, 45:01)
"Fight Night"
"Musical Director"
https://archive.org/details/e-2-fight-night
Highlights:
0:47 in.^
6:51 in.
11:43 in.^
13:00 in.^
15:37 in.^
18:33 in.^
24:53 in.^
28:53 in.^
41:59 in.^
43:12 in.^
45:17 in.
About 48:21 in.^
(NtM: 28:40)
"Child of Luxury"
"Musical Director"
https://archive.org/details/e-3-child-of-luxury
Highlights:
1:59 in.^(open)
11:11 in.^
15:32 in.^
23:24 in.^
28:49 in.^
30:02 in.^
33:38 in. Note to Me: Same cue as 1:59?^
38:21 in.^
42:43 in.
47:15 in.^
16:25 in: is that a man or a woman? Good lord.
"Point of Honor"
"Musical Director"
https://archive.org/details/e-4-point-of-honor
Note: A few minutes of the opening is missing, so I can't comment if there was score in it. And proper time stamps below won't line up with proper loads.
Highlights:
1:49 in. Wonderful stuff.^
7:00 in.^
17:44 in.
21:13 in.^
33:59 in.^(open)
36:27/37:25 in.^(second)
38:12 in.^
42:48 in.
44:57 in.^
(NtM: 46:43)
Out-of-context quote...
"I want you; come on -- you take me! Oh, you do it, too."
"The Mob Riders"
"Musical Director"
https://archive.org/details/e-5-the-mob-riders
Highlights:
4:38 in.
6:33 in.^
11:40 in.^
17:19 in.^
24:34 in.^
26:33 in.^
29:37 in.
32:36 in.
39:05 in.
40:37 in.
43:21 in. And the cue after the commercial break.^(both)
44:40 in.^
46:37 in.^
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Continuing SEASON 1:
"A Matter of Pride"
"Musical Director"
https://archive.org/details/e-6-a-matter-of-pride
Highlights:
3:30 in.^
7:54 in.^
16:40 in.^
28:38 in.^
30:44 in. And the cue after the commercial bumper piece.^
38:24 in. I think most of this is likely just an edit job of cues from previous episodes.
46:53 in.^
(NtM: 24:10, 50:50)
"Sidewinder"
"Musical Director"
https://archive.org/details/e-7-sidewinder
Highlights:
5:59 in.^
8:12 in.^
9:25 in.^
30:35 in.^
38:50 in.^
43:59 in.^
47:49 in.^
48:44 in.^
"The Scavenger"
"Musical Director"
https://archive.org/details/e-8-the-scavenger
Highlights:
11:51 in.^
21:08 in. Soft romantic-esque music; three minutes long. And the bold stately theme arrangement which immediately follows it.^(second)
27:05 in.^
28:58 in.^
29:58 in.^
34:35 in.^
42:00 in.^
48:18 in.^
"Spin a Golden Web"
"Musical Director"
https://archive.org/details/e-9-spin-a-golden-web
Highlights:
7:55 in.^
12:12 in.^
16:50 in.^
17:20/20:23 in.^
23:04/24:34/40:59 in.^
32:09 in.^
33:57 in.^
39:15 in.^
45:48 in.^(48:41)
"The Wanderer"
"Musical Director"
https://archive.org/details/e-10-the-wanderer
Alternative link: https://www.youtube.com/watch?v=zQAc-qnTRQE
Highlights:
9:23 in.
15:33 in.^
22:57 in.^
24:17 in.^
25:49 in.^
28:14 in.^
29:56 in.
32:01 in.^
33:13 in. Those first ten seconds sound like the opening of a cue from "Spaceballs".^
42:55 in. And the cue after the commercial break.^(second)
48:33 in.^
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Continuing SEASON 1:
"Five by Eight"
"Musical Director"
https://archive.org/details/e-11-five-by-eight-by-eight
Highlights:
0:00 in.^
2:16 in.^
5:18 in.^
6:23 in.^
16:18 in.
21:00 in. And the cue after the commercial break.^
24:10 in. This cue can be connected to the second cue above.^
28:16 in.^
27:46 in.^
32:55 in.^
35:57 in.^
38:57 in.^ *
44:57 in.^
47:16 in.^
47:55 in.^ **
* = Why is a police car blasting the siren and light in the middle of nowhere?
110 degrees? Yeah, no -- her dress would be soaked.
** = Yes, he saved their lives ... after putting them in the situation that nearly ended them.
"You gotta play the cards the way they fall."
"Bandwagon"
"Musical Director"
https://archive.org/details/e-12-bandwagon
Alternative link: https://www.youtube.com/watch?v=25g7cbptDfY
Highlights:
10:51 in.^
17:52 in.^
22:27 in.^
28:58 in.^
32:05 in. Short intro cue.^
32:36 in. Might be -- at least the opening -- that "Spaceballs" cue referenced in the "The Wanderer".^
44:04 in.
48:25 in.^
"Cousin Eunice"
"Musical Director"
https://archive.org/details/e-13-cousin-eunice
Alternative link: https://www.youtube.com/watch?v=CPr8cq2_Fv8
Highlights:
0:00 in.^
3:25 in.
12:48 in.^
17:41 in.^
23:20 in.^
24:50 in.
26:57 in.^
28:33 in.^
29:53 in.^
32:45 in.
33:18 in.^
35:22 in.^
40:51 in.
42:31 in.^
45:47 in.
48:43 in.^
"Gold Plated Maverick"
"Musical Director"
https://archive.org/details/e-14-gold-plated-maverick
Alternate link: https://www.youtube.com/watch?v=npq7UXuaOnE
Highlights:
0:00 in.^(open)
0:43 in.^
2:06 in.^
5:51 in.^
9:31 in.^
10:57 in.
14:24 in.^
19:36 in.^
27:05 in.^
42:49 in. And the cue after the commercial break.^(first)
47:00 in. (2:22 long) ^
"Death Rides a Pale Horse"
"Musical Director"
https://archive.org/details/e-15-death-rides-a-pale-horse
Alternative link: https://www.youtube.com/watch?v=7GNuckSDGRg
Highlights:
0:00 in.^
2:10 in.^
3:07 in. Lovely. So much of the scoring in this show is just wonderful, but every once in a while I have to say: this is what film music is all about.^
6:22 in.^
7:05 in.^
11:21 in.^
12:37 in.^
14:05 in.
17:12 in.^
22:51 in. Light '60's rock source cue.^
23:41 in. Dance source cue. And the score cue that immediately follows it (I think the music during the amusement park montage, is tracked from a prior episode).^
32:37 in.^
34:51 in.^
38:07 in.^
41:52 in.^ *
47:25 in.
48:11 in.^
* = After the commercial break one of the regular source cues that plays at the rodeo plays, but this time we see a band and a man conducting it with a hand. Could this maybe be Frontiere?
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We can do multiquotes at this forum? Please see my reply to others here today 
