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Posted: |
Jan 29, 2019 - 7:42 AM
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By: |
charles124
(Member)
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Here is an old article I wrote years ago but only the LaSalle parts:
Rich La Salle is something of a mystery. His music absolutuely fills the screen in many TV shows and also many movies across the years. I have heard his music in many Westerns from the 50's and 60's (including a movie with ARROW in its title and this movie also features the LOST IN SPACE- THE DERELICT music extensively), DEAD RINGER (a 1964 mystery movie starring Bette Davis where she has an evil twin), some of the last segments of the fourth season THE FUGITIVE episodes (most impressively THE SAVAGE STREET with Mike Ansara, DEATH IS A VERY SMALL KILLER, DOSSIER ON A DIPLOMAT, nad THE WALLS OF NIGHT among a few others) a B movie about piranha in the Brazilian jungles starring William Smith, a 1970's Vietname movie with Chris Mitchum, a 70's B-blood drinker movie called THE THIRSTY DEAD, THE PLANET OF THE APES TV series, Allen's CITY BENEATH THE SEA PILOT, Allen's THE RETURN OF CAPTAIN NEMO, a mid 70's documentary narrated by Rod Serling about the dangers of the sea including sharks, and the full series of both SWISS FAMILY ROBINSON and CODE RED, several BUCK ROGERS IN THE 25TH CENTURY episodes from 1979 and 1980 (most notably and completely UNCHAINED WOMAN AKA ESCAPE FROM ZETA with Jamie Lee Curtis, COSMIC WHIZ KID, SPACE VAMPIRE, ESCAPE FROM WEDDED BLISS and others), several of the latter WONDER WOMAN episodes from the early 80's (most notably during the two part THE BOY WHO KNEW HER SECRET, THE MAN WHO WOULDN'T DIE, and GAULT'S BRAIN), and Allen's TV disaster films--FLOOD! (actually a very good theme throughout and also containing the DERELICT, SECRET CITY OF LIMBO, TWO WEEKS IN SPACE, THE RAFT bright hopeful music---in the sequence when the pregnant Carol Lynley is saved from her flooded house), FIRE!, CAVE IN (classic LaSalle music here--sounding a great deal like THE MECHANICAL MAN, THE UNSUSPECTED, A PLACE CALLED EARTH, and THE DERELICT), THE NIGHT THE BRIDGE FELL DOWN, etc. His music always carries his trademark sound--and it is nice to hear--but always sounds slightly different. In addition, some of the music from PLANET OF THE APES sounds exactly like the music used in THE UNSUSPECTED and other second season LaSalle composed soundtracks (on the PLANET OF THE APES soundtrack "New Identity" IS this music and other bits sound just the same as this often used GIANTS music). There are literally hundreds of movies and television series that have been scored by this talented man. It remains for someone to do a complete credit listing (Jeanette get going on this one!).
Richard scored all of THE MECHANICAL MAN, THE UNSUSPECTED, A PLACE CALLED EARTH, HOME SWEET HOME, THE SECRET CITY OF LIMBO, GRAVEYARD OF FOOLS, and A SMALL WAR. Music from THE MECHANICAL MAN, THE UNSUSPECTED, and A PLACE CALLED EARTH was reused in many second seasoners, sometimes with other LaSalle music, sometimes with other music from Williams, Stevens, Geller, and the other composers' past works for the first season. Richard's same music also was heard in the mixes of CHAMBER OF FEAR, WILD JOURNEY (which also featuured some very new music by LaSalle), THE MARIONETTES (which featured the music of WILD JOURNEY as well as some of GRAVEYARD OF FOOLS), DOOMSDAY, PAY THE PIPER, THE DEADLY DART, THE CLONES, LAND OF THE LOST, COMEBACK, and OUR MAN O' REILLY.
LaSalle's music has a more optimistic feel to it, lending to a brighter second season. The music from the MECHANICAL MAN featured some good stuff mostly when Steve was using the new telescope device but also when Fitz was menaced by the giant animal. This animal music is reusued in both OUR MAN O'REILLY when the cop is checking for clues in the forest and finds evidence and in THE MARIONETTES when Bobo grabs Val a second time outside the cage. The music when Steve uses the scope is heard when O'Reilly goes to the phone booth to find info for the Spindrifters. Another good piece is when the robot goes out of Mark's control and the three men are still inside it just before a commericial and after. This music is reused a lot on GIANTS. I also like the very end when Barry and Fitz talk leading to the very end of the episode. This music is very uplifting and most GIANTS episodes, first and second season, end with uplifting music (GENIUS AT WORK, NIGHT OF THROMBELLTINBAR, GOLDEN CAGE and others come to mind) with the exception of the end theme to THE FLIGHT PLAN (reused in BRAINWASH).
THE MECHANICAL MAN is fully Richard LaSalle music and it sounds very nice. The music after Chipper is freed from the quicksand sounds a bit like some of the music in THE DERELICT and the scare music used in the early cave sequence in the teaser to FOLLOW THE LEADER and a dozen other LOST IN SPACE segments. LaSalle's score for this one was added to THE UNSUSPECTED along with some even nicer, new tunes, setting the mood in all the right places. The fight musics for this episode are very exciting, especially during the Steve-Mark-Dan fight at the climax of Act Four. This music is rendition of music used in a B-Western-Cowboys and Indians movie from the late 50's or early 60's which also had a large portion of THE DERELICT music in it. The fight music in the end is also used in an altered and more subtle version at the end fight of CITY BENEATH THE SEA pilot movie by Irwin Allen from the early 70's. In fact, the whole of that pilot movie uses terrific versions of LaSalle's music. The music for MECHCANICAL MAN and THE UNSUSPECTED fits GIANTS: it is light, moody, dark, exciting, mysterious, fast paced, silly, and serious. Some of it sounds drum like and is very fitting for the forest-jungle scences. The transitional music is also good--and some of this is used for the mini-chase after Steve dashes away from the time traveling villains in A PLACE CALLED EARTH. Some of the music is very Bernard Herrman-ish and this is evident during the drugstore scence in A PLACE CALLED EARTH.
LaSalle's HOME SWEET HOME was more original, with a fully brand new LaSalle score, again with variations on his own themes cropping thoughout. HOME SWEET HOME is another of those GIANTS scores that can be fully enjoyed by just listening. Much of it is airy, spacey, and odd with some kind of down-home approach lightness added to it. I particularly like Steve's search for Fitzhugh, the space warp and the metoeor music, as well as when Steve hurries Fitzhugh back to the time machine-pod. I also like the music when Steve finds the key on the Constable. And the music when Steve and Fitz first disembark in the Earth town and Steve tries to explain about what may have happened to them to Fitz. In short, I liked almost all of HOME SWEET HOME's score, which made a mediocre episode much better.
Another fully original score throughout is LaSalle's SECRET CITY OF LIMBO which again, contains some redone tunes--mostly evident is the nice music from when Taru tells Val and Fitz if anyone comes they should freeze and the music transitions us to Betty scotch taped on the table as Mark and Steve run to her. This is a short but nice piece which is that same brilliant music from THE DERELICT just as John grabs the line Maureen shot to him--it is uplifting, hopeful, and light. I found that true of most of SECRET CITY OF LIMBO'S score. However, the fight music was brand new and while it is good and tries hard to be better than the fight music from THE UNSUSPECTED, it isn't. There is also music in LIMBO which is repeated at the very end of A SMALL WAR which is music heard in THE DERELICT as Maureen, unconscious, is brought in from the airlock and as she awakens and sees the three children hovering over her worried and then they smile. This is a very light piece and almost too optimistic and Disney-like. But I like it, a lot. It gives that edge to the Allen shows that other shows don't have--a kind of balance of the feelings of dark and light. The teaser music and just after during the episode credits has some very beautiful music, grand and large---it is just too bad we really didn't see a whole large city to go along with the great score here. This music is heard as Val and Mark first appear on the tranport platform and look around up to when Taru first looks in at them--also after the main series theme song--as the freeze frame shows his face--this music is incredible and very science-fiction-y.
By contrast, GRAVEYARD OF FOOLS, which uses some older LaSalle music, sounds more fantasy like. Most of this is actually lifted from other episodes but there is some new music, mostly during the plane's final escape from the graveyard which then switches to the fight music used in THE UNSUSPECTED, THE DEADLY DART, and others as the plane arrives back at the warehouse-lab--and this mix is nicely handled. There is also a nice, new action music trumpeting which is used in GRAVEYARD OF FOOLS but is more noticeable during the shooting at Dan and Steve by Thorg in WILD JOURNEY (again giving way to the excellent fight music from UNSUSPECTED). This new trumpeting music is also heard in A SMALL WAR as Steve divebombs the giant father in the toy plane and the man hurls rocks at Steve (again giving way after a return from the commercial break to the same US fight music). While all this sounds repititive, it isn't when viewed in the series which, again, uses all the LaSalle music combined with other music in some other, earilier episodes, especially WILD JOURNEY, CHAMBER OF FEAR, OUR MAN O'REILLY and THE DEADLY DART. Others--A SMALL WAR and GRAVEYARD are fully LaSalle. In THE MARIONETTES the same build up to the trumpeting chase-fight music and the chase-fight music from only GRAVEYARD and WILD JOURNEY can be heard as the dancer girl giant lets the four go out of the fallen cage and as the knife thrower throws a knife at Goldbe.
A SMALL WAR's music mix can be called nothing but brilliant. Along the way there were many great mixes of music. SEVEN LITTLE INDIANS, TARGET: EARTH, CHAMBER OF FEAR, COLLECTOR'S ITEM, THE CHASE, SABOTAGE, THE CLONES, EVERY DOG NEEDS A BOY, LAND OF THE LOST, OUR MAN O'REILLY, DOOMSDAY, ON A CLEAR NIGHT YOU CAN SEE THE EARTH (a fantastic mix with some extra ping to the beats), FRAMED (which sounds more majestic than usual), BRAINWASH (which has tremendous sounding music mixes during Mark's rescue of the brainwashed Steve), THE DEADLY DART, THE WEIRD WORLD and SIX HOURS TO LIVE.
MORE LATER as I try to find the westerns' names. Good luck to me.
DEAD RINGER uses some of that music that might be in PLANET OF THE APES.
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Received my set last Thursday and have been listening to it all week. An incredible selection of cues throughout the series. Really showcases the great music made for the series.
Just wanted to say thank you to La La Land for bringing this to us. You're the best!
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Looking forward to receiving my copy of this. Forgive if it's been mentioned (I couldn't find it) but is there anything from the GNP/Crescendo CD that did not make its way onto this set?
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