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Posted: |
May 10, 2019 - 1:26 PM
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By: |
Rollin Hand
(Member)
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According to imdb, Barnaby Jones has the following composers:
Duane Tatro (12 episodes, 1973-1980)
John Elizalde (10 episodes, 1973-1980)
Ralph Kessler (8 episodes, 1978-1980)
Richard Markowitz (4 episodes, 1974-1979)
Nelson Riddle (4 episodes, 1974-1978)
Mauro Bruno (4 episodes, 1975-1979)
Robert Drasnin (4 episodes, 1976-1979)
John Carl Parker (3 episodes, 1973-1978)
Don Bagley (3 episodes, 1978-1979)
Hugo Friedhofer (2 episodes, 1973-1978)
Willard Jones (2 episodes, 1974-1975)
Lance Rubin (2 episodes, 1978-1980)
Bruce Broughton (2 episodes, 1978-1979)
Frank Denson (2 episodes, 1978-1979)
Jeff Alexander (1 episode, 1973)
Billy Byers (1 episode, 1973)
Jerry Goldsmith (1 episode, 1973)
Tom Scott (1 episode, 1973)
Artie Kane (1 episode, 1974)
Michel Mention (1 episode, 1974)
Laurence Rosenthal (1 episode, 1975)
George Romanis (1 episode, 1976)
John Peter Smalley (1 episode, 1977)
Nathan Scott (1 episode, 1979)
Charles Hoover (1 episode, 1980)
Will Schaefer (1 episode, 1980)
Nan Schwartz (1 episode, 1980)
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Yup, bring me that sweet, sweet Friedhofer goodness....
Listening to his scores in the 40s, I bet film music fans could not have foreseen how cool and hip he would get musically in the last decade and a half of his career, scoring stuff like this and I Spy. 
Now here is what's most intriguing/mysterious to me: Barnaby Jones was one of Hugo's last credits (in fact, his very last for TV). He did his last two film scores, A Walk in the Forest and Die Sister Die, both in 1974 (maybe 1975?) I believe.
But his two Barnaby Jones scores? Well, one is from the second season of the show at the tail end of 1973: the third (highly rated) episode, "Echo of a Murder"...BUT IMDb claims his *second* episode was season 7's "Victim of Love" -- almost FIVE YEARS later, in 1978. Now while Hugo passed in 1981, I hadn't heard of him continuing to compose for Hollywood past 1975, so this is indeed very strange. Maybe IMDb is wrong, or his score from the earlier episode was somehow re-used five years later?
Yavar
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What I love the most is in Goldsmith’s songs you can kind of hear the beginnings of what would be the AIR FORCE ONE score many years later. It just makes me nostalgic and wish Varese Sarabande would release a complete version of that score!
Really? What part of this reminds you of Air Force One? I definitely don’t hear it.
Don't feed the troll.
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You noted that that episode score re-used some John Parker music, so it seems entirely likely that the Friedhofer music was also re-used (possibly from his season 2 episode but maybe from a different show since you say the cues weren't familiar), and just made up over half of the score resulting in his credit.
Yavar
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I'd know because if you kept scrolling, you'd see I did find a load later.
Plus, I know you've been in my threads before, so you know that happens.
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Haha caught my mistake literally right after posting, and now my hurried replacement post makes no sense in context.
Yavar
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They were two different scores; just because there is a gap in the career of a composer, doesn't necessarily mean it's a track job. And just because one composer is tracked, doesn't mean others are.
"Gunsmoke" had over forty credited composers and what must have been somewhere over a hundred scores. Yet tracking (of originally-composed scores) was primarily from "Chato" and "Matt Dillon Must Die!" and even then didn't happen that often.
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My point is that it is specifically fishy since Hugo Friedhofer wasn't composing for Hollywood after 1975. Read the Linda Danly book about him (I found it at the library through interlibrary loan and read it cover to cover). If this is an original Friedhofer TV score, it would constitute his very final work in Hollywood, 3-4 years after he had otherwise retired. Just doesn't ring true, to me.
Yavar
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It can happen. Gerald Fried hasn't done a theatrical film score since the 1980's, yet he recorded a score in December, 2016 for the still unreleased "Unbelievable!!!!".
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All it takes is a producer or a director who really admires a composer (or a fellow composer friend) to talk him out of retirement for one more gig. It happens to actors, why not composers?
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And sometimes people forget things or even get things wrong in books because of bad memories or bad information.
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If one reads the Linda Danly book, one gets the strong impression that the reason Hugo didn't compose for Hollywood during the last 6-7 years of his life was health-related, similar to Miklos Rozsa not composing past the late 80s even though he lived into the mid-90s.
Yavar
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Oh, it annoys me, too when score cues are called songs.
And on a vaguely related note, how people think that all they need is the title of a cue and somehow they'll be able to just to buy/download it, even when people tell them it's not been released.
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Just finished playing side two. The big exciting surprise for me was David Shire's theme for Tales of the Unexpected -- I remembered that theme distinctly even though I probably hadn't heard it in 40 years, but I'd misremembered it as being from a later anthology series, Darkroom, hosted by James Coburn (which Shire also contributed to).
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