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I wish UCLA had Jim Morrison's student film ?
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Nice photo!
Btw is that John Blankenship in the photo?
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Exactly, because we can imagine all the millions rioting in the streets if the Six Million Dollar Man master tapes were lost!
I may have alluded to that danger in a prior thread, yes. It just makes sense to get The Six Million Dollar Man on CD, if only for the sake of domestic tranquility.
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The 4th Season
Fred Steiner
The Bard
I Dream of Genie
Miniature
Mute
Van Cleave
Jess-Belle
Rene Garriguenc
Passage on the Lady Anne
This season of hour-long episodes rarely gets its music talked about.
Out of 18 segments produced, only 6 received musical scores written for them - and 2/3 of these were by Fred Steiner.
One could say that Steiner was the musical voice for the 4th season, but I don't think any of the music written for this season and the 5th season was ever 'tracked' into the show's remaining library stocked episodes.
Personally, I consider Van Cleave's Jess-Belle to be the most diverse score written for a single story. There's country square dance fiddle music, an act-by-act ballad sung by a female vocalist, a theme performed on harmonica and Van Cleave's 'trade mark' NovaChord sequences.
Rene Garriguenc's contribution also impresses me. He wrote in comfortably conventional Golden Age idiom which could seem melodramatic or sentimental but which is appropriate for the material and always with the integrity of dramatic orchestral scoring.
I prefer both of these to Steiner's output. Of the 4 Steiners, though, I think Mute is the most affecting and quite Herrmannesque.
I'm not too keen on the 2 comedy shows, honestly.
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Its actually unknown if Van Cleave used a novachord on Twilight Zone. All the documentation at the time states he made use of an electric violin and a "prepared organ".
What?!
How can he use instruments that " alien to the time period".
It " takes me out of the story".
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TZ hired Steiner when they couldn't get Herrmann.
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The problem with the composer-based approach suggested by my esteemed colleague W. David Lichty is this: people will of course buy the Goldsmith box set and the Herrmann box set, and sales of the "leftover" scores are not going to go well, I think. So if we really want a definitive release of all the Twilight Zone music, we can't do that. If the goal is just to get all of the Herrmann and Goldsmith out there in definitive form, then maybe that is the best thing to do. But then a lot of good music by less well known composers will remain unreleased and overlooked. After consideration of the many contributions here, I'm thinking that season sets of Twilight Zone scores would make the most sense. The "wild" library cues could be interspersed throughout, in a fashion to even out the set size.
I remember when LLL released their mega Star Trek TOS box, a lot of people chimed in with a preference for individual 5-disc season releases. I still think this would be a popular option when it comes to TZ, and that the sets would be reasonable Batman TAS sort of sizes. The only set that would be likely to sell less (because it'd be sans Goldsmith/Herrmann/Waxman/other big names) would be season 4. Maybe adding in more of the "wild" library music (including by the "name" composers) there would make sense, to make that set more attractive. What would people here think of that?
BTW, LordDalek...it may not have the advantages of being roughly chronological by composer, but if a mega-set were the way to go, it could be arranged much more efficiently than you laid out above. For example, your proposed Disc 4 with three Goldsmith scores wouldn't even fill up half of the available space on a 77-78 minute CD. In fact, if the "Jazz Themes" and "wild" library cues are left off, I think all seven Goldsmith Twilight Zone scores could probably fit complete on a single CD.
I'd prefer a separate release of "Man on the Beach" (paired with another score, since I'm assuming it's too short by itself) rather than tack on one or two cues onto a set of scoring from another show.
Right now it would be the only way to hear the entire score.
I'm not sure how many buyers are going to swarm to a standalone release of an unaired pilot like Man on the Beach...though it's Goldsmith so who knows? Pairing it with Jerry's unreleased pilot score to The Sergeant and the Lady would make a lot of sense, and maybe there's another standalone Goldsmith oddity or two in the CBS vaults that could even fill out the disc with them. But the main reason I was suggesting inclusion in the definitive Twilight Zone set release is because otherwise, people will say, "this is missing such-and-such music that was on the Silva 4-CD set"... since Man on the Beach was included on that as "Jazz Theme #1" but still supposedly "Twilight Zone music" it may just be too tied in to omit from a future more definitive TZ release. And it wasn't the entire score, but it was over three quarters of it I think....quite a few cues, all lumped together in a single suite track.
Yavar
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Speaking of 'missed this', I'd written:
I'm with you, but if the library music is to be included, a single set could outscale even the Star Trek 15 CD set. Because it's an anthology show, the composers might be more of a selling point factor with Twilight Zone, the works being more distinctive to them than the series. The situation with Zone is a little different from a show with more singular world, like Trek and Lost in Space. It lends to the music not needing to be presented chronologically by episode.
Then Last Child followed up:
Not sure if you're saying that including library music would mean more CD's or higher price than the TREK box. It might not amount to as much as you think. Also, the pre-existing "library" is not generic, but by known composers - Herrmann, Steiner, Goldsmith, etc. so it would already have the name recognition ("a selling point") you mentioned. Aside from that, alot of episodes simply re-used music from scored episodes (like Star Trek did), so the scored episodes would probably make up the majority of a box set.
Yeah, I might have over-guessed. The original scores just might fit on 10 CDs. Zone fell under the rule where 1/3 of the produced episodes in a season had to have original scores, and they hit that number exactly. My thinking was an average length of 12 minutes of music per scored episode (possibly a little high), with 13 original scores for four of the seasons, and 6 for season four at twice the length, that's ~780 minutes, or 10 very tightly squeezed CDs if my 12 minutes is right, and less tightly squeezed ones if that was over. I think we could safely round down to 10 CDs, anyway.
For library music, I'd pulled everything I could get from the isolated score tracks, just of Goldsmith's, since that was my interest at the time, reconstructing cues from multiple locations where possible, which still left me with mostly ~45 second cues. Maybe it's safe to say I got 1/2 of the music from the various cues used, and I was able to pull from a generous 4 out of 5 episodes (those are some great blu-rays).
I think the tracked in music added up to about 45 minutes, even excluding the tracks pulled from programs like Gunsmoke, The Lineup and so on, so the math would suggest I got 45 minutes of a possible 108 minutes, but again, let's assume I'm wrong about the 1/2 figure, or that there might not be as much to pull, which was not already pulled, on those 5th episodes which didn't have isolated scores. For Goldsmith alone, I think that could still easily fill up 1 CD. I feel like Herrmann may have had even more library cues, as he may have had more music overall in the series, though that is a wild guess on my part.
Maybe if Goldsmith's wild cues fill up one disc, Herrmann's + those of others might fill two more? Wild stab, again.
But then with Goldsmith, some of those cues were parts of suites, longer scores or unsold pilot scores, as might also be the case with some of the other composers' wild music. Jazz Themes #1 and #2, from that 4CD Silva set, were from such sources, and both were incomplete on that set. A couple of discs might pleasingly provide the only excuses there may ever be to put some of those full scores out too, in the interests of Zone completeness and the composers represented. That could get us to 15, not that the number is magic, or I need my guesses to be canonized, but that was where I was coming from, and probably describes the ideal set, for me.
By the way, these are the shows where we covered those wild cues from Twilight Zone, before I was even an official Goldsmith Odyssean:
https://goldsmithodyssey.buzzsprout.com/159614/797224-episode-12-cbs-music-library-spectacular-part-1
https://goldsmithodyssey.buzzsprout.com/159614/812543-episode-13-cbs-music-library-spectacular-part-2
(oh, and Jazz Themes 1 & 2!)
https://goldsmithodyssey.buzzsprout.com/159614/779305-episode-11-man-on-the-beach-1959-the-fair-haired-boy-1958
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The Lichty Temptation
( go for it next sale!  )
Heh! I'd love to, but I'll wager it's gone by then. They do one a year, right? In June? That one's already on a countdown.
And I did, indeed, get it, not too long before it sold out, too. Wanting to support during COVID pushed me over the line last April, and their sale made it easy to leap over that line, too.
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The score for “Jess-Belle” is dated 12/26/62 and was composed for the following instruments:
Alto Flute
3 Trombones
Organ
Special Organ
Harmonica/Bass Harmonica
Guitar
4 Cellos
I can't say what "Special Organ" is.
Thanks for this info! So Van Cleave recorded this the day after X-Mas. Never knew session dates before - this implies that "Jess-Belle" was likely filmed one week in December '62 (or late November?).
My guess is that 'special' might refer to a Jack Cookerly organ.
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