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Interestingly, Mark Phillips and Mike Bailey disagreed on "Man-Beast" by Leith Stevens:
"Mark says: A rather jarring and whiny music score makes it tough going but Lawrence Montaigne brings real pathos to the role of Dr. Braddock. The makeup shots in shadows are effective and the glimpse we get of the dying Montaigne is creepy, as is Crane's "monster face" during the conclusion in the diving bell.
Mike says: Disagreement on the music score thing. Leith Stevens' score gives this episode what so many later-season Voyages lack--forward drive. Energy oozes from the soundtrack as every filmic element comes together. An intelligently written monster story. Crane's suffering under the influence of Hendrix' gas is palpable. Superbly acted on all accounts. Directed with push and drive. This episode is a great example of the fact that yes, you can do an effective monster show. The key is in the writing."
http://www.vttbots.com/episode_central.html
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In another FSM thread, Kev McGann (currently posting as Kev MaClunkey) opines:
"The likes of Johnny and Jerry took that old, ancient sounding shit and made it all sound new and young again."
"Fresh Young Minds"
Sound similar to Mike Bailey?
We are to suppose that Lennie Hayton's syrupy sentimental Golden Age romanticism emanates from a dirty old mind ( ) in lieu of tapping into Goldsmith's young fresh brain juices.
Not until I had gotten the 6-CD set on Quincy Jones via Universal France did I learn from its liner notes that Lena Horne was married to Lennie Hayton!
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There are plenty of other themes from VOYAGE's first season that are not covered but it does look like a lot of the music from seasons two, three and four are there
I appreciate being a hardcore fan of a show and missing music that didn't make a release. But you could still actually read the thread before posting, and realize that the reason the first season isn't covered beyond the Sawtell pilot score is simple: *there were no available elements*. Jeff Bond also explained that's the reason some of the scores on this set are incomplete; if I understand correctly, all of the scores that are on this set are as complete as elements allowed them to be.
Yavar
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I'd also LOVE to know where THE FOSSIL MEN music as Crane and then Nelson beat on the rock man in the finale with a pipe came from. I know it is stock music but can't figure out from where.
This is one cue I have yet to find anywhere and I suspect it's library music composed for the series AS library. It's not on the set and if it survives at all it may show up on the hoped for second volume.
Guys like Jeff Bond, That Neil Guy and the crew at LLL are as rabid of fans of this music as we are. We even get music from film stems.
Lot of music is missing or gone. Whetever they could salvage from the episodes represented are all that was left.
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Guys like Jeff Bond, That Neil Guy and the crew at LLL are as rabid of fans of this music as we are. We even get music from film stems.
I'll never be as cool as That Neil Guy. https://www.filmscoremonthly.com/board/fsm_profile.cfm?ID=601
Neil
I mean't the REAL Neil guy, natch!
Sorry! Too many Neils, too little time.
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Of the first season music, those I am most bummed about being lost are:
01. “Eleven Days to Zero” (14/09/1964) (music by Paul Sawtell) - the stuff not being released (which admittedly isn't much)
04. “The Mist of Silence” (05/10/1964) (music by Hugo Friedhofer and conducted by Lionel Newman) - great Latin-theme compositions. Awesome work.
05. “The Price of Doom” (12/10/1964) (music by Hugo Friedhofer and Alexander Courage and conducted by Lionel Newman) - great horror-type stuff also used in "The Plant Man" one of the very few times first season music was tracked in a color episode. Probably because the montsers are thematically similar.
07. “Turn Back the Clock” (26/10/1964) (music by Hugo Friedhofer and conducted by Lionel Newman) - very fun stuff.
08. “The Village of Guilt” (02/11/1964) (music by Paul Sawtell) - some really seminal music here, especially the ending.
23. “The Human Computer” (2/15/65) (music by Morton Stevens and Michael Hennagin and conducted by Lionel Newman) - great piano work!
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I see you and predictably Yavar missed the point entirely, can't resist the same old lecture.
Yup, that "same old lecture" that goes, "read the thread before posting, and you might find out why some music is missing from this set". So tiresome! I understood the point you were trying to make; that doesn't mean I agreed with it in this case.
It's ironic for him since he's on a Goldsmith crusade but can't allow someone else the same obsessiveness.
Not nearly as ironic as it is for you to lecture people about giving lectures. 
I've got not problem allowing for obsessiveness. In fact I started out my response by writing, "I appreciate being a hardcore fan of a show and missing music that didn't make a release." Then I pointed out to him that many of the things not on this set were NOT a decision by the producers, but because they no longer survived to release -- particularly all the first season scoring besides the previously-released pilot music. And I pointed out if he had bothered the read the actual release threads for this thing he cares so much about (if I cared so much about something, I certainly would bother to read the thread before posting) then there would have been no need for me to inform him, and maybe he would have complained a little differently than he did.
Venting over an incomplete release may not be rational, but neither is being obsessed with one composer, or anything else about our "hobby."
There's "passionate" and/or "not entirely rational"...and then there's (for lack of a better term) uncool. I happen to know a bit about how much work went into this release. I talked to people who were involved and have been working on it for a LONG time. I know that they too are frustrated about the missing music. I know that they want to release more from the series if possible. So having someone come in and second guess not only hard choices they had to make about what to include, but also act like things that were not in their control WERE in their control...well that's, to me, kinda immature behavior. "They really blew that one" in regards to a generous 4 disc set from Land of the Giants? There are better ways to express one's disappointment. I would have produced a fairly different 4 disc set of Buffy the Vampire Slayer highlights than the one that came out from LLL, focusing more on the development of melodic/thematic material throughout the series. Doesn't mean I'm going to ignore that the producer(s) of that set probably had very good reasons for selecting what ultimately made it on (a desire to reflect more variety of what was written for the series, no doubt).
He wrote: "I don't know why AND FIVE OF US is used over the fuller LOST BOMB set" and "there are plenty of other themes from VOYAGE's first season that are not covered"
Well, if he'd bothered to read Jeff's other posts, he would have known why.
You liken this to my Goldsmith obsessiveness, but here's how my obsessive, "I want every note!" behavior is very different: believe me, if a piece of Goldsmith music is left off a release, I'm damn well going to thoroughly read all the info I can and know the reason why *before* complaining about it. And if I learn that some music is left off because it no longer survives, I sure as hell am not going to complain at all! I may express disappointment that some music is lost, but there's a difference between that and assuming that the producers of a set just dropped the ball, without making the slightest effort to inform oneself first.
Hell, when we covered Studs Lonigan for The Goldsmith Odyssey, we found several original Goldsmith cues in the film which were left off the Varese and Quartet releases of the score. Listen to this podcast and you won't find me adopting a tone of complaint:
http://goldsmithodyssey.buzzsprout.com/159614/866001-episode-15-studs-lonigan-1960
My default assumption, until I learn otherwise, is that if something isn't on a release it's because for one reason or another it couldn't be. His default assumption seems to be that the producers of a set either are incompetent or just don't care. I guess I think there are more mature and productive ways of voicing disappointment.
And as usual, I've spent far too much time writing a post explaining my position to someone who probably doesn't give a damn...
Yavar
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La-La Land Records, Synthesis Entertainment, 20th Century Studios and Legendary Pictures proudly present VOYAGE TO THE BOTTOM OF THE SEA – ORIGINAL TELEVISION SOUNDTRACK COLLECTION: LIMITED EDITION, a deluxe 4-CD collection of original music from the classic Irwin Allen 1964-1968 sci-fi/deep ocean adventure television series!
After enthusiasm about the music has subsided slightly, can we ask why four (4!) entities were involved?
If 20th Century Fox holds the rights to the series & its music, then why did La-La Land need to be involved with 2 other companies?
What connection does "Legendary Pictures" have to vintage television?
What or who is "Synthesis Entertainment"?
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