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 Posted:   Aug 21, 2020 - 5:31 AM   
 By:   Howard L   (Member)

Memories has Sloan reminiscing with the drugstore soda jerk about his days growing up in Homewood. The scene includes a remarkable close-up when he talks about “how many memories you connect with a place.” Gig Young is just plain superb, his expression heartwarming.

It is such a treat to hear this cue for the first time on its own as heard in the picture. For me it is the definitive performance, beginning here at the 1:30 mark, ending at 3:55:

The violin solo underscores the above-mentioned close-up. Such tenderness and warmth. A sympathetic cue from the man with a heart at fire's center. (opening piece)

You really can't go wrong with any of these re-recordings.

I favor the Stromberg-conducted Tribune FC because it is close in timing (2:33) to the OST (2:25). In addition, the “hard fingering” of the solo stands out. The McNeely runs 20 seconds longer than the OST. I am not a fan of a marked slower tempo than the original and the irony of the composer's penchant for doing the same with re-recordings is not lost. The McGehee-conducted Hollywood SO sure has the crispest sound per earlier rave. The cue comes in just 5 seconds under the original.

The music continues with Martin happily checking out the old neighborhood. It ends when a little boy says hi. Ron Howard was all of 5 years old.

 Posted:   Aug 21, 2020 - 6:38 AM   
 By:   Paul MacLean   (Member)

You've been going on about this for decades, Howard, but would you believe I've never actually seen this episode or heard its score? In fact, I've seen nothing, zip, zilch of the original TWILIGHT ZONE show...


The Twilight Zone is required viewing for anyone interested in film music. The roster of composers who wrote for the show is quite historic, and includes Herrmann, Waxman, Fred Steiner, Nathan Van Cleave, as well as a couple of young guys named Jerry Goldsmith and Leonard Rosenman.

Many of the scores are outstanding -- all the more so when you consider they were scored for tiny ensembles.

I'm not sure if this link is available outside the US, but it is on Hulu...

 Posted:   Aug 21, 2020 - 7:52 AM   
 By:   Howard L   (Member)

You've got that right, Paul. And when Thor finally sees "The Trouble With Templeton," wink the Jeff Alexander score will prove another keeper.

The big build-up can easily lead to a first viewing let-down, of sorts. That's why I look at WD especially as TZ at its best. You have a strong cast, a strong director, a strong writer and a strong composer--all for a lousy 30-minute (incl. commericals) show. The production values are remarkable. There is not a wasted shot the entire episode.

 Posted:   Aug 21, 2020 - 9:18 AM   
 By:   Thor   (Member)

I've checked on Netflix (Hulu is not available in Norway), and alas, the show is not there. But I'll get to it somehow, and at some point. Does anyone know which of the episodes featured Williams on piano?

 Posted:   Aug 21, 2020 - 10:21 AM   
 By:   Howard L   (Member)

Is there a difference, as in "Netflix Norway"? Because the entire series is available here on Netflix stateside.

 Posted:   Aug 21, 2020 - 10:23 AM   
 By:   Thor   (Member)

Yes, Netflix varies from country to country (or region to region).

 Posted:   Aug 21, 2020 - 1:51 PM   
 By:   Howard L   (Member)

aah The Drugstore. The violin “sighs.”

The sound of yearning, groping for something. Those sighs deeply affected this then-young viewer and they along with the sight of Martin departing the gas station on foot have resulted in a lifelong film music memory. What a way to begin his quest.

(0:34 – 1:25)

The dynamics really stand out. “Yeah, that's walking distance.” The composer/conductor knew what he wanted from the orchestra.

This is the only recording on any official soundtrack. Thank you, Conductor McNeely, for bringing the brief, simple and powerful cue back. In sterayo, to boot. cool

 Posted:   Aug 21, 2020 - 2:23 PM   
 By:   Dylan   (Member)

This is one of my all-time favorite scores - some of the most gorgeous music I've heard in my life. After Herrmann's original, my go-to is the Morgan-Stromberg recording, but the recent Hollywood Studio Orchestra recording is also excellent.

McNeely's is good - and certainly better than his recording of "The Lonely" on the same set - but I find it less impactful than these other recordings.

 Posted:   Aug 21, 2020 - 5:23 PM   
 By:   Howard L   (Member)

Those sighs deeply affected this then-young viewer and they along with the sight of Martin departing the gas station on foot have resulted in a lifelong film music memory.

"That's walking distance, isn't it?"
"Yep, 'bout a mile, mile and a half."
"Yeah, that's walking distance."

"It's funny, how many memories you connect with a place."

 Posted:   Aug 21, 2020 - 5:47 PM   
 By:   LordDalek   (Member)

The one problem with the rerecordings is they all include an erroneous extra repeat in finale that Herrmann caught and removed in his original. Once you hear it, it just throws off the piece, at least it does for me.




 Posted:   Aug 21, 2020 - 7:16 PM   
 By:   zooba   (Member)

I enjoy watching a lot of the Definitive Twilight Zone Collection episodes with the Isolated Scores activated. Like I said in my recent Isolated Score Thread, it's amazing how a great score for a film or television episode can really tell the story with just the image and music.

Herrmann's WALKING DISTANCE has such a beautiful sadness to it. I get that same feeling with his score from THE GHOST AND MRS. MUIR. Both superb scores. Awesome stuff.

Go for the ISO whenever possible and enjoy!

The beautiful sadness of THE GHOST AND MRS. MUIR composed and conducted by Bernard Herrmann:

 Posted:   Aug 22, 2020 - 6:22 AM   
 By:   Howard L   (Member)

Right on, zoobs. Let's add to that ambiance. Take it from the top!--of Fahrenheit 451--

The sound of yearning, groping for something.

 Posted:   Aug 22, 2020 - 7:06 PM   
 By:   Howard L   (Member)

The one problem with the rerecordings is they all include an erroneous extra repeat in finale that Herrmann caught and removed in his original. Once you hear it, it just throws off the piece, at least it does for me.

We are on the same page, LD. This illustrates why I sometimes second guess the mind's ear. The first time I heard a rerecording of Finale it had me wondering if I had been missing something all along. Nope! So we have an example of music edited out of WD in more recent ep prints (face slapping incident) and an example of music added into standalone CDs.

Which, of course, will not bother those among us who listen to soundtracks primarily without having seen the picture. Anyway, both rerecordings, again, do justice to the score. It's close to a pick 'em situation. The Tribute FC has the finer sound, but I lean towards the McNeely for this one because (1) the harp passages at the start are performed at a pace truer to the spirit of the piece, and (2) it sports a brief theremin-like vibrato at the close that catches my ear in a most pleasant way. It's a nice touch.

LordDalek, it sounds like the original soundtrack you posted is the Silva release. So, permit me to add the following for the sake of rounding out the roster--

 Posted:   Aug 25, 2020 - 4:58 AM   
 By:   Howard L   (Member)

The picture opens with a harried, well-dressed guy in a convertible pulling into a gas station and then impatiently beeping his horn to the point of shrill annoyance. But he apologizes to the attendant when admonished and asks him to fill 'er up.

At this point the Serling narration commences. Intro and Herrmann tell us to ignore “Martin Sloan's” impertinence with a soft, wholly sympathetic passage. His apology is sincere. And this Madison Avenue ad exec is going to be humbled.


Gotta love the way the composer/conductor created the passage to introduce and then conclude the score with an extended coda underneath one of Serling's most prosaic closing narrations.


All three of these are beauts. It's a virtual toss-up. The Tribute FC has a little richer sound than the McNeely, just a little, but the Hollywood SO conclusion is superior. But the harp, yet again, in the McNeely opening... this one an embarrassment of riches.

 Posted:   Aug 25, 2020 - 9:15 AM   
 By:   Howard L   (Member)

You've heard about the film, you've heard the music, now hear the film + music:

 Posted:   Aug 28, 2020 - 8:41 AM   
 By:   Howard L   (Member)

Time for a little stroll through The Park.

(0:01 – 1:39)

(3:50 – 5:21)

This is getting increasingly difficult. Oh, my. I'm going to home in on that wonderful opening waltz of nostalgia that captures Sloan while he reminisces about summer and being a kid. The OST sets the pace for the others. To that end, the McNeely speeds it up some, the Hollywood SO some more, and the Tribute FC moves just a tad slower while coming closest. But that alone is not why I'm giving the Tribute FC the nod. The entire track is just the smoothest in an overall fashion. The Hollywood SO, once again, has the best closing, the McNeely the nicest opening.

It seems a pattern is forming...

 Posted:   Sep 10, 2020 - 5:37 AM   
 By:   Howard L   (Member)

He goes from The Park to The House--

(1:40 – 3:21)


This one is easy—the McNeely all the way. The violinist along with harpist nails it in the
transition from opening dramatic to soft tenderness. To be sure, there is tremendous
tenderness in this brief piece and tenderness is not something to be sped up. This version
stands alone in that department. A lovely re-recording.

 Posted:   Sep 10, 2020 - 5:12 PM   
 By:   Howard L   (Member)

Time to pull The Curtain down after Martin sees the Roadster and is finally figuring out why the town still looks pretty much the same.


Commercial. Station break.

Return. Curtain up. It's now evening. "Big Ben" tolls. Perfect.

 Posted:   Sep 14, 2020 - 6:38 AM   
 By:   Howard L   (Member)

Allie's baseball glove.
For Holden Caulfield, it was that small chunk of leather that held a key to uncovering and eventually recovering from the desperation and depression smothering the long weekend of discovery in Mr. Salinger's most famous work.

For Martin Sloan, it is a baseball glove lying on the front yard that spawns the cue underscoring his increasingly desperate resolve to lay a claim—“on the past” as he confronts The Parents.



We are closing in on the heart of Mr. Herrmann's score that was written for string orchestra. It would be a few months later that he would embark on another score for strings, arguably his most famous work, for a little picture concerning a desperate soul with a huge mother complex.

The warmth within the opening passages here mirrors the relationship between father and son as the latter tries to convince the former that he belongs back here at home. And then Mom appears. He rushes to her. The music switches to that of underscoring a man on the verge of a breakdown. His tone has turned to borderline combative. He is losing control. She slaps him.

The Tribune FC captures here the richness of string orchestra with just the right balance. The shifting dynamics come through musically, too, in a fashion superior to the rest. Not that the rest are slouches by any means, but along with tempo, the former simply stands out overall.

 Posted:   Sep 14, 2020 - 11:43 AM   
 By:   Michael_McGehee   (Member)

Very interesting discussion and dissection of Herrman's wonderful score to Walking Distance. The pursuit of the perfect recording makes me want to record it again! I hope others take up the challenge in the future.

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