 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I was filling in missing composer credits on episodes of the series on IMDb today and I ended up being refreshed on how wonderful the scoring was, so like other TV series scores I have reviewed, I decided to do this. I don't know how far I'll go, probablu just season one, but I will skip the two-hour pilot (Debney) simply because there was a release of some of the scoring for that.
EDIT:
My apologies, I misremembered -- I thought the pilot score had an official CD release, but I was wrong. It was a short release with cues from three episodes from the first season, off hand all Debney, so I will have to go back and review the pilot.
The premise for the series was good and ful of potential: the late Roy Scheider portrayed the perfectly-cast Captain of a large advanced sub that explored and kept the peace on Earth in the far away future of 2020. Well, it was far away back then.
Back then it was like "Star Trek: The Next Generation" under water.
"Sequest" was trying something different and was a little ambitious for what it was. At a time when "Star Trek: The Next Generation" was fading into a pitiful last season with such crap as "The Chase" and "Sub Rosa", "Seaquest" was going elsewhere.
"Treasure of the Mind" (John Debney)
While on an archeological dig, the Sequest stumbled upon the lost library of Alexandria. A leak causes ships from other countries to come over and cause a word wide stir over who gets what. Mean while the Captain deals with an intuitive ESP trio who have come aboard under the guise to help negotiations.
Highlights:
The episode opens with a bold and full-sounding piece with brass and strings prominent, sounding liek a cross between some of Horner's Trek work and Ron Jones' bigger orchestral pieces from "Star Trek: The Next Generation".
A breif nice piece with violins leading and soft brass, chimes and harp as Jonathan Brandis's has what I guess I'll say is a litteral wet dream: chasing a girl under water.
Another dreamy cue with violins taking the fore front, going up and down like a wave, chimes in the back with a synth sound and brass being played softly with a light touch of woodwinds, as Roy's character opens his mind up for the ESP woman.
And a soft and plesant closing cue with violins and woodwinds, with some more soft brass underneath.
"Games" (John Debney)
The Seaquest picks up a prisoner in cryogenic stasis from an arctic prison, who was responsible for biological warfare.
Back in the 1980's and 1990's it was a fairly common thing for TV series to try and pull off something that was a hit in a film, and sure enough, just two years after-the-fact, "Seaquest" is doing there take on a non-cannibal Hannibal Lector.
Highlights:
A light jaunty piece with strings, woodwinds and brass after the opening credits.
Some light action material much in like with later seasons of "Star Trek: The Next Generation" and "MacGyver", as the Captain tries to get free from a laser field
After the commercial break from the previously mention cue, it get a little ore punchy with militaristic snare playing and the Debney theme in bold brassy statements.
And a long action piece with moments of tension including the dramatic build that a potential missile launch that is something of a cross between the famous "Aliens" cue and the closing dramatic climax of the ST: TNG episode "Yesterday's Enterprise", that goes out to a commercial break -- damn commercial break ruining the musical moment. Anyway, the show comes back, things build again.
Captain Bridger: "Let me try and explain it to you: there are two kind of people in this world who make me crazy: those who take advantage of people, and those who watch, and then turn around."
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
"Treasures of The Tonga Trench" (Debney)
Highlights:
A cue with swirling strings and action material in the opening as an under the ocean device is attacked by a giant squid. There's a light piece implying fantisy
A gentle little soft jazz number with plucked double bass and scattered piano tingles with strings underneath as Lt. Krieg gives his sell about the thing he found on the ocean floor.
A breif bit lead by snare drum in a military-music like way with some brass as more testing is done onboard the SeaQuest.
A piece with a swirling strings pattern and soft brass bursts giving it a playful sound as Lt. Krieg tried to avoid another crew member.
And a spirited piece with a repeating descending three notes on strings with snare drum and brass with some solo trumpet playing triumphantly as Captain Bridger races off against a visiting superior.
A number of TV series have a character who is always trying to profit off his fellow friends and workers and gets some kind of commupance at the end of episodes, but I got to say this was some sweet commupance. Probably one of the best I recall having seen.
"Brothers and Sisters" (Debney)
The opening credits a special vocal performance by somebody named "Shai". Maybe that was for a song heard in the episode, as I didn't hear any vocalists in the score.
Highlights:
Some breif action material with some tension highlighted by exciting brass performances and some snare drum, as a warning shot is fired at SeaQuest.
A mystery cue with waterphone, tense brass and eerie strings as a probe investigates. I'm not sure how to put it, but it kind of feels and gives me the same feeling as the cue "The Dish" from "Star Trek: First Contact".
A fun little piece with woodwinds, lead by what I think is an oboe as Lt. Krieg is playing the cups and ball game for kids; the cue transitions into a string heavy piece as Captain Bridger and an officer investigate.
A nifty cue with strings snare drum and trumpet with an echo effect, evoking Goldsmith's score to "Patton", as Captain Bridger shows some military authority. It becomes more somber with strings, then has a little burst that's more upbeat with a riff of Debney's theme, before quietly going out.
And finally a sad and elegant piece that's string heavy and has brass, for the destruction of the home at sea. The cue finally ends with an upbeat brass ending.
|
|
|
|
|
|
|
|
|
|
|
"Give Me Liberte" (Debney)
Highlights:
Some various mencaing underwater cues with elongated trumpet bursts, cello bass and brass.
Some exciting dramatic material for the long climax at the end, with loud brass, strings, and repeating staccato trumpet; reminds me of Horner in some ways.
"Knight of Shadows" (Debney)
http://www.dailymotion.com/video/x6he0e3
The first disappointing episode of the series. There's so much that could have been done, yet we get an episode not even halfway into the season, with ghosts. I guess this was a Halloween episode for ratings, as this episode features -- after the opening credits -- it's own seperate opening credits with darkness, fake lightning strikes over the credits, and cliched scary cat meow. The music kind of reminds me, in mood, of a film he scored: "Hocus Pocus".
Do yourself a favor folks and don't watch this. I've just submitted my review to IMDb basically ripping this apart.
Highlights:
The tender opening cue with violins and softly-played brass playing off each otheras Captain Bridger looks over family photos. Ah, 1996, when people still thought we'd be looking at handheld photos and not stupid iPhone screens.
A meloncholly piece with middle range strings and a plucked double bass cello that also kind of reminds me of "Hocus Pocus". Humorously enough, one of the Bridge crew tells the Captain he is picking up the music and plays it. Ah, 1996, a future where people were going to be listening to John Debney instead of Junkie XL.
A moody piece that opens with chimes, a solo violin, piano and a cello bass as the doctor experiences something but can't explain it.
Some quickly paced string play with looming bass as a diary is read and the crew goes to a location on the sunken ship.
There were a number of good highlights in other cues, though often breif.
|
|
|
|
|
|
|
I rewatched this series a couple of years ago and would love to see a box set of the music. The scores were one of the show's most consistent and engaging elements. The quality of the scripts and stories, as has been observed, could be wildly inconsistent, particularly in the troubled second season.
|
|
|
|
|
|
"Bad Water" (Debney)
Highlights:
A dramatic piece full of brass as the SeaQuest gets struck by lightning.
A positive sounding piece with brass and light snare drum use for a montage of the crew trying their best to accomplish anything under limited time constraints.
A dramatic piece with some tension with a repeating brass beat as one of the crew is sweapt off the raft by a wave.
Some more dramatics with some heroics in the brass as the climax builds, with a heroic brass statement of the series' theme.
And finally strings and brass for a building sound of hope and release as the episode closes out.
It's a good episode (has it's flaws), but a lot of the score is rather subdued.
"The Regulator" (Debney)
Highlights:
A fun little march piece with brass and a snare drum as Chief Crocker orders men to behave like officers and has them follow him, a little into the opening of the episode.
A low menacing piece with a trombone(?) slowly playing with uneasy sounding strings in the back for a crappy scene where we hear the Regulator beating up and threatening somebody.
A quick word about the Regulator: imagine one of the unbuyable bad guy characters from "Waterworld". Now multiple that crap factor by two and make sure the wordrobe looks crappy, too. You've got the Regulator.
A piece with lots of brass, playing around almost like it was an old fashioned film at sea, giving the Regulator some much needed weight. I think the Regulator might be a distant cousin of the emo villain from The Force Awakens. He sucks, I'm just sayin'.
A little jaunty with wooden blocks as the Regulator's orangutan wonders off. Yep, if you were wondering how he could be worse, he has a orangutan.
Some rousing withheld chase music with brass a plenty and snare drum as the Regulator's mini vessel is chased.
And finally a feel good piece with strings and some brass that builds to bright end, much like two or three cues Ron Jones did on ST: TNG, specifically one comes to mind, the final cue from the epispde "The High Ground", specifically the last ten or fifteen seconds.
There's a lot of fun and interesting score to listen to in the episode, too much to list all off. Probably one of the series' best efforts, considering the episode is accompanies.
|
|
|
|
|
|
|
"Seawest" (Debney)
There were a number of highlight moments, but no whole cues, I would say. Not a bad score, just not as good as others that have proceeded it. It's a good episode. They took a simple plot, gave it weight, and extended it for almost an hour.
Lt. Krieg: "I spoke to my buddy Murray -- he books talent that your smaller venues, he told me that the minors at Broken Ridge are mostly single men, who pay top dollar for female entertainers no matter how bad they are." (yes, that was obviously a mis-reading of the script)
Lt. Commander Hitchcock: "I can be bad."
Everybody looks at her silently.
"What?"
"Photon Bullet" (Debney)
http://www.dailymotion.com/video/x6hg014
Oh, 1996, how hilariously cheesy you thought the internet was going to be in the 2020's.
Highlights:
A cue with repeating low growly brass staccato hits and this synth sound that sounds like something Ron Jones used a little in ST: TNG -- not sure how to define it. Maybe like a soft electronic recorder ("recorder" as in the woodwind instrument, for those who don't know). The brass switches to timpani (I think I hear a soft lower octave tub hit with it) and strings are instroduced. This is during a montage as Lucas makes a bad decision to hack the world bank.
"Better than Martians" (Debney)
http://www.dailymotion.com/video/x6hg01h
Another good episode. The setbacks and timings made for some fine tension and for a few minutes there it appeared they were going with the unhappy ending. Would have made a damn fine episode if they had stuck with that.
Highlights:
A montage cue with a repeating trumpet figure and other brass playing a riff of the series' theme in a way to imply uncertainess with a litle tension, as the SeaQuest crew try to find the crashed astronaught capsule.
A cue with some tension and dramatics highlighted by brass, reminding me much of Dennis McCarthy's action material from ST: TNG.
Another cue this time with lighter dramatics, again like McCarthy's work on ST: TNG. McCarthy did additional music on one film Debney scored, perhaps they know each other. Hell, maybe this is additional material by McCarthy. Just guessing.
"Nothing But the Truth" (Debney)
http://www.dailymotion.com/video/x6hlpx7
SeaQuest has had a few similarites to "Star Trek: the Next Generation", and in this episode we get another: the Commander wanting to turn down a command of his own. Pullin' a Riker. Heck, even the episode itself is some what similar to an episode of TNG.
Highlights:
Action material with brass (a common staple for Debney on the series), going through different ideas and colors as the SeaQuest is invaded.
Commander Ford: "Character, Krieg -- you're supposed to have it, not be it."
That's it for today. The next set of reviews will bring Don Davis into the mix.
|
|
|
|
|
|
|
"Greed for a Pirates Dream" (Debney)
Highlights:
A repeating string pattern with brass hits as an island family is moving the bouy. The music becomes more dramatic with brass and string hits and a snare drum thrown in, as the chase ends.
A slow brass and snare drum beat with more brass riffing off the "SeaQuest" theme as the crew get back into the mini sub to leave the island. Short and sweet.
And a long cue for the build up of the finale, ranging from tension to swee release, with strings and brass.
"Whale Song" (Don Davis)
Davis finally enters the picture. Not only was this his first effort, it was also nominated for an Emmy. One of three episode scores to be nominated for and Emmy (only one won). See blow the highlights for the nominees and winner that year.
Highlights:
A repeating acending three note string pattern with snare drum and a french horn for a breif piece as Captain Bridger shows up at the Pentagon.
Strings and a trombone(?) playing in a sad cue as Bridger is saying good-bye to the crew.
A dramatic piece with strings and timpani as the rouge sub fires. Also some anvil in there. The cue transition into some wistful work for strings and two trombones as Bridge walks along a shore. The cue transitions again to a solo violin with a softly played cor angilas over it
A bustling piece with strings and light brass after commercial break, as we see a bottom view of the SeaQuest passing by. The cue goes into a playful sound with staccato woodwind huffs and plucked strings with a trumpet playing playfully over it as Lt. Krieg sneaks to his quaters.
And a long cue for the down-played climax of the episode, full of meloncholly, some sadness, and some breif dramatics
Captain Bridger: "There's been a submarine in the north seas seeking whaling ships. They want me to hunt it down and destroy it, but I can't do that, I can't takes sides on this issue."
Lucas: "But in this case, aren't the means justified by the end?"
Captain Bridger: "Machiavelli said that and wound up in prison."
The Emmy nominations that year were for:
"The Young Indiana Jones Chronicles"
"Ireland, 1916" (Laurence Rosenthal)
(WINNER)
"Christy":
"Pilot" (Ron Ramin; Ramin did some nice work for the series, worth checking out, but there's no CD release, so you have to watch the series)
"SeaQuest DSV":
"Whale Song"
"Star Trek: The Next Generation":
"All Good Things..." (Dennis McCarthy)
"The Simpsons"
"Cape Feare" (Alf Clausen)
|
|
|
|
|
|
|
"The Stinger" (Don Davis)
Highlights:
Lucas gets some exciting rushing strings and brass for his underwater speeder test. There's also some breif 1980's old school light dramtic music for some bad guys.
A short but good cue with anvil hits and brass and strings as a man held against his will escapes.
Some snare drum for a breif moment as Cheif Crocker one-up's a bad guy, followed by some brass and snare as the new Stinger is being taken apart
A slow feel-good cue with brass and strings for a building montage, followed by some legato strings with slow piano and a clarinet playing over it.
Finally, ome repeating strings with occassional soft timpani and woodwinds as Lucas prepares to finally race the Stinger. The stings increase in speed with brass getting louder as the race begins, followed by swirling strings and woodwinds for the race. There's more where that came from during a montage of Lucas testing the Stinger out. After much excitment, the cue ends in slowly, expressing the disappointment of on-screen actions, with strings and brass. There are a couple of parts where Darwin (the dolphin) gets panpipes for his own little theme. The cue is long, maybe nine to ten minutes in length.
Captain Bridger: "Sometimes you learn a lot more by loosing than winning."
"Hide and Seek" (Don Davis)
William Shatner plays an escaped genocidal dictator. His acting is so bad at one point that Bridger even says, "All right, shut it off". Well, it was conicidental actually. ;-)
It's a waste of Shatner and if I told you the underlining plot, you'd know this episode wasn't just trying to jump the shark, it was desperately trying to jump the dolphin.
It's the Shatator. With a mustache.
When was the last time (or first time) a character in a TV series suggested to another to listen to the "music score" of something? This may be the one time.
Highlights:
The opening of the episode has Captain Bridger dreaming, waking up, then going back to sleep, features strings, woodwinds, and the return of the little panpipe theme for Darwin.
Trembling violins play as Shatner's character arrives on SeaQuest, punctuated by a french horn playing a long-lined theme (the first four notes are focused on, though).
Some dramatic material with nervous swirling strings, anvil and brass, going to out commercial, as the SeaQuest is being fired upon by vessels from across the world who want the dictator.
Some action material as the SeaQuest is forced back up and is being fired on, highlighted by a breif bit of biting brass with lower octave piano in combo (with his theme over it) as Shatner's character escapes his quaters.
And lush piece heavy with strings, harp runs, and some brass as the dictator's son is watching and imagine of his mother. It runs the gambit from variation emotions with different musical ideas, including a cello bass repeating with woodwinds playing playing in combo over it.
Davis brings in some synths to the score, including sparce use of a synth keyboard, and airy female vocals. A top notch effort.
Captain Bridger: "I got the oppressor of Eatern Europe swimming with my dolphin."
|
|
|
|
|
|
|
"The Last Lap at Luxury" (Don Davis)
http://www.dailymotion.com/video/x6hnl0l
Highlights:
Some quickly paced swirling strings with a trombone playing a long theme over as the we see the underwater conference location and inside breifly.
A cue that's very up nad infront with strings and brass riffing off the series theme as the SeaQuest arrives.
A bouncy little piece with repeating swirling strings and woodwinds each takign a turn to do something, as Lucas in under water with Darwin.
A dramatic piece lead in by stings, with brass and timpani combo hits and what I think is a trumpet and violin playing in unison over it, as the bad guys implement their plan.
Some tense strings and brass with anvil combo hits for the approaching demise of the world leaders, with other tense music for trembling strings and timpani.
Another fine score overall.
This is probably the second or third episode to feature a laser. Bridger actually has a hand-held laser with him. It looks like a weapon, though it could be a cutting tool that just shares a similar shape. The SeaQuest was also stated, a few episode ago, to have laser weapons, but they've not been seen yet (unless they were used in the pilot, which I skipped).
"Abalon" (John Debney)
Charlton Heston plays a damn dirty scientist.
Highlights:
Some myster under water music with strings and light brass, highlighted by some brass hits, driving snare drum and brass fanfare as Commander Wood is forced back to the surface; it builds to an exciting brassy moment, and has a soft release for the end.
Some light dreamy strings as Commander Ford chases the "mermaid" girl, followed by some light dramatics with lower brass bites and higher shrill brass. Again, more of the dramatic material reminds me of Dennis McCarthy's ST: TNG work. This is certainly a series La La Land Records should be checking out. The cue goes on longer with more highlights.
Some light airy strings with hints of flute and chimes and a little solo violin playing over as Captain Bridger looks around the beach, wondering what happened to Commander Ford. There's a breif exciting brassy fanfare, then some good old fashioned 1980's mystery music with a harpsichord added to the mix.
Some more bright trumpeting brass fanfare later on. I forgot to note where.
Anyway, another top notch effort by Debney. Both composers were just kicing out one good effort after another on the series.
Four episodes left in the season. At a certain point, depending on whether the season ends in a cliffhanger, I'll go back to the pilot film.
|
|
|
|
|
|
|
|
|
|
|
"Such Great Patience" (John Debney)
The SeaQuest finds a million year old extraterrestrial craft buried in the sea. Episode pulls a "Star Trek: IV: The Voyage Home", with an added twist. Not exactly a series high point.
Highlights:
A cue with slow strings and some brass, sounding kind of like the music from the end credits of "Star Trek II: The Wrath of Khan" before Nimoy's narration.
I think this is the first episode where we got a scene inside one of the elevators of the SeaQuest, called Mag Lev (I've also seen MAGLEV as one word, apparently some confusion on the creator's part). You'd think there'd have been more of these before hand; it's become a sort of defacto Star Trek spot to have breif reflective and personal conversations (which happen on this show, too).
"The Good Death" (John Debney)
http://www.dailymotion.com/video/x6hjxrr
We don't really see it, but it's referenced here and there that the future isn't the wonderful place it is, with genocidal killing, war, death squads wiping out the poor and political dissodents, and a number of nation pushed into the equivilent of a world wide Europeon Union. World peace isn't exactly stable and freedom and liberty is but a mere shadow of what it once was.
In this episode the SeaQuest finds itself with a sub full of children on the run from the autoratative regime in the Amazons (might as well said Cuba here) where the vermin of the poor and the political dissodents are murdered.
Highlights:
Some light descending strings with a Spanish guitar as they hide out.
A short sad piece with light strings and a upper octave trombone for an airy feel.
A neat little piece, the first of its kind thus far into the series, with shakers, ehtnic guitars, plucked double bass with lower octave piano for a dramatic undertone. Some congas, light strings, I guess trying to give it a Latin feel. Goes out to a commercial break.
Immediately back from commercial, another slightly faster and thinner version. After momentary lull, it becomes a Latin action score as Commander Ford and another officer are on the run.
Fast-paced congas with fast-paced tamborine-like instruments with low brass for a short but sweet cue (maybe a little over ten seconds) as local soldiers search the small poor town.
There's other good material as well, but I don't want to take the time to describe every cue.
More strong work from Debney on the show and because of the new flavors and way they were handled, I'd say this is some top notch work.
Next up I will be circling back to the two-hour pilot, then I will come back for the season one finale, both of which are by Debney.
General Guzmano: "We're not attaking you, we're only keeping you from the Romeo." (the sub)
Captain Bridger: "That's garbage, General, and you know it. There are no emeralds, just scared little boys."
General Guzmano: "I didn't say you could bored the Romeo!!! You're holding our citizens, in our waters; international law requires you return them!"
Captain Bridger: "I'm holding political refugess."
General Guzmano: "You're giving sanctuaary to revolutionaries!"
Captain Bridger: "Revolutionaries from what? The little league? Shut him off."
|
|
|
|
|
|
|
"Pilot: Part I" (Debney)
IMDb lists Bruce Babcock as an uncredited composer. There's also an uncredited editor listed as well. Perhaps some changes were made. Or maybe I'm reading too much into it and somebody submitted Babcock to the wrong section and he should have been put in the Music Department section for additional music. If that is the case, I'd like to say now that it was a shame Babcock did get to score any episodes by himself.
Highlights:
The pilot opens up immediately with an etherial female vocal (like the theme music begins with), chimes, harp, strings, and some majestic brass builds up into the pilot version of the theme music. It's clear straight off the bat that hiring Debney was not only the right decision, but the choice was incredibly spot on. There's some action material later on with some brass hits and snare, with a little anvil thrown in that's exciting and like film music.
A steady kind of patriotic rendition of the series theme
Some rousing brass and hard sanre using the series' theme as Bridger is flying in to UEO headquarters at Pearl Harbor.
Another patriotic rendition of the series' theme, more in the vein of the opening credits, as Bridger enters the Bridge for the first time, fresh off it's re-design.
Some brass and pronounced detache strings mark the closing pirate sub.
Admiral Noyce: "Nathan, the kids a genious. I mean, this thing with the dolphin is just the tip of the iceberg. He needs discipline. He needs guidance." (in regards to Lucas)
Captain Bridger: "He needs a haircut."
"Pilot: Part II"
Highlights:
A montage cue with a beat kept by what I'm guessing (because of the poor quality sound in the video) is a tuba being repeatedly huffed, a synth sound, woodwinds rising and falling quickly, strings and brass adding a tense feeling to a variation on the theme music.
Excellent score overall.
Captain Bridger: "Hey, kid -- good work," to Lucas. Leaves the room.
Doctor: "Don't get cocky," to Lucas as well.
Next up will take me to the season one finale and the season two premiere.
|
|
|
|
|
|
|
|
|
|
|
"Higher Power" (John Debney)
SeaQuest's tour of duty is over; some will be staying for another tour, some might be leaving.
Also, we finally get to meet one of Lucas' parents, who has a problem on his hands.
Highlights:
A soft romantic piece with strings that kinds of reminds me of Morricone. It includes a bouncy little end as Lucas' presant to Bridger comes at a bad time.
A short action cue with brass and snare as crew exacuate the SeaQuest.
A tense piece with brass and snare that reaches a climax and is followed by anguish Bridger sacrifices everything for the world.
Strings and brass builds to a positive close for the end of the episode.
And so concludes season one. It had it's weak episodes, but over all it was a good watch. Roy Scheider is perfect as Captain Bridger, Don Franklin makes a good Commander (hell, a spin-off series set many years after the series, with Ford in his own command, could work -- "SeaQuest: The Next Generation"), the late Jonathan Brandis works as Lucas, Royce D. Applegate as Cheif Crocker is a fine fit, and others. I suspect the fine cast will be ripped apart in season two. It wasn't broken, so I have a feeling they'll try to fix it.
True to my comment on how it was like "Star Trek: The Next Generation" under water, there were a number of similarities: an older seasoned Captain, a younger intelligent Commander, Commander stopped his previous Captain from doing the wrong thing, two characters with a previous romantic past, a young teen genious (only handled well, as opposed to the embarresment that was Wesley Crusher), the Commander turns down more than one offer for his own command, the Captain and the doctor become romantically linked (and just like ST: TNG, it doesn't get a chance to move passed feelings, a date and a kiss), Debney and Davis each scored an episode of the show ("The Face of the Enemy" and "The Pegasus"). And the SeaQuest had a dolphin, and the Enterprise D had navigational dolphins (referenced and never seen; perhaps a nod to "SeaQuest").
And now season three
For this season, Debney did not return. Don Davis hung around for a few episodes, but most of it was Russ Landu (who also did all of season three, as well as a new series theme from season three).
I'll review all the Davis scores, but I will only do three of the Landu efforts -- his scores simply were not up to the same level as Debney and Davis. I will focus on the following: his first episode score (that should be his chance to make an impression), the season three premiere, and the series finale (if it's a two-parter, than that'll be four I do).
I was trying to think who would have made good SeaQuest composers, that were working at the time it was on, and two names immediately leap to mind: Ken Harrison. Oh, can you imagine?
And Ron Jones. The mind boggles at how amazing that would have been. David Bell would have been a fine choice as well. And if it were me, I'd have tried to talk Angela Morley out of retirement for at least one episode.
"Daggers: Part I" (Don Davis)
http://www.dailymotion.com/video/x6hqbae
We get to see who stayed and who left.
Meanwhile, a prison of genetically engineered soldiers of war, are rebeling and seeking freedom.
Davis' score for this two-parter, won him an Emmy.
Highlights:
Light pronounced climbing and rising violins with added brass and some timpani as Bridger speeds on a motorcycle, followed by a stately play of the series' theme with an added boost of the timpani as he arrives at a dockyard to see the SeaQuest.
Some slow strings and woodwinds dominate a long cue as Captain Bridger enters the brand new Bridge of of the SeaQuest and powers it on.
A rambunctious piece with woodwinds and brass as a new crewman, a prisoner on a program to try and rehabilitate, is running loose. It has a slower part with harp, fluttering flutes and an airy sound, with an upbeat ending.
A short thrilling piece with hard brass and quick strings, building to a high point as the Daggers speed off the prison island.
And the brassy ending with a little snare serving as a more beefed up version of something you might hear on "Major Dad" (Steve Dorff). Unfortunately it's edited in badly and serves as nothing more than a way to end the first part without silence.
Lucas: "I like the beard, sir."
Dr. Smith: "You're Captain Bridger? I thought you'd be older."
Bridger: "I'm working on it."
"Daggers: Part II" (still Davis)
The second season revamps the theme a little, disposing of the etheral female vocal and soft opens, opting for crecendoing swirling strings leading rights into the brass that leaps straight into a bold statement of the theme. It's a little mroe driving and seems to more heavily use snare. Some female vocals do close it out in combo with the brass.
Highlights:
Three repeating brass bites with what I think is a combo of a lightly tapped cymbol, with some swirling strings and brass playing over, followed by some dramatics with brass and anvil as Daggers sneak around under water. There's more afterwards.
Holy re-used and re-used and re-used again foottage in a short space of time, Batman!
Swirling strings and brass bites punctuate the SeaQuest giving chase to an advanced fighter sub that looks more like an alien warship from a Star Trek spin-off series. The drama lightens up and is followed by some light strings and brass with woodwinds for a sad emotional feeling.
SPOILERS for those who haven't seen the series and or saw little of it and don't remember what happened:
Unfortunately, there has been a major shake up of the crew, as well as other disappointing changes.
Hitchcock is gone. Krieg is gone. Cheif Crocker is gone, which is very disappointing because he was not only a good character, but worked well with Scheider's character. The doctor is gone, especially disappointing because they were romantically linking the Captain and her up, but like Beverly and Picard, it wasn't meant to be. And we lost Admiral Noyce; well, he does appear in one episode this season, but still he's as good as gone. He was a good secondary character, too.
Characters who thankfully stayed: Bridger (obviously), Lucas, Commander Ford, and O'Neill.
The new characters are thus far disappointing and boring and twice now I've just wanted them to shut the fuck up. I think they drag the show down, which also is written -- in my opinion -- inferiorly to the first season.
Just what the show needed, a genetically engineered cleaning slave who's like Rain Man, only without the brilliance. Terrible. I saw the pilot, I saw regular crew polishing up the Bridge -- I know the crew cleans to some degree because of that. Oh this is going to be painfu lto watch.
The new Bridge is ugly, cluttered and just looks cheap all over. The new cooridoors and quarters thus far aren't good either. The new uniforms are crap, too. The SeaQuest ended a tour of duty, that doesn't mean newly designed uniforms are needed for another tour.
Based on the reviews, looks like the show is pulling a "Batman" / "MillenniuM" -- strong first season, weaker inferior second season, terrible third season. Reading some of the trivia for the show via IMDb, things were not well behind the scenes. I can only speculate why other actors and actresses didn't return.
|
|
|
|
|
|
|
|
|
|
|
Yeah, there's three of them actually. I suspect each one is a FYC CD-R, compiled into one. The othyer two ("Whale Song" and "The Stinger") appear to be (based on their lengths) complete scores. There's also a Debney episode score which I suspect is also a FYC.
I'm surprise he didn't get nominated for any episode scores. He did win an Emmy for the series theme.
Looking at the production comanpanies, I see Amblin and Universal. I guess that it likely Intrada and La La Land territory.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
