 |
|
|
|
|
|
|
|
|
|
|
But for whatever reason the theme music tracks were preserved in the materials we got from Fox but nothing else from the first season.
A real shame. The lack of first season scores means I'll have to wait awhile before buying this, since the Friedhofer scores along with Courage and more Sawtell are my favorites.
Dang.
|
|
|
|
|
|
The lack of first season scores means I'll have to wait awhile before buying this, since the Friedhofer scores along with Courage and more Sawtell are my favorites.
I share your disappointment about the apparent loss of the Friedhofer scores (it is my biggest disappointment about this otherwise fantastic release). Along with Goldsmith and Leith Stevens, he is my favorite composer to have worked on this series and I was really looking forward to hearing more of his fine 60s TV work. Maybe if this set sells well enough for a Volume 2 down the line, with extra search time, more of the season 1 scoring beyond the pilot/theme can be uncovered, and Friedhofer can make the next set along with Geller. Jeff seems hopeful of Fox finding better sources for some of the later material, and "lost" stuff is discovered all the time as we all know (witness Goldsmith's Take Her, She's Mine recently from Fox).
It is a little surprising that there is almost nothing left of the first season music.
I mean, it mirrors the recent situation LLL encountered with a TV series that was a whole decade more recent: Wonder Woman. For that all they were able to find from the first year was the pilot(s) music, as well, nothing else at all from the first season. And producer Neil Bulk had to design the set around that, when originally they were planning one disc per season. He talks about it here in this interview:
http://goldsmithodyssey.buzzsprout.com/159614/3978677-odyssey-interviews-neil-s-bulk-part-1
To me it seems like Jeff had a similar task here, although he had a whole extra disc to work with!  (Four discs for four seasons of the show potentially, if scoring from all of them had survived equally.)
A guy I used to chat with sent me a cassette a number of years ago with some Voyage music. Among the cues was one track from The Village of Guilt. The teaser sequence which was tracked at the start of the broadcast pilot. I am not sure where HE got it from, but it was the real deal. Granted, it has been almost 20 years since he sent it to me, so anything could have happened in the interim...
If you've still got that cassette I betcha a certain Irwin Allen-obsessed Jeff Bond would be grateful for you to pass it along to him, whether or not a volume 2 is able to happen some day. 
Yavar
|
|
|
|
|
|
|
|
|
|
|
Right, I getcha. I'm just saying the reason that Jerry "had to" turn to TV scoring to supplement his feature film work in the early-mid 70s was not because he was receiving fewer feature film opportunities than John Williams, but because he was far more of a workaholic composer than Williams. In the first half of the 70s, he still got as much or more feature work than Williams did in that same period. After 1975, Jerry similarly abandoned episodic TV composition (until, like Williams, he returned briefly for Amazing Stories in the mid 80s).
From 1970-1975, I count (including all those I listed above) 23 feature film projects for Goldsmith (25 if you include The Man and The Red Pony, which I hear received theatrical releases overseas), and only 16 feature film projects for Williams (17 if you include Jane Eyre, which I hear received theatrical release overseas). So it's weird to me to say that unlike Williams, Goldsmith was forced to turn to television to get by during that time period, when he in fact did quite sizable chunk more film work than Williams in that same time period. If he was "having trouble finding movie work" during that period, how do you explain him scoring 23/25 features to Williams's 16/17?
Yavar
|
|
|
|
|
|
|
|
|
|
|
Would have preffered a set of John Debney and Don Davis' music for Seaquest DSV.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Well for one thing Williams was already scoring some of the biggest blockbusters of that era--The Poseidon Adventure and The Towering Inferno. Even Earthquake was a huge hit, and by 1975 he has Jaws. I don't think there's anything equivalent for Goldsmith between Patton and Chinatown; Papillon was heavily promoted but I don't think performed anything like Patton did. Goldsmith himself said the box office failure of The Last Run affected his career. So I do think there's at least some effect of luck in this. Goldsmith had a huge hit in The Omen and after that he did very little television.
I agree with all of this; I just wanted to point out that Goldsmith wasn't exactly hurting for feature film work in the early 70s, even if he opted to do a ton of television in addition (which is great because his resurgence of TV work in this period is fantastic). Also, Neil Bulk reminded me via email that in 1971 (when I said Williams had no feature films, based on my quick check on IMDb composer credits) the project was FIDDLER ON THE ROOF...which just happens to be my favorite movie musical of all time, so boy do I feel like a doofus for forgetting about Williams's fine (and Oscar-recognized) work on it!
I'll buy it just for the four episode scores by Hugo Friedhofer (two of which were scored in collaboration with Alexander Courage) and the second season opening episode "Jonah And The Whale" with the score by Jerry Goldsmith (with the percussion effect restored on the main title, which was excluded on "The Fantasy Worlds Of Irwin Allen" C.D. set).
Just curious, Jeff -- was this percussion overlay filmusicnow mentioned found, to premiere on this new LLL release?
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Just curious, Jeff -- was this percussion overlay filmusicnow mentioned found, to premiere on this new LLL release?
There's no indication in the scoring logs of a percussion overlay being recorded for the main title.
Neil
Are you referring to the percussive effect in Goldsmith's main and end titles?
|
|
|
|
|
|
|
|
|
|
In hindsight, 2020 may be a good year for underwater TVshow soundtracks.
Why would you dunk all of your TV soundtracks underwater?
Besides, there will not be any hindsight for 2020 because we'll all be dead in 2021 from Covid19.
|
|
|
|
|
|
|
|
|
|
I’m happy for you! That said, it’s ironic that someone calling themselves “GOLDSMITHDAKING” prefers the release without Goldsmith over the release *with* Goldsmith (and not just any Goldsmith but something with a previously unknown/unreleased sci-fi adventure theme!)
Yavar
|
|
|
|
|
|
I'm happy for me too. I can't wait for all of my submarine TV music to hit my mailbox.
But Voyage in particular man. This is gonna be sweeeeet.
|
|
|
|
|
|
I’m happy for you! That said, it’s ironic that someone calling themselves “GOLDSMITHDAKING” prefers the release without Goldsmith over the release *with* Goldsmith (and not just any Goldsmith but something with a previously unknown/unreleased sci-fi adventure theme!)
Yavar
I love the Goldsmith,but im not prepared to buy a 4 disc set for a few tracks of an episode he scored.Especially since its a show i have never seen
|
|
|
|
|
|
|
|
|
|
|
