 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
One question - What are the contents of Track 13 ("Barnaby 2, 3, 4 and 5)? After only two listens I can't be sure, but it sounded just like repeated material from previous tracks. I suppose they must be different takes with subtle changes which I haven't picked up on yet...
I put this to Jon Burlingame on FB and he replied, "They're just different takes of material from the pilot that Elizalde thought might be useful later on for tracking purposes. You'll remember I mentioned to you that I thought it was advisable to include every note Jerry recorded. If it had been anyone else, I'd have left it off. But knowing the rabid fan following for Jerry..."
And I told him, "Thanks -- this rabid Goldsmith fan appreciates it." 
Yavar
|
|
|
|
|
|
|
 |
Posted: |
May 30, 2019 - 3:52 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
One question - What are the contents of Track 13 ("Barnaby 2, 3, 4 and 5)? After only two listens I can't be sure, but it sounded just like repeated material from previous tracks. I suppose they must be different takes with subtle changes which I haven't picked up on yet...
I put this to Jon Burlingame on FB and he replied, "They're just different takes of material from the pilot that Elizalde thought might be useful later on for tracking purposes. You'll remember I mentioned to you that I thought it was advisable to include every note Jerry recorded. If it had been anyone else, I'd have left it off. But knowing the rabid fan following for Jerry..."
And I told him, "Thanks -- this rabid Goldsmith fan appreciates it."
Yavar
Thanks Yavar - I'd suspected something like that.
On to Disc 2 for the second time. Lalo's MOST WANTED didn't strike me as being great the first time. Last night I listened to it on headphones (close scrutiny), and although it was "better", I was almost falling asleep by the end. Possibly due to the time of night. Then this morning, fresh as a daisy, I put it on for a third time, loud on the big sound system. I'd done one of my mental (yes, really mental) games again, and imagined it as a 30-min LP. Side A was pretty good (Tracks 1-8). Side B starts off great with that exciting track "Skyjacking". It really made my doing the household chores pretty butch and meaningful (quickly making the bed as if I was cleaning the scene of the crime). So yeah, a few great tracks, several good ones with the double bass figure "doing the Lalo suspense octave", but even at half an hour it outstays its welcome. Overall, fairly routine, and it gets a bit bogged down in treading water. Disappointingly low on kerosine.
Bracing myself for my second exposure to CANNON. You know, that sort of on-first-listen irritating music for the blue-eyed detective. The one who was usually impeccably-dressed. Blue suit and tie to match the eyes. You know him, slicked-back hair, kind of receding hairline. Moustache... Oh, and sort of big boned now I think of it.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
May 30, 2019 - 7:27 AM
|
|
|
|
By: |
CindyLover
(Member)
|
Cannon looked like he needed a few sessions at the gym himself, although he'd probably have had a heart attack.
He did go scuba diving once...
Had time to listen to Disc 1 again - Only the second shot, but it's becoming pretty great already.
The Goldsmith BARNABY JONES is superb from start to finish. It's just so imaginitive and full of cool percussion effects, a driving momentum and the right amount of griity action. I always loved his POLICE STORY pilot score on the Prometheus CD, but this is just as great. One question - What are the contents of Track 13 ("Barnaby 2, 3, 4 and 5)? After only two listens I can't be sure, but it sounded just like repeated material from previous tracks. I suppose they must be different takes with subtle changes which I haven't picked up on yet...
The early Broughton BARNABY JONES is top-quality stuff too. Excellent scoring, but it somehow seemed a little out of place with the other bed partners in the set. Glad it's on it though. It's the earliest Broughton I "know", although I must have heard some of his work on episodic TV without realising it - certainly without realising that he would go on to find a certain fame and popularity in his '80s big-screen successes. He showed he had the chops back in '78 with BARNABY JONES. All this great Goldsmith and Broughton music for a milk-supping geriatric.
DAN AUGUST is supremely great. I like these scores even more than the work he did on ASSIGNMENT: VIENNA. They're funky and they're jazzy. The first one's a little bit more funky in general than the second, leaning towards the "Mr Connection" theme from THE FRIENDS OF EDDIE COYLE. I think I like the second score even more. It's got more jazz piano, muted trumpet and shimmering strings, although it still uses that funky Main Title rhythm a fair bit. Shades everywhere of his best film work too - EDDIE COYLE, CONDOR, YAKUZA... Fantastic.
I hope to catch a second listen of Disc 2 towards the end of the week. First reaction is that Disc 1 is stronger, but it's got the advantage that I've heard it twice now. Let's see how I get on with the on-first-listen "good but routine" Lalo, the "strangely unappealing" Cannon, and the "short n' sweet" collection of themes.
Thinking back to my first go at Disc 2, I was intrigued enough by how unusual the Duane Tatro theme for THE MANHUNTER was that I looked into Tatro's biographical details. This guy's amazing! I'll have to check this out. I had a quick look at his Main Titles for THE HOUSE ON GREENAPPLE ROAD (a QM TV Movie), and they're pretty startling. And he's still alive, apparently. As is John Parker. I mentioned this previously, but the only deceased composer on the whole set is Jerry Goldsmith, and the latest score on the set is from more than forty years ago. Oh wait, Nelson Riddle died ages ago, but the cumulative age of the alive ones is still 958.
I'm afraid Patrick Williams is also not with us anymore...
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 30, 2019 - 2:47 PM
|
|
|
|
By: |
riotengine
(Member)
|
Honestly, I rather enjoy John Parker's Cannon scores. Kind of surprised by some of the dislike. I watched the entire series about in 2017 and liked it. I've always liked William Conrad as an actor. It seemed to me there were a lot of Parker's music reused as library cues, (as was the case with many QM productions) but some good funky/jazzy stuff didn't end up on this CD. Hopefully more will turn up in future volumes.
Something I posted about Cannon on Facebook in 2017.
"MeTV is running Cannon again, (A Quinn Martin Production) and I'm rather enjoying this series. It's been many years since I've watched it. For those who didn't grow up on TV detectives in the 60s and 70s, most TV detectives had an identifiable gimmick/trait: Ironside, (wheelchair detective) Longstreet, (blind detective) Kojak, (bald detective) McCloud, (cowboy detective) Barnaby Jones, (geriatric detective) Banacek, (Polish detective) ect. Cannon, (as played by William Conrad) was the fat detective.
William Conrad was a great character actor, (The Killers, The Naked Jungle) and the original Matt Dillon on the radio. He was also a very capable director (Brainstorm). Cannon was his first starring role on TV, and also narrated numerous TV shows like Rocky & Bullwinkle, The Fugitive, and Buck Rogers in the 25th Century.
It's kind of amusing watching the portly Conrad running around chasing bad guys, but Conrad plays the part with gravitas and subtle humor, often self-deprecatingly poking fun at his own weight. A kid asks him in the pilot, "how did you get so fat?" Cannon replies, "it wasn't easy."
They would never make this show now. Today's producers would likely have a bunch of attractive 20-something millennials running around doing Cannon's legwork while he kicks back in an office, taking their reports, which he sort of did in Jake And The Fat Man, and Nero Wolfe. Me, I'd rather see William Conrad huffing and puffing, chasing down the bad guys."
Greg Espinoza
|
|
|
|
|
|
|
|
|
|
|
Is Espinoza finished yet?
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Who was the fattest...Frank Cannon or Alan Fivehouse?
One of my favorite Cannon episodes had Frank chasing guest-star Cesare Danova through an underground parking lot, where Frank got stuck between two cars.
Greg Espinoza
I can't believe I'm friends with this guy!
|
|
|
|
|
|
|
|
|
Posted: |
May 31, 2019 - 3:38 AM
|
|
|
|
By: |
Graham Watt
(Member)
|
CindyLover - I'd "forgotten" (or didn't know) that Patrick Williams was dead. July last year. Don't recall seeing it mentioned here but I suppose it must have been.
Leo - Thanks for the link to the Benny Hill sketch! I remember seeing it years ago and loving it. In fact, in the QM booklet, there's a picture of Barnaby Jones and Cannon together (I wasn't aware they'd shared the first episode of Barnaby) which immediately reminded me of that very sketch. Benny Hill's pretty good in it - his acting as Cannon reminded me of Orson Welles.
Kev - It seems it's okay again to use the word "fat", since Greg has done so, and reminded us that many of the "jokes" were about the character's weight. Love that "getting stuck between two cars" footchase story! Almost as funny as Benny Hill getting stuck in a narrow railway carriage passageway with a big-boobed girl. What is this, the politically incorrect thread?
Anyway, I've done the whole set now twice. I actually really enjoyed CANNON this time. On the negative side, John Parker's music never really seemed to have a distinctive voice to me. I could always (sometimes) spot even comparatively "minor" composers' voices when watching the telly as an insufferable kid and shouting "Robert Prince! Robert Drasnin!" to my horrified parents, who must have thought "What kind of freak of nature have we produced?" But with John Parker it always sounded so generic that I would never dare hazard a guess. Then the name "John Parker" would come up.
But having said that, I found the scores entertaining to listen to this time. I even think they're more entertaining than Lalo's MOST WANTED (who absolutely DID have a recognisable set of styles). At least the CANNON scores are full of huffing and puffing energy. It was kind of annoying at first when I was unconsciously associating the sound to game show music, but then I thought I heard a connection between the "weighty" theme and John Williams' "heavy" music for the big people in the LAND OF THE GIANTS Main Titles (all versions), and everything was OK after that. At other times when I was getting a little irritated I thought, what if this were Barry Gray doing pastiche for "Thunderbirds"? That way even the hillbilly track "Train 99" seemed witty.
And yes, there are a few good moments with jazz piano and an especially good sax which give the scores some flavour. They're fun scores. They're probably the most generic in the whole set but they are pretty energetic and they keep me wanting to continue listening, at least when I'm in a benign mood.
Gave the final tracks two or three more spins each. Nelson Riddle's CARIBE is the one I like least, but it's alright. Both Patrick Williams' BERT D'ANGELO/ SUPERSTAR and David Shire's TALES OF THE UNEXPECTED are terrific, but it's actually (as I think I said before) Duane Tatro's THE MANHUNTER which intrigued me most, mainly because I thought "How the hell did they give the green light to that?" But I hear a really interesting composer there, and I know virtually nothing about him. Must try to find that review of his one jazz album (1950s?), and see how much of his stuff is on the Tube.
Sorry to tell you that I'll be back. I always listen to things a million times, so this will be getting many more spins and I'll be posting more annoying nonsense along the way.
|
|
|
|
|
|
|
|
 |
Posted: |
May 31, 2019 - 4:35 AM
|
|
|
|
By: |
Leo Nicols
(Member)
|
CindyLover - I'd "forgotten" (or didn't know) that Patrick Williams was dead. July last year. Don't recall seeing it mentioned here but I suppose it must have been.
Leo - Thanks for the link to the Benny Hill sketch! I remember seeing it years ago and loving it. In fact, in the QM booklet, there's a picture of Barnaby Jones and Cannon together (I wasn't aware they'd shared the first episode of Barnaby) which immediately reminded me of that very sketch. Benny Hill's pretty good in it - his acting as Cannon reminded me of Orson Welles.
Kev - It seems it's okay again to use the word "fat", since Greg has done so, and reminded us that many of the "jokes" were about the character's weight. Love that "getting stuck between two cars" footchase story! Almost as funny as Benny Hill getting stuck in a narrow railway carriage passageway with a big-boobed girl. What is this, the politically incorrect thread?
Anyway, I've done the whole set now twice. I actually really enjoyed CANNON this time. On the negative side, John Parker's music never really seemed to have a distinctive voice to me. I could always (sometimes) spot even comparatively "minor" composers' voices when watching the telly as an insufferable kid and shouting "Robert Prince! Robert Drasnin!" to my horrified parents, who must have thought "What kind of freak of nature have we produced?" But with John Parker it always sounded so generic that I would never dare hazard a guess. Then the name "John Parker" would come
But having said that, I found the scores entertaining to listen to this time. I even think they're more entertaining than Lalo's MOST WANTED (who absolutely DID have a recognisable set of styles). At least the CANNON scores are full of huffing and puffing energy. It was kind of annoying at first when I was unconsciously associating the sound to game show music, but then I thought I heard a connection between the "weighty" theme and John Williams' "heavy" music for the big people in the LAND OF THE GIANTS Main Titles (all versions), and everything was OK after that. At other times when I was getting a little irritated I thought, what if this were Barry Gray doing pastiche for "Thunderbirds"? That way even the hillbilly track "Train 99" seemed witty.
And yes, there are a few good moments with jazz piano and an especially good sax which give the scores some flavour. They're fun scores. They're probably the most generic in the whole set but they are pretty energetic and they keep me wanting to continue listening, at least when I'm in a benign mood.
Gave the final tracks two or three more spins each. Nelson Riddle's CARIBE is the one I like least, but it's alright. Both Patrick Williams' BERT D'ANGELO/ SUPERSTAR and David Shire's TALES OF THE UNEXPECTED are terrific, but it's actually (as I think I said before) Duane Tatro's THE MANHUNTER which intrigued me most, mainly because I thought "How the hell did they give the green light to that?" But I hear a really interesting composer there, and I know virtually nothing about him. Must try to find that review of his one jazz album (1950s?), and see how much of his stuff is on the Tube.
Sorry to tell you that I'll be back. I always listen to things a million times, so this will be getting many more spins and I'll be posting more annoying nonsense along the way.
Graham,
Benny's sketch was 'A Quinn Marton, Barton, Harton, Larton & Fargo Production'
|
|
|
|
|
|
|
|
|
|
|
Love to see JAKE AND THE WEIGHT CHALLENGED MAN released!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
