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I also find it fascinating that following that instance of Goldsmith's 2nd title theme going unused, he was never invited back for any subsequent Irwin Allen production, until "The Swarm" in 1978!. Allen must have oddly felt soured on Goldsmith's contributions overall, since almost all the other composers worked on all the Irwin Allen TV shows in the decade.
Or perhaps he was simply too busy to accept. The TV stuff Irwin would up relying on Richard LeSalle for anyway. He got John Williams for his 70's disaster films until The Swarm.
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Posted: |
Jun 30, 2020 - 12:52 PM
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By: |
Tom Servo
(Member)
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I also find it fascinating that following that instance of Goldsmith's 2nd title theme going unused, he was never invited back for any subsequent Irwin Allen production, until "The Swarm" in 1978!. Allen must have oddly felt soured on Goldsmith's contributions overall, since almost all the other composers worked on all the Irwin Allen TV shows in the decade.
Or perhaps he was simply too busy to accept. The TV stuff Irwin would up relying on Richard LeSalle for anyway. He got John Williams for his 70's disaster films until The Swarm.
It's entirely possible that Goldsmith was too busy to work on LIS, Time Tunnel and Land/Giants, but I just find it interesting that Williams, Leith Stevens. A. Courage, Mullendore, Nelson Riddle, Herman Stein and Drasnin all contributed scores to most or all of these series. I mean, I know that Lionel Newman was in charge of music at Fox at this time and managed this, but it could be that Irwin Allen made it known he didn't want Jerry invited back. Plus, Jerry was a workahoholic - if he was asked, he would've found a way to make time! 
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It's entirely possible that Goldsmith was too busy to work on LIS, Time Tunnel and Land/Giants, but I just find it interesting that Williams, Leith Stevens. A. Courage, Mullendore, Nelson Riddle, Herman Stein and Drasnin all contributed scores to most or all of these series. I mean, I know that Lionel Newman was in charge of music at Fox at this time and managed this, but it could be that Irwin Allen made it known he didn't want Jerry invited back. Plus, Jerry was a workahoholic - if he was asked, he would've found a way to make time!
I dunno, seems like he had a lot on his plate during the run of Voyage.
The Satan Bug (1965)
The Loner (TV series theme and 2 episode scores, 1965)
Voyage to the Bottom of the Sea (TV series: 1 episode, 1965)
In Harm's Way (1965)
Von Ryan's Express (1965)
Morituri (1965)
The Agony and the Ecstasy (co-composer, 1965)
A Patch of Blue (1965)
Our Man Flint (1966)
The Trouble with Angels (1966)
Stagecoach (1966)
The Blue Max (1966)
Seconds (1966)
The Sand Pebbles (1966)
Warning Shot (1967)
In Like Flint (1967)
The Flim-Flam Man (1967)
Hour of the Gun (1967)
Sebastian (1968)
Planet of the Apes (1968)
The Detective (1968)
Bandolero! (1968)
Williams, while also busy, was kind of a lucky charm for Irwin and even he didn't contribute music beyond pilots after Lost in Space. None of those other composers you listed had the workload Goldsmith had. And if you had a choice between doing a feature or dashing off another score for a TV show, what would you choose?
If anything, I'd say GOLDSMITH was annoyed his theme was dropped and turned down offers. If Irwin didn't like his music, you'd never have heard it in so many other episodes of the series.
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Received my set yesterday and have been spending all afternoon today listening to the wonderful music within. This has certainly made my work day much more pleasant.
Thanks again to everyone who worked on this brilliant set and to LaLaLand for bringing it to us (and shipping it so fast!).
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I dunno, seems like he had a lot on his plate during the run of Voyage.
You're quite right! Although he wasn't "co-composer" on The Agony and the Ecstasy; that was written entirely by his friend and mentor Alex North, while he scored the short documentary film (which was shown before the feature in its roadshow presentation), The Artist Who Did Not Want to Paint... which is probably my single favorite work of his!
The Satan Bug (1965)
The Loner (TV series theme and 2 episode scores, 1965)
Voyage to the Bottom of the Sea (TV series: 1 episode, 1965)
In Harm's Way (1965)
Von Ryan's Express (1965)
Morituri (1965)
The Agony and the Ecstasy (co-composer, 1965)
A Patch of Blue (1965)
Our Man Flint (1966)
The Trouble with Angels (1966)
Stagecoach (1966)
The Blue Max (1966)
Seconds (1966)
The Sand Pebbles (1966)
Warning Shot (1967)
In Like Flint (1967)
The Flim-Flam Man (1967)
Hour of the Gun (1967)
Sebastian (1968)
Planet of the Apes (1968)
The Detective (1968)
Bandolero! (1968)
In addition to your excellent list, from 1965-1968, Jerry also did:
at least one episode of Ben Casey ("Eulogy in Four Flats")
one episode (+ new series theme, which actually stuck) for Jericho ("A Jug of Wine, a Loaf of Bread - and POW")
one hourlong episode of Gunsmoke ("The Whispering Tree", an absolutely fantastic and well developed score)
one episode of The Legend of Jesse James ("Things Just Don't Happen"...we are still hunting for this one on The Goldsmith Odyssey, but found confirmation that it's the episode of the series he scored)
one episode of CBS Playhouse (basically a feature length TV movie: "The People Next Door" -- which was a dry run for his Chinatown theme!)
the unsold pilot Nick Quarry (thanks for releasing that, FSM!)
Williams, while also busy, was kind of a lucky charm for Irwin and even he didn't contribute music beyond pilots after Lost in Space. None of those other composers you listed had the workload Goldsmith had. And if you had a choice between doing a feature or dashing off another score for a TV show, what would you choose?
Very good point, and also Williams wasn't producing *nearly* as much music in this period as Goldsmith was.
If anything, maybe GOLDSMITH was annoyed his theme was dropped and turned down offers.
You may be right; who knows? I'd be annoyed myself, especially if I gave the producers a second version to address their comments, and they *still* didn't go for it... maybe being offered a full on feature by the man behind the big hits The Poseidon Adventure and The Towering Inferno (he didn't have those under his belt while the TV shows were still going on) was a different matter, and (along with a feature-sized paycheck) made Jerry willing to work with Irwin Allen again?
Yavar
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Posted: |
Jun 30, 2020 - 3:32 PM
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By: |
Tom Servo
(Member)
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It's entirely possible that Goldsmith was too busy to work on LIS, Time Tunnel and Land/Giants, but I just find it interesting that Williams, Leith Stevens. A. Courage, Mullendore, Nelson Riddle, Herman Stein and Drasnin all contributed scores to most or all of these series. I mean, I know that Lionel Newman was in charge of music at Fox at this time and managed this, but it could be that Irwin Allen made it known he didn't want Jerry invited back. Plus, Jerry was a workahoholic - if he was asked, he would've found a way to make time!
I dunno, seems like he had a lot on his plate during the run of Voyage.
The Satan Bug (1965)
The Loner (TV series theme and 2 episode scores, 1965)
Voyage to the Bottom of the Sea (TV series: 1 episode, 1965)
In Harm's Way (1965)
Von Ryan's Express (1965)
Morituri (1965)
The Agony and the Ecstasy (co-composer, 1965)
A Patch of Blue (1965)
Our Man Flint (1966)
The Trouble with Angels (1966)
Stagecoach (1966)
The Blue Max (1966)
Seconds (1966)
The Sand Pebbles (1966)
Warning Shot (1967)
In Like Flint (1967)
The Flim-Flam Man (1967)
Hour of the Gun (1967)
Sebastian (1968)
Planet of the Apes (1968)
The Detective (1968)
Bandolero! (1968)
Williams, while also busy, was kind of a lucky charm for Irwin and even he didn't contribute music beyond pilots after Lost in Space. None of those other composers you listed had the workload Goldsmith had. And if you had a choice between doing a feature or dashing off another score for a TV show, what would you choose?
If anything, I'd say GOLDSMITH was annoyed his theme was dropped and turned down offers. If Irwin didn't like his music, you'd never have heard it in so many other episodes of the series.
Hey, I agree with you on those points and Goldsmith was absolutely annoyed, according to what is reported in Jeff's liner notes. I'm just saying that based on what was also mentioned in Jeff's liner notes for this set, that upon hearing Goldsmith's new theme, Allen was heard to say something to the effect "That may be your idea of music, but it isn't mine", and this might have set Allen's mind against using Goldsmith afterwards. So, it was a mutual annoyance on both their parts!
And I don't think you can say that Williams didn't contribute much after LIS - he composed two main themes for Land of the Giants, plus it's pilot score, along with the main theme and pilot score for The Time Tunnel. I'd say that's a fair amount on contribution on the non-LIS series.
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Hey, I agree with you on those points and Goldsmith was absolutely annoyed, according to what is reported in Jeff's liner notes. I'm just saying that based on what was also mentioned in Jeff's liner notes for this set, that upon hearing Goldsmith's new theme, Allen was heard to say something to the effect "That may be your idea of music, but it isn't mine", and this might have set Allen's mind against using Goldsmith afterwards. So, it was a mutual annoyance on both their parts!
I'm not trying to argue and in all fairness to me, my set is taking a f'n week (so far) to travel the country, so I haven't had a chance to read the notes or hear anything other than the samples. And it's killing meeeeee... So, I'll bow to your good fortune and access to the notes.
And I don't think you can say that Williams didn't contribute much after LIS - he composed two main themes for Land of the Giants, plus it's pilot score, along with the main theme and pilot score for The Time Tunnel. I'd say that's a fair amount on contribution on the non-LIS series.
Well, when you consider though that he did four full scores for LIS, just the pilot for The Time Tunnel and was asked to bail Land of the Giants out of doo-doo after two other composers were attached (and man his score for The Crash elevates that from a decent pilot to a chilling nightmare of fun) and only did themes...well, compared to Leith Stevens and Paul Sawtell or Richard LaSalle, Williams really didn't contribute much music - volume wise - to the Irwin Allen SF shows after LIS. However, what he did was absolutely brilliant.
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And because out of the 2 dozen items I've ordered since COVID this ONE THING I've been anxiously awaiting gets delivered...elsewhere. The Post Office tracking says it reached my house but nope. No deliveries at that time. Not even on my Ring camera.
Really....this. One. Thing. Voyage never has an easy journey to me.
Let's try this dance again...
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And because out of the 2 dozen items I've ordered since COVID this ONE THING I've been anxiously awaiting gets delivered...elsewhere. The Post Office tracking says it reached my house but nope. No deliveries at that time. Not even on my Ring camera.
Really....this. One. Thing. Voyage never has an easy journey to me.
Let's try this dance again...
Maybe a neighbor will bring it over. But you're getting this, come what may.
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That's my hope....just common courtesy and what I do when it's just down the street I'll be satisfied of they just leave it for the carrier to deliver correctly.
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Posted: |
Jul 3, 2020 - 10:41 AM
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By: |
Tom Servo
(Member)
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I've certainly been enjoying this set over the past week, especially as it's pretty much all new music for me, outside of Goldsmith's episode score for "Jonah and the Whale". The Leith Stevens scores are the most all around engaging and entertaining examples, especially his music for "The X Factor" and "Blow Up", but I also really love the jazzy rhythms in "Time Bomb" and "The Left-Handed Man".
I was never that much a fan of Paul Sawtell, even his music for the movie, but I find more to enjoy in his "Eleven Days to Zero" score here, especially in its more fluid, impressionistic moments.
Lennie Hayton's "...And Five Of Us Are Left" is also a real highlight, a charming and memorable score throughout.
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Goldsmith must have gotten a number of checks since his "Jonah" music was used to close off the episodes a LOT.
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