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I think Derek Wadsworth was an enormously talented man, and his music for year 2 of Space:1999 exceedingly well-written.
But, I have to be honest, I never really cared for his stylistic approach to the series. Gray's music was, well, frankly spiffier -- more classical in style, with inventive use of electronics, and richly evocative of the vastness of space and a mystical sense of the unknown. Even the repurposed cues from older Gerry Anderson shows were adroitly integrated into the series.
Wadsworth's music is, for the most part, standard 1970s American television fare -- again, phenomenally well-written, highly tuneful and well-orchestrated (as an arranger, Wadsworth was -- like many British arrangers in the 60s and 70s -- arguably one of the best in the world). But in style, his Space: 1999 music wasn't much different than what one heard in any given American cop show of the time.
Again I do like Wadsworth's music, but I wish he'd written (or more likely, been allowed to write) something more in the vein of year one.
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Posted: |
Apr 2, 2019 - 7:38 PM
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By: |
NUMBER 6
(Member)
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I think Derek Wadsworth was an enormously talented man, and his music for year 2 of Space:1999 exceedingly well-written.
But, I have to be honest, I never really cared for his stylistic approach to the series. Gray's music was, well, frankly spiffier -- more classical in style, with inventive use of electronics, and richly evocative of the vastness of space and a mystical sense of the unknown. Even the repurposed cues from older Gerry Anderson shows were adroitly integrated into the series.
Wadsworth's music is, for the most part, standard 1970s American television fare -- again, phenomenally well-written, highly tuneful and well-orchestrated (as an arranger, Wadsworth was -- like many British arrangers in the 60s and 70s -- arguably one of the best in the world). But in style, his Space: 1999 music wasn't much different than what one heard in any given American cop show of the time.
Again I do like Wadsworth's music, but I wish he'd taken (or more likely, be allowed to) write something more in the vein of year one.
I think it was much better than standard music at that time like cop shows and whatever, because its a fantasy inspiration. I remember that the music from Wadsworth was sounding like the some instrumental music of the group THE ALAN PARSONS PROJECT, I ROBOT in 1976. I had to wait 22 years to be able to get this music.
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I - love – Wadsworth’s 1999 scores. I think it’s well beyond “Standard TV fare” and is quite memorable. His tunes actually go somewhere musically and are never dull. I actually work out to his action licks, which are blistering and exciting. His romantic music is very sweet and his jazz infused pieces really stand out.
The thing is…it’s just so different from Barry Gray that a lot of fans just lump the music in with the changes to the series they don’t like. However, Gray’s style of scoring would never have fit in with the year 2 action adventure direction.
I also feel that Wadsworth’s music works much better on album than in the episodes. Particularly “Space Warp.” The episode was over the top on it’s own, with exaggerated action, in-your-face acting, monsters and Dutch angles. The screaming action music was a bit too much. However, on CD, it’s amazing to listen to.
Barry Gray's music, on the other hand, works so beautifully on screen, giving class to the most far-fetched storylines, however the CD gets old for me very quickly.
What’s interesting to note is that Wadsworth actually composed much more music for the series than Gray did. The first year had a lot of stock music from earlier Anderson series and Chappell library cues, as well as some excellent classical pieces. Also one episode was scored entirely by Vic Elmes.
Derek Wadsworth’s 1999 scores are among my favorite TV scores, up with Star Trek Classic, Lost in Space, The Six Million Dollar Man and Voyage to the Bottom of the Sea.
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The thing is…it’s just so different from Barry Gray that a lot of fans just lump the music in with the changes to the series they don’t like. However, Gray’s style of scoring would never have fit in with the year 2 action adventure direction.
While I agree that Gray's actual cues for year one would not suit the tone of year two, he could certainly have provided effective new music for the second season -- look at the terrific action scoring he brought to UFO. Indeed, it was Gray's music that pumped most of the adrenaline and energy to a bunch of slow-moving, lifeless marionettes in earlier Gerry Anderson series.
I also feel that Wadsworth’s music works much better on album than in the episodes. Particularly “Space Warp.” The episode was over the top on it’s own, with exaggerated action, in-your-face acting, monsters and Dutch angles. The screaming action music was a bit too much. However, on CD, it’s amazing to listen to.
Oh, it's definitely a fun listen. But dramatically, I think Wadsworth's music plays to the kitsch of year two, whereas Gray would have tempered the kitsch and added a level of seriousness (and higher artistry).
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