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Posted: |
Jul 12, 2021 - 12:27 PM
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By: |
rerunkr
(Member)
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Hey Stu,
Decades (cable network) this past weekend had a marathon of all fifty-eight Monkees episodes and I really enjoyed hearing your very musically diverse scores for the series (Renaissance style to all-electronic scores and everything in between). While many of the segments feature very brief cues (as you talked about in your autobiography) there are certain shows such as S2's "Fairy Tale," that seem to include quite a bit of music. Did the second season scores seem to have more music in them? Also, did work on another project preclude you from scoring the episode where the Monkees visit Paris (the real Paris, that is)?
Also wanted to ask about "The Devil and Peter Tork" episode as I thought Peter Tork did a very credible job at mimicking playing the harp in that show (I suppose it helped that he was a musician). In an instance such as this would the harp music have been pre-recorded or recorded at the same time as the underscore?
Again, was a pleasure hearing those great scores, Stu.
All best,
Bill
Hi Bill,
If I remember correctly, there just seemed to be more open space in the second season, giving me the chance to write more expanded cues. There were actually four episodes that I didn't score. The two Flatt & Scruggs and the two Paris scores. This was the producers choice. I was available for all four. The Paris episodes were strictly back-door politics. The Flatt & Scruggs actually made sende as to choice of music and composers. Any Monkee style cues that might you might have heard were library from my music.
As hard as I try, I can't seem to remember the actual circumstances concerning the harp episode. What I seem to vaguely recall is that it was prerecorded.
Hey, hey this is Mr. Who
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I might have to look into doing this series. Most, if not all, the episodes are up.
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Posted: |
Jul 16, 2021 - 7:32 AM
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By: |
Broughtfan
(Member)
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I might have to look into doing this series. Most, if not all, the episodes are up.
You should definitely think about it, Justin. If you need a bit of background on the music, Stu covers this a bit in his autobiography, "Stu Who?" After watching the Monkees marathon this weekend I wanted to re-read his book cover to cover (as the first time I mostly read the chapters covering his TV scoring work) and after two days reading I'm already on page two-hundred as the book is a real page-turner, especially about Stu's professional (and personal) experiences when first coming to Los Angeles (before married life). One thing I learned from reading Stu's book is that, even during the Golden Age period (when studios were cranking out films of varying quality) it has never been easy trying to procure work in the film business even if you are as accomplished (and industrious) as Stu was even in those early days. The difference from now is that in those days skills that today are considered special/exceptional (ability to compose/arrange/orchestrate in a number of styles, ability to free-time conduct, etc.) were expected of anyone hoping to get a "foothold" in the business as the people in charge of studio music departments, people such as Alfred Newman, Morris Stoloff, Ray Heindorf and John Green were themselves accomplished musicians, employers who had high standards for their respective departments (and, as is now, the number of talented and accomplished people far exceeded the opportunities available).
It is a shame that neither Stu's nor Earle Hagen's memoir is available on Kindle (how about it, Stu?)
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I've decided to do it. I did say a few months ago I needed to do more series Stu was on, while he's still around (not to be morbid, mind you).
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Posted: |
Jul 16, 2021 - 11:42 AM
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By: |
rerunkr
(Member)
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I might have to look into doing this series. Most, if not all, the episodes are up.
You should definitely think about it, Justin. If you need a bit of background on the music, Stu covers this a bit in his autobiography, "Stu Who?" After watching the Monkees marathon this weekend I wanted to re-read his book cover to cover (as the first time I mostly read the chapters covering his TV scoring work) and after two days reading I'm already on page two-hundred as the book is a real page-turner, especially about Stu's professional (and personal) experiences when first coming to Los Angeles (before married life). One thing I learned from reading Stu's book is that, even during the Golden Age period (when studios were cranking out films of varying quality) it has never been easy trying to procure work in the film business even if you are as accomplished (and industrious) as Stu was even in those early days. The difference from now is that in those days skills that today are considered special/exceptional (ability to compose/arrange/orchestrate in a number of styles, ability to free-time conduct, etc.) were expected of anyone hoping to get a "foothold" in the business as the people in charge of studio music departments, people such as Alfred Newman, Morris Stoloff, Ray Heindorf and John Green were themselves accomplished musicians, employers who had high standards for their respective departments (and, as is now, the number of talented and accomplished people far exceeded the opportunities available).
It is a shame that neither Stu's nor Earle Hagen's memoir is available on Kindle (how about it, Stu?)
The publishing of my book was taken over by Alfred Music several years ago. They are who you should contact to see if a Kindle version is possible. Their contact info is on my website under "store."
stu who
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