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Posted: |
May 1, 2013 - 7:55 AM
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By: |
(Member)
(Member)
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thanks for the head up! Not a rodeo fan, but this might be the only way to hear the music.
I've forgotten what LLL said about the availability, but having worked with Dominic on previous releases, perhaps they would have released it already if they could?
I am not sure if LLL has ever stated something about the availability.
Anyway, since they release a Frontiere score every three years, we have to wait for 2014.
Back to "Stoney Burke", Frontiere and Outer Limits aficionados will enjoy the series because they will recognize bits and pieces used later on "The Outer Limits".
PS: Nobody watch "Stoney Burke" for the rodeo angle. The majority of people are mainly interested in the cinema history aspects: DP Conrad Hall, DP Ted McCord, composer Dominic Frontiere, New Wave director Leslie Stevens, Jack Lord, Warren Oates, Bruce Dern. "Stoney Burke" is "The Outer Limits" on horse: that's all! Replace the aliens and the mutants by horses, bulls and shady businessmen.
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Hi guys.
Really glad someone has started this thread up again as I've been lobbying to get this amazing score released for years.
Hopefully, LLL will be able to negotiate the rights now the DVDs are finally out, though my personal request would be to have more of the dramatic stuff featured, rather than the rodeo fanfares etc.
This would be a tremendous addition to Mr. Frontiere's collection.
Hope to see more comments and progress.
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Posted: |
Jun 6, 2013 - 1:08 AM
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By: |
(Member)
(Member)
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[STONEY BURKE MUSIC REPORT]
Composer Dominic Frontiere is also credited as production executive, musical director, associate producer which means he is in control of his work. Three craftmen assist Dominic Frontiere: music supervisor John Elizalde that is also credited as associate producer in selected episodes, music coordinator Roger Farris and audio supervisor Clem Portman from episode #2 to #15.
The scores to notice are: “Child of Luxury”, “Point of Honor”, “The Wanderer”, “Point of Entry”, “To Catch the Kaiser”, “The Weapons Man”, “The Journey”. Some of Dominic Frontiere’s cues are so good that they are recycled all along the 1960’s series as “stock music”: see the first season of “The Outer Limits” (episodes like “The Sixth Finger”, “O.B.I.T.”, “The Zanti Misfits” and “The Guests”), the first season of “The Rat Patrol”, the fourth season of “The Fugitive”. A recursive action cue used for Stoney Burke’s fistfight scenes will be recycled in “The Rat Patrol”.
Furthermore, the music supervisor also tracks a romantic cue from Dominic Frontiere’s “Hero’s Island” (1962) many times. For the aficionados of “The Outer Limits”, you’ll hear a proto-version of both “The Outer Limits Signature Loop” and “The Galaxy Being” in “Forget No More” and a proto-version of “The Hundred Days of the Dragon” (Cf. “Assassination” cue) in “The Weapons Man”.
In “Kelly’s Place”, actress Elizabeth Allen performs songs in a club called Kelly’s Place. “Kincaid” features a crime jazz score to encapsulate the urban feel of New York City. For the anecdote, when Stoney and his team go to a people bar at night we can hear a typical laid-back tune made out of accordion—Frontiere’s favorite instrument—and bass and drum.
Those who enjoy the odd music recycled for “The Outer Limits” episode “The Zanti Misfits” will appreciate “Point of Honor” (edgy martial cue) and “The Journey” (eerie desert cue) from “Stoney Burke”.
Those who enjoy the romantic cues recycled in “The Outer Limits” episode “The Guests” will love two episodes from “Stoney Burke” :
• “The Wanderer” (love cue and sorrow cue)
• “To Catch The Kaiser” (fast aging cue)
For the record, “The Guests” features three romantic cues used in these Act 4 scenes:
1. the love intercourses between Tess and Wade in the cemetery (love cue)
… previously heard in the Act 1 scenes when Wade first meets Tess who is scared and runs away from the living-room and when Tess deals with her lost father to Wade and when Tess leaves Wade because of her father’s pocket watch.
… previously heard in the Act 3 scenes when Wade and Tess talk in the living-room and when Wade violently questions Tess who runs in a hurry with sadness and takes refuge in the living-room.
2. the fast transformation of Tess from an old woman to dust (fast aging cue)
3. the father’s pocket watch of deceased Tess picked up by Wade (sorrow cue: slow violins and accordion)
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So this means THE OUTER LIMITS is STONY BURKE without the rodeo and horses? 
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