Here's how the music credits for "Think Pretty" appear on screen:
Listening to the score, it's quite obvious that Williams did all of the arrangements/orchestrations of the "Think Pretty" song and wrote all the background score, along with most of the source music. (The best part: when the house band at the Nairobi Club strikes up a go-go arrangement of "Girl of the Golden West," originally written by Williams and Stanley Wilson for "The Jenny Tannen Story," a 1959 episode of Wagon Train.)
ASCAP credits the song solely to Wolf:
and, curiously, background cue(s) to Morton Stevens, but that may refer to a piece of non-Williams source music from early in the episode, perhaps repurposed from another Revue show.
This newspaper article published the week of the original broadcast:
says Wolf wrote the song.
Coincidentally, last night at Tanglewood, Williams mentioned Fred Astaire, Barrie Chase and Hermes Pan, but failed to mention he worked with them himself on this Chrysler episode 50 years ago this summer!
But please don't keep us Astaire fans hanging -- what did JW say? (Were you there, you lucky bum?)
No, I was on the other side of the country, but listened via the WCRB live stream. The concert is supposed to be available soon on demand at the WCRB Web site:
OK, Lud, er, Preston, here's a transcript of the relevant comments from the maestro...
Thank you very much. I thought tonight we might look at some dance sequences from Hollywood films. A lot of names associated with choreography: Fred Astaire, Gene Kelly -- of course, they were performers. Hermes Pan, who did choreography for Fred -- looked just like him, was tall and thin -- and they worked on the choreography together. And then Hermes would dance with Ginger Rogers or Barrie Chase or whoever he was dancing with, and Fred would step back and watch the two of them together do it. Hermes would perform all this in rehearsal.
The "love theme" from this episode is actually the theme from the Kraft Suspense Theatre episode "End of the World, Baby," aired a few months prior. [Thor calls it the "Ryker" theme above.]
"Bob Hope Presents the Chrysler Theatre" (5 episodes ) - Think Pretty (2 October 1964) - music arranger - The Crime (22 September 1965) - Composer - The Sister and the Savage (6 April 1966) - Composer - The Lady Is My Wife (1 February 1967) - Composer - Verdict for Terror (29 March 1967) - Composer
That's only four (leaving out the one he's credited as 'arranger'), which leaves 3. Providing, of course, that the FSM Buyer's Guide is correct.
And to correct some misinformation (courtesy of IMDb) from earlier in this thread, while Williams did arrange/score "Think Pretty," he didn't write music for any of the other episodes listed above.
"The Crime" credits just say "Chrysler Theme Johnny Williams" and the credits for "The Sister and the Savage," "The Lady Is My Wife" and "Verdict for Terror" read "Theme Johnny Williams."
Since 2011, it looks like IMDb has only become more inaccurate. They also list "Dear Deductible" as a Williams score, even though the credits for that episode clearly read "Music Composed and Conducted by Eliot Daniel."
The "love theme" from this episode is actually the theme from the Kraft Suspense Theatre episode "End of the World, Baby," aired a few months prior. [Thor calls it the "Ryker" theme above.]
I saw the episode and you're right. However I think (I'm not entirely sure) that the theme is not tracked from that episode but newly reused. It is used in a source accordion cue in a cafe, and also its appears in the dramatic score sometimes with the accordion playing the melody, and in other variations that I don't remember hearing in Kraft Suspense episode 3.
If it's indeed the case, then it's important because it's the only instance I know of Williams re-using a theme in video media (except film franchises of course or deliberate use for comical effect: eg. jaws theme in 1941). I say video media because there are two instances of a theme from Monsignor reused from Esplanade overture, and a theme from 7 Years in Tibet reused in Elegy for cello.
The first time I encountered what I label the "Ryker" theme was the film SERGEANT RYKER, which was based and extended from the Kraft opening episode(s) "The Strange Case of Paul Ryker". So I assumed since it appeared in the feature film version, it was used in the original episode as well. I haven't been able to find the original double episode, however, so I can't confirm.
Hence, I thought that all subsequent uses of the theme -- both in Kraft and other shows, including Chrysler Theater -- stemmed from this opening episode. But now Jeff says it's from "End of the World, Baby", which aired AFTER the "Paul Ryker" episode?!
The first time I encountered what I label the "Ryker" theme was the film SERGEANT RYKER, which was based and extended from the Kraft opening episode(s) "The Strange Case of Paul Ryker". So I assumed since it appeared in the feature film version, it was used in the original episode as well. I haven't been able to find the original double episode, however, so I can't confirm.
Hence, I thought that all subsequent uses of the theme -- both in Kraft and other shows, including Chrysler Theater -- stemmed from this opening episode. But now Jeff says it's from "End of the World, Baby", which aired AFTER the "Paul Ryker" episode?!
Yes, I remember that. But I still think it doesn't make sense to use the "Ryker" theme in the feature film version if it didn't first appear in the television show. I know it fits like a glove in ep. 3, but it also fits like a glove in many of the other instances it's been used. So untill we get hold of the original double episode, it's hard to say. Or untill Jeff, who presumably has seen the original Ryker episode, chimes in.
Yes, I remember that. But I still think it doesn't make sense to use the "Ryker" theme in the feature film version if it didn't first appear in the television show. I know it fits like a glove in ep. 3, but it also fits like a glove in many of the other instances it's been used. So untill we get hold of the original double episode, it's hard to say. Or untill Jeff, who presumably has seen the original Ryker episode, chimes in.
in episode 3, the theme is varied in many ways (eg in some travelling sequences and stuff) that wouldn't fit in Ryker. And the theme in Ryker from what i remember IS tracked. I mean it's not used in another context. i don't say it wasn't used in the initial 2 episodes, most likely it did. Also, in the other episodes, it's tracked too! Just because Ryker aired first, doesn't mean he composed the score first. Maybe he had composed 5-6 episodes initially, and they aired Ryker first.
All the instances of this love theme in Kraft Suspense episodes seem to me just very random uses (that may fit to those scenes), but the theme is fully used and makes up a score with strong unity in episode 3. Almost every cue uses that theme. In Ryker (and in the other episodes) it is evident (at least to me), that the theme was just thrown in there to fill in some gaps of the music score.
By the way, i found this comment which i don't know what it means:
This two-part episode is not included in the syndicated edition of "SUSPENSE THEATRE" (and "CRISIS") because it WAS converted into a theatrical release- originally intended for overseas distribution- in 1968, "Sergeant Ryker" {MCA later released the "movie" on VHS in the '80s}.
All the instances of this love theme in Kraft Suspense episodes seem to me just very random uses (that may fit to those scenes), but the theme is fully used and makes up a score with strong unity in episode 3. Almost every cue uses that theme. In Ryker (and in the other episodes) it is evident (at least to me), that the theme was just thrown in there to fill in some gaps of the music score.
Actually, in the film -- if memory serves -- it's used pretty prominently over some helicopter/transportation scenes, TOWERING INFERNO-style. So not just a random track-in. It's the musical centerpiece of the feature film version. I'm not saying Williams cannot possibly have used a theme from a totally unrelated episode from Kraft, especially because a) he used the theme prominently in other episodes and tv shows with great success and b) others beside Williams may have tracked it in.
But still -- I find it odd that the theme wouldn't be used unless there was a definite link between the Ryker music of the tv show and the Ryker music of the film version.
I've edited the first post to correspond with the other threads on Williams' tv shows, and so that it's ready to be filled in once we have the relevant information.
All the instances of this love theme in Kraft Suspense episodes seem to me just very random uses (that may fit to those scenes), but the theme is fully used and makes up a score with strong unity in episode 3. Almost every cue uses that theme. In Ryker (and in the other episodes) it is evident (at least to me), that the theme was just thrown in there to fill in some gaps of the music score.
Actually, in the film -- if memory serves -- it's used pretty prominently over some helicopter/transportation scenes, TOWERING INFERNO-style. So not just a random track-in. It's the musical centerpiece of the feature film version.
Maybe you're talking about the main titles sequence? It's tracked from episode 3 too there. (actually it's an edit of at least 2 cues [ the main title cue and the ending cue of episode 3], and some others that i haven't identified yet) I would believe this sequence was added for the TV movie and not included in the original episode. So, since Williams hadn't written any score for an extended title sequence as this, they used the music from that episode. The other uses of the theme i believe were 2 or 3 but fairly insignificant..
