It seems to me that with the monumental 6000 copy edition of the complete original Trek TV scores coming out, that this will be the most marketing and exposure some of these excellent composers have EVER had. It seems to me to be perfect timing for the specialty labels to work on getting out some of the other great music by these composers -- I think they're likely to sell better now than they ever will again, and certainly better than they would have a year ago!
I'm looking at IMDb and thinking of stuff by Alexander Courage like --his last score as composer, for A Walton Thanksgiving Reunion (1993), together with any other of his earlier surviving music for Walton TV movies (presumably not all lost like his and Goldsmith's and others' scoring for the series itself). --his and Fred Steiner's scores (three each) for The Loner (if the Goldsmith scores survived, why not these?) If there's room on the disc fit the best of Nelson Riddle's work too, or put the Goldsmith scores on again but this time split into individual cues. --MGM's Follow the Boys (1963), his last feature composing credit before Superman IV, shared credit with Ron Goodwin??! --If they still survive, many people have spoken highly of his western scores, Day of the Outlaw (1959, UA) and The Left Handed Gun (1958, Warner Bros.) --other 50s feature credits could be interesting too
Moving on to more Fred Steiner, how about some Tiny Toons Adventures releases, LaLaLand? His last composing job and there's a bunch of great work by other composers on this series too.
Then there's a TON of great Gerald Fried that could be done such as --ALL of his music for Roots and its followups --Napoleon & Josephine: A Love Story (1987) (with Bill Conti) which seems to come up a lot --his Oscar-nominated Birds Do It, Bees Do It (1974) --any of his Kubrick scores if they survive --too many other features to list that I haven't a clue about; chime in if you do!
Thanks to labels like FSM, Intrada and Kritzerland, probably the best-represented composers from the series have been Sol Kaplan and especially Jerry Fielding and George Duning, who had substantial feature film careers. Hearing a re-recorded track from Kaplan's Judith (1966, Paramount) on Tadlow's excellent Exodus recording made me salivate for more! And through the 1950s, he's got TONS of credits, from which we've already received some excellent releases like Treasure of the Golden Condor and House on Telegraph Hill -- but there must be other worthy scores to put out.
Bruce K. at Kritzerland has told us he's got more Duning coming and I can't wait to see what it is! Perusing IMDb...Whoa! A short lived ZORRO TV series in the early 80s? And I would go NUTS if somehow complete original tracks for his awesome Devil at 4 O'Clock were found (much as I'm grateful to FSM for the LP reissue).
Fielding has been the best-represented and there's not too much of his left to release but it'd still be great to have whatever else can be done!
Of course I'm sure there are a lot of other gems amid the obscure TV work by these composers (anyone heard anything else by Matlovsky or Mullendore?), but those would probably have to be put into a TV Omnibus sort of sequel...
OOPS -- didn't mean to post again. Thought I hit "Edit".
A July 1st post here at FSM; bolded text for what you mentioned:
While working on Vol 2 a number of episodes of the first "65" got the axe and will be featured on Vol 3: Robin's Reckoning Parts 1 and 2, Day of the Samurai and The Clock King to name a few.
Our plan is to have Vol 3 out next year (possibly another 4 disc set). That would be all the music we would release from the first 65. We are also contemplating releasing an empty box when vol 3 comes out so people can put all 3 volumes inside. It would be like $5 (or around there) if people wanted to buy it separately or free with purchase of Vol 3...something like that.
Then we would focus on the "Adventures of Batman and Robin" and "The New Batman Adventures."
Hopefully, Superman TAS, Justice League (TAS and Unlimited) and the two BTAS animated direct to DVD movies (Subzero and Batwoman) will also see the light of day in the next few years.
This is some of the finest music written for television. It's been a joy and honor to bring these out and we hope to continue to mine this incredible slate of superhero music.
We are also looking into stuff like Animaniacs and Tiny Toons. The ealry 90's was truly the 2nd Golden Age of Animation at Warners Bros. We are doing our part to preserve that legacy.
Then there's a TON of great Gerald Fried that could be done such as --ALL of his music for Roots and its followups --Napoleon & Josephine: A Love Story (1987) (with Bill Conti) which seems to come up a lot --his Oscar-nominated Birds Do It, Bees Do It (1974) --any of his Kubrick scores if they survive --too many other features to list that I haven't a clue about; chime in if you do!
From what I have learned, Gerald Fried's early film music for early Stanley Kubrick films no longer exists. I think ... though I'm not sure ... that only the 1956 THE KILLING exists on acetates, but the condition is so poor that no album of it would be feasible. PATHS OF GLORY was recorded in Germany, and the sound elements are long since missing.
There is more hope for post-1957 Gerald Fried titles, because around '57/'58 Fried's personal composer copies transitioned from acetates to tapes (an excellent example of this is FSM's 2-disc set on 4 Fried scores - two of which were from acetate sources).
As for pre-1958 Fried material, perhaps the only thing that might be possible is a re-issue of the album master from this Epic LP on DINO:
Some of Fried's late-1950s items which do exist are CRY BABY KILLER and TIMBUKTU.
Soundtrack possibilities exist on a number of 1960s feature films, which include:
A COLD WIND IN AUGUST
TWENTY PLUS TWO
THE KILLING OF SISTER GEORGE
WHATEVER HAPPENED TO AUNT ALICE?
The 1970s witnessed a decline in Fried's scoring for cinema, but there's plenty more works from television assignments during the '70s & '80s.
Fried's 1970s film credits which also can be album possibilities include THE GRISSOM GANG, THE BABY & THE BELL JAR.
One of my favorite made-for-TV movies scored by Fried is THE ORDEAL OF DR. MUDD (1980), for which sound recordings exist I'm happy to say. But the one TV-movie which Fried scored that might have the largest potential might be 1975's I WILL FIGHT NO MORE FOREVER, which is a blood-kin companion piece to "The Paradise Syndrome".
During the time before CDs, I think there were only 5 soundtrack LPs by Sol Kaplan.
THE VICTORS
THE YOUNG LOVERS
These next 2 were done back-to-back by Sol Kaplan for RCA in 1966. I expect that the original sound recordings for THE SPY WHO CAME IN FROM THE COLD and JUDITH were done sometime in 1965 and that Kaplan fashioned album programs from these scores by re-recording them in England in '66. Perhaps these played a part in Robert Justman hiring Sol Kaplan to write for STAR TREK? Just a guess, but I don't know.
Anyway here's LSO-1118 & LSO-1119
(salivate! )
LIVING FREE
For a very long time there was a paucity of Sol Kaplan soundtracks.
Then Intrada began to mine into the previously untapped area of Sol Kaplan's filmography - the early 1950s - and help turn some of Kaplan's earlier titles into a discography.
Perhaps now that Kritzerland is doing golden age Fox titles, there might be chances for more Kaplan to surface like KANGAROO or RAWHIDE. There's a trio of Kaplan scores from 1949 (pre-Fox) which I'd be interested in: PORT OF NEW YORK, REIGN OF TERROR & TRAPPED...
Three other early Fried horror/sci.fi. scores which would make a good release (assuming that they still exist) are: "Curse Of The Faceless Man" "The Lost Missile" and "The Flame Barrier". All three done for UA in the late 50's and done with very small orchestras and very large imagination and talent.
Three other early Fried horror/sci.fi. scores which would make a good release (assuming that they still exist) are: "Curse Of The Faceless Man" "The Lost Missile" and "The Flame Barrier". All three done for UA in the late 50's and done with very small orchestras and very large imagination and talent.
J.
Yes, I agree.
I don't know the status of either THE LOST MISSLE or THE FLAME BARRIER, but I heard that no sound recordings exist on the CURSE OF THE FACELESS MAN. A shame because CURSE OF THE FACELESS MAN (which was scripted by Jerome Bixby who went on to write 4 STAR TREK episodes) could have been a Fried opus with additional appeal to soundtrack collectors.
I second liking Fried's score for the tele-movie "The Ordeal of Dr. Mudd," the story of the doctor who set John Wilkes Booth's leg after Booth assassinated President Lincoln, and who after a trial of suspected conspirators was sentenced to life imprisonment on the Dry Tortugas. Of course there are all those great scores for "Gilligan's Island," standout segments including "So Sorry, My Island Now,"Voodoo, Please Don't Eat The Vegetables, "Nyet, Nyet...Not Yet," "Up At Bat," "Gilligan VS Gilligan," "Hair Today, Gone Tomorrow." His work on "Mission Impossible" is also quite noteworthy, "The Widow," and "Trek" (which sounds a bit like "Friday's Child") being favorites. Also, the second episode of Family Affair he did "Christmas Came A Little Early" has a theme for Buffy's dying classmate that sounds a lot like the Kirk and Miramanee theme in "Paradise Syndrome."
Interestingly, Fried, Steiner and Courage all composed scores for Revue's adventure series "Riverboat," Fried's second season main title replacing one composed the previous season by Elmer Bernstein.
George Duning wrote a number of good scores, especially when working with Arthur Morton as orchestrator. My favorite among his scores is ME AND THE COLONEL.
Alexander Courage never wrote any remarkable music (yes, I know The Day of the Outlaw too, and some others) in- or outside of Star Trek. He was a capable orchestrator of other people's music though.
I agree that JUDITH is a fine score by Sol Kaplan.
Alexander Courage never wrote any remarkable music (yes, I know The Day of the Outlaw too, and some others) in- or outside of Star Trek. He was a capable orchestrator of other people's music thou.
Listen to his work on LOST IN SPACE & VOYAGE TO THE BOTTOM OF THE SEA "Leviathan"....the pipe organ segment during the attack by the giant is every bit as remakable as Herrmann.
Alexander Courage never wrote any remarkable music (yes, I know The Day of the Outlaw too, and some others) in- or outside of Star Trek. He was a capable orchestrator of other people's music thou.
Listen to his work on LOST IN SPACE & VOYAGE TO THE BOTTOM OF THE SEA "Leviathan"....the pipe organ segment during the attack by the giant is every bit as remakable as Herrmann.
Also, check out Courage's main title for "Judd for the Defense," a mid-sixties Fox lawyer show starring Carl Betz. It's pretty memorable. His scores for "Daniel Boone" and "Voyage" were superb.
"Day of the Outlaw" (1959) score highlights. Classic Courage. Two segments of music: 0-3:15, and 3:15-end.
0:24 Classic Courage lead-up to and love theme with sad denouement 1:23 Mysterious majestic landscape (very moving) 2:17 Main Theme (slow dramatic version) 3:15 Creepy frozen cowboys at dawn 6:10 Hero survives, humbled 7:08 Climax
Out of the 8 composers who wrote for original STAR TREK, George Duning had the most significant filmography prior to TREK (and Jerry Fielding had the highest profile after TREK). Interestingly, both Duning & Fielding came on board during the 2nd season.
Duning's episode scores are my personal favorites overall, though there are individual scores by the others which I like just as much.
From about 1947 up through 1962, Duning was under contract with Columbia as a major composer for their pictures. Little hope exists, however, for any of the pre-1963 Columbia titles by Duning to surface onto soundtracks.
During 1980, an LP was pressed featuring selections of 4 Columbia items by Duning: NO SAD SONGS FOR ME, COUNT THREE AND PRAY, FULL OF LIFE, & THE LAST ANGRY MAN. These were culled from acetate sources. Whether these acetates still exist today (and if there are any more such acetates in addition to these 4 titles) is anybody's guess.
Besides acetates, another thing which appears to get passed over by our current soundtrack specialty labels is the re-mastering/re-issuing of album masters from 1950s ten-inch LP programs (of which there are several from films scored by Duning).
I'll spotlight a few I'm aware of which have never been on CD:
"Day of the Outlaw" (1959) score highlights. Classic Courage. Two segments of music: 0-3:15, and 3:15-end.
0:24 Classic Courage lead-up to and love theme with sad denouement 1:23 Mysterious majestic landscape (very moving) 2:17 Main Theme (slow dramatic version) 3:15 Creepy frozen cowboys at dawn 6:10 Hero survives, humbled 7:08 Climax
I'll give the themes Charles Thaxton mentioned a try though, since I don't think I know any of those. I vaguely remember, very vaguely, that I found the music on The Left-Handed Gun annoying. But it's been a long time.
"Day of the Outlaw" (1959) score highlights. Classic Courage. Two segments of music: 0-3:15, and 3:15-end.
Yeah, that's what I mean. And there's nothing remotely interesting about that,
like many of your opinions. Go ahead, let it out, Goldsmith fanboy, we know you're hurting over the release of the Star Trek TOS box - music you've repeatedly said was 'objectively' bad, should not be allowed to be released, etc. I guarantee you wont like the music (Lost in Space, VTTBOTS) Charles suggested, but maybe that's why you'll check it out (it's something else to insult). Not everything can be composed by Goldsmith.
Alexander Courage never wrote any remarkable music (yes, I know The Day of the Outlaw too, and some others) in- or outside of Star Trek. He was a capable orchestrator of other people's music thou.
Listen to his work on LOST IN SPACE & VOYAGE TO THE BOTTOM OF THE SEA "Leviathan"....the pipe organ segment during the attack by the giant is every bit as remakable as Herrmann.
Or how about his main title for "Judd For The Defense"?
Out of the 8 composers who wrote for original STAR TREK, George Duning had the most significant filmography prior to TREK (and Jerry Fielding had the highest profile after TREK). Interestingly, both Duning & Fielding came on board during the 2nd season.
Duning's episode scores are my personal favorites overall, though there are individual scores by the others which I like just as much.
From about 1947 up through 1962, Duning was under contract with Columbia as a major composer for their pictures. Little hope exists, however, for any of the pre-1963 Columbia titles by Duning to surface onto soundtracks.
During 1980, an LP was pressed featuring selections of 4 Columbia items by Duning: NO SAD SONGS FOR ME, COUNT THREE AND PRAY, FULL OF LIFE, & THE LAST ANGRY MAN. These were culled from acetate sources. Whether these acetates still exist today (and if there are any more such acetates in addition to these 4 titles) is anybody's guess.
Besides acetates, another thing which appears to get passed over by our current soundtrack specialty labels is the re-mastering/re-issuing of album masters from 1950s ten-inch LP programs (of which there are several from films scored by Duning).
I'll spotlight a few I'm aware of which have never been on CD:
MISS SADIE THOMPSON
SALOME
THREE FOR THE SHOW
Note on the back cover of "Three For The Show" they misspelled his last name as "Dunning"! And there's the "The Big Valley" L.P., a rerecording which was conducted by Ray Heindorf in Italy. It's not known, however, whether 20th Century-Fox (which owns the majority of the Four Star Television library) or Duning's estate owns the master tapes to the episode scores or if any of them exist.
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