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In this third part, we will first take a look at the English label Network—which restores the television scores of ITC—, then we will thoroughly analyze the television music of two decades and also draw conclusions about them. Finally, we will sum-up this musical year with statistics.
year, Network gave us four television soundtracks from their ITC catalogue. We’ve had to wait for ten months between the last release (July 2009) of the previous year and on May 7, 2010, Network announced a 4-CD set for the color years of The Saint composed by Edwin Astley but on order from May 31. On May 26, for the first time, the label posted a YouTube link back to a long suite lasting 4 minutes 41 seconds from the set. On June 5, the label announced the June 28 release of a 2-CD set for The Zoo Gang composed by Ken Thorne and with a theme by the rock band Wings (i.e., Paul and Linda McCartney). On June 23, Network posted a link back to YouTube to listen to a 4 minutes 9 seconds sample of The Zoo Gang through a suite of cues. As I used to notice it in 2009 (see my previous rundown), Network’s soundtrack CDs are sold as DVD’s: not only the case but the technical description on the webpage which is a DVD template (that includes absurd parameters as region, subtitles). At last, at long last, Danger Man (2008) and The Saint (2010) are available because listeners only own disappointing, adulterated and re-arranged Razor and Tie re-recordings of both titles. To conclude, the year 2008 gave us six titles, 2009 four titles and 2010 only two titles.
All soundtracks are classified in the alphabetical order of the composers. LN means “Liner Notes” and they include authors dealing with cinema/tv and music analysis, track-by-track commentary, vintage LP notes, technical talk.
“Astley’s The Saint is a blessing and a pure joy especially the various renditions of the main title.”
2. Television Music
1960's Soundtracks (3)
The Saint (Network) (LN: Andrew Pixley)
Farnon et al.
The Prisoner: The Complete Chappell Recorded Music Library Cues (Unmutual) (LN: Eric Mival, Roger Langley, Rick Davy, Derek Lawton)
Hawaii Five-0 (Film Score Monthly) (LN: Jon Burlingame, Leonard Freeman)
Astley’s The Saint is a blessing and a pure joy especially the various renditions of the main title (disc one: track #2 from the opening title of “The Russian Prisoner”; disc three: track #13 from the end titles of “The Power Artists”; disc four: track #2 from the opening title of “The Organisation Man” and track #47 from the end title of an alternate take) and the commercial break stings (disc one: track #76 from “Interlude in Venice”; disc two: track #58 from “The Fiction-Makers”; disc three: tracks #56 from “Vendetta for the Saint”) and the vocal elements of the main theme sung by the female performer (disc four: track #25 and #48).
Disc one aka the best disc has two good scores: “The Russian Prisoner” (featuring the Saint theme in track #11) and “The House on Dragon’s Rock” and two forgetable ones.
Disc two has two little and minor scores—I enjoy the noble rendition of The Saint theme in “The Queen’s Ransom”—and a strong one (“The Fiction-Makers”) to finish. Skip the first twelve tracks from disc three because they are popular songs and solos of instruments that fit four small scores but the orchestral music returns with “Vendetta for the Saint” in which Templar goes Italian.
Disc four has the opposite configuration, meaning a fine orchestral score (“The Organisation Man”) followed by a tiny song score (“The Portrait of Brenda”) and the “Alternates Takes and Other Cues” section.
What producer Derek Lawton has accomplished for the completist of The Prisoner is marvelous and priceless: just witness disc two of this 3-CD set and the colorful and diverse stock music conceived as a patchwork for the 26 tracks of “The Girl Who Was Death” from Johnny Hawksworth for his Baroque harpsichord compositions and one Eastern Indian psychedelic piece (“Psychedelia”), Roger Roger for the funny electro-acoustic music with an eerie mood (“Blast Off”) and his Middle East folklo music (“Arabian Market”) and his crowdy amusement park background music (“Fête foraine”), Jack Arel & Jean-Claude Petit for their groovy hippie tune (“Psychedelic Portrait”), Nino Nardini for his humoristic jazzy tune (“Le siffleur”) and his experimental clownesque tune (“Catch the Man”), Paul Bonneau for his funny military march (“March Rhythmique”) and his catchy flute fugue (“Stac Flat”) and his nod to the traditional European hunting music (“Chasse à courre”) and his Ondes Martenot-laden outer space “UFO”-like track (“Fond des mers”), Sydney Torch for his merry clown cartoon music (“Bring on the Girls”), Mel Young for his jazzy military march (“They are Coming”), Robert Farnon for his short percussions cues and his Irish harp music. The booklet is a goldmine for archivists. Lawton informs us that his edition contains 92 cues against 45 for the three Silva Screen CD’s which means he has discovered 47 new cues but 8 cues that he calls “mystery cues” remain unidentified. On the down side, he couldn’t secure the licence for the popular songs aka “commercial tracks” whose one “Dry Bones” is the essence of rebel hippie character N° 48 from “Fall Out”. To order and support the cult set limited to 1000 copies, send a message to Be seeing you!
Hawaii Five-0 soundtrack is a LP reissue and a compilation of original cues unused or heard and culled from season 1 (“Cocoon” in track #1, 2, 5, 7, 8, 12; “Strangers in Our Land” in track #9; “Tiger by the Tail” in track #9; “The Ways of Love” in track #6; “Pray Love Remember, Pray Love Remember” in track #2; “Up Tight” in track # 4, 5, 10, 11) and a tiny bit from season 2 (“The Singapore File” in track #3). It's not very representative of the series music because it's too fragmented—one track can contain cues from different episodes (see “The Long Wait”: the first downbeat piano-laden part is heard in the pilot when secret agent Hennessy lies down in the water tank of the high-tech Chinese lab and the second rhythmic part is heard in “Up Tight” when Danno carries the blonde junky Donna to drug guru David Stone’s house and peace activist Banu Savang posing as a maid to assassinate Kono replacing dictator Jhakal in “Leopard on the Rock”)—, too pop and anecdotal (i.e., source music like the easy-listening “McGarrett’s Theme” or the rock tune “Blues Trip” or psychedelic folklo music like “Beach Trip”/”Up Tight”) or rough renditions coming from the self-contained pilot which is the series at an experimental stage hence you won’t recognize the typical arrangements. Even the main theme (track #1) is a first draft never heard in the actual series and as well as the bulk of these tracks. Anyway, “The Long Wait” is the best track because of its slow ominous Richard Shoresque percussion style and it is tracked to death during season 3 and 4. I have a soft spot for the radio music “Blues Trip” that is heard in the Californian cell of convicted Steve McGarrett posing as a wise hood in “The Ways of Love”, heard on the beach when Danno comes out of the water in “Up Tight” and heard in the club The Jad when a hit man is searching for his female target in “The Singapore File”. To tell you the truth, I have bought this item as a memento and for Jon Burlingame’s notes because this music doesn’t transport me back to the realm of the series. This shallow and ill-assorted album was a flop back then. Book this CD, Danno. Aloha, sucker!
Hunters Are for Killing is the finest vintage television soundtrack that you can find on the market in 2010 because it transcends the boundaries of the little screen!”
1970's Soundtracks (4)
Hunters Are for Killing (Film Score Monthly) (LN: Lukas Kendall)
A Step Out of Line/The Brotherhood of the Bell (Intrada) (LN: Jeff Bond, Douglass Fake)
The Zoo Gang (Network) (LN: Andrew Pixley)
Various Artists
TV Omnibus: Volume One (1962-1976) (Film Score Monthly) (LN: Jon Burlingame)
According to FSM producer Lukas Kendall, the main title of Hunters Are for Killing “features the origin of his jazzy Matt Helm/Big Sleep theme.” Kendall reveals that this title has been a long struggle: “I've been trying to release this for 11 years!” Kendall asserts that “Rudi in LG.’s Room” contains the memorable “laughing trombones” already used by the composer for Advise and Consent (see a section of “Invitation” and a tiny portion of “Premonition”) and Star Trek’s “The Trouble with Tribbles”. The “laughing trombones” sound like a couple of horny cats which gently miaow. As usual, the composer makes reference to his past: Advise and Consent (Cf. “Politely Political”) in the last seconds of “Welcome Home” and in the last section of “Big Nite’s Doings”, Star Trek in “Rudy in L.G.’s Room” and the start of “Mr. Florin”, Mannix in “Car Race”—that features the same hectic jazzy cue rearranged from the season 2 score “Pressure Point” that is also slipped in for the track “Amy’s Noise” from the 1971 Straw Dogs—and “Keller Drives In”, the heroics of The Wild Bunch in “Big Nite’s Doings”, “Hunting Party”, “You Tell Your Men” and the Mexican melancolic sides in “You’re Wrong Keller” and “Better Off Dead”, Kolchak: The Night Stalker in the track exit of “Bad Sign”. Keen listeners will identify two tracks (a section of “Chase” and “Elements”) foreshadowing a nervous martial cue from the 1971 score “Murder by the Barrel” from the first season of McMillan & Wife. The general arrangements of this Fielding score are derived from his Mannix work! As usual, the orchestration is by Fielding and his faithful working partners McRitchie/Niehaus and the music supervision by CBS big shot Morton Stevens—note that west coast jazzmen as trumpeter Pete Candoli and drummer Shelly Manne performed at the recording sessions. Hunters Are for Killing is the finest vintage television soundtrack that you can find on the market in 2010 because it transcends the boundaries of the little screen!
The Brotherhood of the Bell is the masterpiece of this top-notch double header which has the feature film quality that uplifts it. Both scores are protean and diverse. The Brotherhood of the Bell dives us into a complexe and tragic nightmarish atmosphere derived and re-oriented from Seconds and it is also filled with smart jazzy Bach fugues. Nevertheless, A Step Out of Line is a good score between the hip In Like Flint (see “Hot Wire”) and The Last Run and it features drumbeats a la Crosscurrent (see “Main Title”: notice the urgent escalation of speed from 00:43 to 00:56) and arrangements a la Escape from the Planet of the Apes (see “Set Wires”, “Break In”).
The Zoo Gang is anachronistic as a series and as a main theme which blends the awful French accordion cliché from the mid-1930’s with the early 70’s rock guitar: at best, the theme alone sounds like a commonplace track of a rock album. As last year’s Jason King, it’s the fun-fun-fun release from Network. The score (“Revenge: Post-dated”) that debutes disc one takes off from track #9 with some easy listening muzak heard at Nice airport. The best scores remain the last two (“African Misfire” and “The Counterfeit Trap”) because of the laid-back or tense pace. Track #70 from “The Counterfeit Trap” is a fascinating fast-paced rock piece done with electric guitar and organ.
Apart from one insipid song for Dr. Kildare, one end credits music and one score (“The Bronze Locust” by Johnny Williams) from the 1962 series The Eleventh Hour and three scores from Then Came Bronson, the 5-CD set TV Omnibus: Volume One is pure solid Seventies. We’ll dissect it by preferences but note that set features many jazz musicians as trumpeter Don Ellis, pianist Dave Grusin, tenor and baritone saxophonist Gil Mellé, bassist George Romanis and pianist Lalo Schifrin.

Disc one has two beauts by Leonard Rosenman and Don Ellis that play very well together as good companions: “The Phantom of Hollywood” is a nostalgic score that celebrates the Golden Age by inserting seven old tunes as watermarks, the best of the omnibus due to its scope and its general modern military texture a la Combat! in tracks “The Ring”, “Empty Street”, “Captive Ready” and “The Bulldozer Appears” but its post-modernistic concept lies in the track “Westside Financial/The Phantom” because of the shift of music range from sweet retro jazz (00:00 to 02:19) to edgy minimalistic music and that transition is the equivalent of cocking a gun which is relevant in the case of the composer’s credits. The cue “Phantom on the roof” has a passage close to TZ’s “And The Sky Was Opened” and I have a soft spot for the nod to Vincente Minnelli’s The Band Wagon in “That’s Entertainment”. “The Deadly Tower” is a slow-moving and obsessive dissonant score not to miss, especially the tracks “Mom/Note/Rifle” that has the avantgarde mark from The Seven-Ups/The French Connection II from 00:05 to 00:20 and 00:50 to 01:05 but rearranged with a dominant synthesizer and “Photos/Wife” that has two vivid elements: the intrusion of a sweet haunting tune, from 00:33 to 00:41, derived from a traditional English children song entitled “This Old Man” and, at 01:13, the flow of the music takes a new turn and slips into unexpected terror with dominant Psycho-like strings.

Disc two contains three rather good scores for “Assignment: Vienna” by Dave Grusin. “The Last Target” is very redundant, too formulaic and suffers from the touristic postcard syndrome due to the ad nauseum use of the cimbalom. The composer who really mastered the cimbalom was Lalo Schifrin starting back to the mid-1960’s and defined the People’s Republic sound. To salvage that cliché approach, Grusin plays some lazy 1950’s jazz at the end. It’s from “Hot Potato” that the music takes off and the best score remains the subtle “A Deadly Shade of Green” with its jazz funk musical phrases almost like The Friends of Eddie Coyle (see “Long Jim Silver” and “Good Year”).

Disc three has one single gem: Mr. Snare Drum’s score or should I say Jerry Fielding’s funny hyper kinetic marching band-oriented “Shirts/Skins” featuring a whistled tune “Sweet Georgia Brown” and the orchestration is by the Fieldinger Two Greig McRitchie/Lennie Niehaus. The first and extremely long (07:12) track entitled “1-M-1/Opening Titles” encapsulates the composer’s musical career from comedy to dead-serious drama and it includes a lovely dreamlike passage from 02:34 to 03:03. The strength of the music comes from the interwoven and contradictory tones (heavy military beat, comical punctuations, light jazz and funk accents, dark mood and religious music) combined with an anthem that comes back and forth as a reminder. Some tracks shine or have fascinating cues, like “Rape/Shambles/Toy Soldier”, “They Steal Mother” (see the mad circus-oriented music from 00:00 to 00:48), “The Stealing Nun/Meanwhile Back at the Museum” (an unusual transition that stops the beat abruptly from 00:39 to 00:41 or that injects a dreamlike pause from 03:03 to 03:08 and features blunt organ punctuations from 01:22 to 01:30 and from 03:11 to 03:20), “After the Girls/Sweet Georgia Brown/Smoking Dresses” (with its three shifts of music: the boyish light mood from 00:00 to 00:24, “Sweet Georgia Brown” anthem from 00:25 to 00:54 and the jazzy dynamic conclusion from 00:55 to 01:01). This well-oiled time-piece score can be understood as a first cold press for The Super Cops: nuff said. Perhaps, “Shirts/Skins” is Jerry Fielding emulating actor Jerry Lewis posing as a crazy soldier. Sooner or later, I will take a course to practice snare drum—the idea took me by surprise in September.

Disc four features three scores for the series Then Came Bronson and Gil Mellé’s two compositions are far superior and less conventional than George Duning’s old hat approach—meaning it is written like a Four Star or a Desilu score (see “Metamorphosis” from Star Trek and “Edge of the Knife” from Mannix)—: it announces the Mellé to come, for instance in the score “The Circle of Life”, the cue “Let’er Rip” (#20) will be back in Kolchak: The Night Stalker or the melancolic cue “You Were On the Titanic” (#21) will be in the ABC Movie of the Week The Six Million Dollar Man. “The Forest Primeval” is modern jazz all over the joint and will be rearranged in the album The Waterbirds into two suites derived from “The Ranger/Godspeed” and “The Rainbow” for the label Nocturne Records! “Godspeed” motif is played in various renditions in the tracks: “The Rainbow”, “Spin-Out”, “Green Labyrinth”, “Out of the Labyrinth”, “The Message”. The cue “Impass I” features a lovely flute performance from 01:11 to 01:31 and the track “The Search” contains an unexpected military drum that closes it from 01:44 to 02:03.

Disc five has two dense and challenging scores, one by Lalo Schifrin and one by Billy Goldenberg. “Earth II” (recorded in February/March 1971) starts with a joyful and optimistic main title which will be reworked in “Metamorphosis” from the documentary The Hellstrom Chronicle and it is a suspenseful and sad experimental score which relies on an atonal line (see cues from tracks “Bad News”, “Controls on Target”, “On the Way Back”) that typifies his work during that peculiar era: see the abstract sounds and the icy dissonant organ use a la THX 1138 (recorded in October 1970) or The Hellstrom Chronicle (recorded in April/May 1971) or even Dirty Harry (recorded in October 1971), the minimalistic fragments of Kelly’s Heroes (recorded in April 1970)—that you find in “Tamper Destruct Strategy”—and foreshadows the weird grim cues from Planet of the Apes: The Series (1974) and a Jim Phelps’ tormented sentimental cue from Mission: Impossible’s “Underground” (1972): see track “Tense Agony”. This Schifrin opus targets demanding listeners. “High Risk” has the stamp of the composer’s Universal sound between the Night Gallery pilot “Eyes” and The Sixth Sense (due to a wild and fast synthesizer: see the end of the long suite “Running Cable”), Duel (due to the use of the scraped cymbal or the waterphone that produce a distorted sound like an agonizing cry in “Gather Around Children”) and Columbo—you can pinpoint cues written the same way as “Murder by the Book” (see the eerie use of the electric sitar in “Cholmec Civilization”, “The Mask Cast”), “Suitable for Framing” (see a passage from the tour de force long suite “Running Cable” and What’s Happening?”) or “A Stitch in Crime”; you can even recognize the sound of Goldenberg’s apprentice Dick De Benedictis throughout. In short, it’s the very flower of the 70’s Goldenberg!

This TV Omnibus: Volume One is real happiness. Art director Joe Sikoryak achieves an attractive and engrossing layout that recaptures the zeitgeist. My top scores list for this compilation is composed of Rosenman’s “The Phantom of Hollywood”, Ellis’ “The Deadly Tower”, Fielding’s “Shirts/Skins”, Mellé’s “The Forest Primeval”, Schifrin’s “Earth II” and Goldenberg’s “High Risk”. Despite reduced and brief notes due to the length of the set, you learn more about some of these composers (Gil Mellé, Lalo Schifrin and Billy Goldenberg) unlike the official experts who managed to write about them: a real paradox. Liner notes author Jon Burlingame previously took care of another 5-CD set that I recommend: Lalo Schifrin Film Scores Vol. 1 which foresees the two Schifrin television scores (the long-running series Medical Center and the telefilm The Mask of Sheba) for the next volume.
“Insects sting, not from malice, but because they want to live. It is the same with critics – they desire our blood, not our pain.”
—Friedrich Nietzsche culled from “Assorted Opinions and Maxims” in Human, All Too Human, II (“Vermischte Meinungen und Sprüche” in Menschliches, Allzumenschliches, II)
Television Music Final Report:
Fielding expert Nick Redman wasn’t involved in both Hunters Are for Killing and Shirts/Skins and Mellé/Goldenberg expert James Phillips didn’t takeover Then Came Bronson and High Risk. There are still too few vintage television releases. The vault of CBS is filled with rare gems to be offered for the audience. When will a label let us hear the complete The Wild Wild West, Mission: Impossible, Mannix, Hawaii Five-0, to name the most obvious. Same thing with the vault of Universal which contains the core work of three “home” composers: Billy Goldenberg (Columbo, Banacek), Gil Mellé (Rod Serling’s Night Gallery, Kolchak: The Night Stalker) and Oliver Nelson (Ironside, The Six Million Dollar Man). In order to promote the work of Dominic Frontiere and because it’s been two years without any new item, I wish La-La Land would take steps like Intrada with Jerry Fielding and his notorious creative collaborations and release a Villa di Stefano unsold pilot (The Ghost of Sierra de Cobre) and the entire Daystar Productions catalogue like the companion series to The Outer Limits which is the rodeo series Stoney Burke (1962-1963) aka The Outer Limits on horse! Kritzerland producer Bruce Kimmel (aka Haineshisway) asserts that they don’t emerge because there are not enough customers (“a few hundred people”) to buy them, in other words, it’s a niche (the vintage television music) inside a niche (the soundtrack market). Since Film Score Monthly initiated the first television soundtrack by Jerry Fielding, we may expect more to come like McMillan & Wife: a Universal title that Intrada could negociate.
Daystar Productions (1960-1965), founded by dramatist Leslie Stevens:
• three feature films: The Marriage-Go-Round, Hero’s Island and Incubus [the bulk is stock music from The Outer Limits].
• two television shows: Stoney Burke and The Outer Limits.
• two unsold pilots: Mr. Kingston and Stryker.
“And that completes my final report until we reach touchdown. We’re now on full automatic in the hands of the computers…”
—First lines told by Colonel George Taylor (Charleton Heston) from Planet of the Apes.
 1. Statistics per Composer

Film Composers

Goldsmith, Jerry: 9 CD's
Williams, John: 3 CD’s
Fielding, Jerry: 2 CD's
Mellé, Gil: 2 CD's
Rosenman, Leonard: 2 CD's

Barry, John: 1 Set
Legrand, Michel: 1 Set
Lewis, Michael J.
Mancini, Henry
North, Alex: 1 Box Set
Rosenthal, Laurence
Schifrin, Lalo: 1 Box Set
Small, Michael

Television Composers

Fielding, Jerry: 2 CD's

Astley, Edwin: 1 Set
Duning, George
Ellis, Don
Farnon, Robert
Goldenberg, Billy
Goldsmith, Jerry
Grusin, Dave
Mellé, Gil
Parker, John
Romanis, George
Rosenman, Leonard
Schifrin, Lalo
Stevens, Morton
Sukman, Harry
Thorne, Ken
Williams, John
 2. Statistics per Label

Intrada: 14 CD's
Film Score Monthly: 10 CD's
Varèse Sarabande: 4 CD's
La-La Land: 2 CD's
Network: 2 CD's

Silva Screen
 3. Statistics per Music

Film Music Total: 29 CD's
Television Music Total: 7 CD's
Grand Total: 36 CD's
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re: Hunters are for Killing

As usual, the composer makes reference to his past: Advise and Consent (Cf. “Politely Political”) in the last seconds of “Welcome Home” and in the last section of “Big Nite’s Doings”, Star Trek in “Rudy in L.G.’s Room” and the start of “Mr. Florin”, Mannix in “Car Race”—that features the same hectic jazzy cue rearranged from the season 2 score “Pressure Point” that is also slipped in for the track “Amy’s Noise” from the 1971 Straw Dogs—and “Keller Drives In”, the heroics of The Wild Bunch in “Big Nite’s Doings”, “Hunting Party”, “You Tell Your Men” and the Mexican melancolic sides in “You’re Wrong Keller” and “Better Off Dead”, Kolchak: The Night Stalker in the track exit of “Bad Sign”. Keen listeners will identify two tracks (a section of “Chase” and “Elements”) foreshadowing a nervous martial cue from the 1971 score “Murder by the Barrel” from the first season of McMillan & Wife. The general arrangements of this Fielding score are derived from his Mannix work!...Hunters Are for Killing is the finest vintage television soundtrack that you can find on the market in 2010 because it transcends the boundaries of the little screen!

Amen, bruddah!!! I said as much--though not as eloquently--in the HafK thread:

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