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I guess that means that this cue is also lost to the ages  . On the other hope springs eternal and if, perchance, the cues were to turn up, I would have absolutely no objection. to them them being added to an eventual second set as I'm not remotely OCD about that kind of stuff. 
The more I delve into the VTTBOTS set, the more I realize how much of my Voyage "experience" was informed by Mr. Courage's scores.
It is quite surprising that a cue, so often used for the Seaview sinking to the bottom and hitting the bottom, has nothing to do with neither. Just goes to show how talented Mr. Courage was and how nimble his music turned out to be.
Courage, Goldsmith, Stevens and Heyton defined the sound fo the series overall, apparently. So many of theise cues were used endlessly throughout the color episodes.
And sadly, yeah, unless other Cyborg cues turn up or film stems can be harvested, that's what we have. I think that's my one legit sadness at this point. The Cyborg was my favorite Courage score for Voyage (Leviathan and The Lost Bomb were also amazing) and losing any of it is a shame. The cue where Nelson feigns dropping his food to distract the cyborg guard (also heard over the opening of The Sky's on Fire) was something I really hoped would be found. Maybe I can find a way to recreate it from my DVDs as soon as I figure out Audacity.....
Audacity, eh? Please let me know.
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The cover image of the Seaview isn't razor sharp because it's pulled directly from footage from the show--the ship is underwater. Now if the LOGO isn't sharp maybe there's an issue...
@ Mr. Jeff Bond. I know that you built a Moebius Seaview. Did you also build the large sized (1/32) Flying Sub?
And get a load of what this talented fellow has done:
https://www.youtube.com/watch?v=f0n1oozgvgg&t=81s
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That's pretty great--but where did he get the music from "...And Five Of Us Were Left" in 2016?
There were some music cues floating around the "private collectors" circuit in the late 90's early 2000's. I actually wound up with the entire "Jonah" and "Escape from Venice" scores and two other cues, one from "The Village of Guilt" and the cue on this fella's video, which was an unedited version of the Flying Sub theme from "...And Five Of Us Are Left." The same guy who got me those also shot me a VHS copy of "The Deadly Dolls" and "Deadly Amphibians" in restored 35mm with network bumpers, sponsor tags and previews for the following week's episode long before the DVDs came out. I don't know who he knew, I didn't ask, so I quietly accepted the gifts.
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I don't know who he knew, I didn't ask, so I quietly accepted the gifts.
You chose... wisely.
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Leith Stevens' score to "A Time to Die" is a frigging masterpiece. He composed a "time" themed score but it was so well done, it worked in other episodes which had no connection with time travel. Maybe because I saw a lot of these episodes for the first time on weekends in the summer, this music conjures up feelings of sunny Sunday afternoons watching Lobster Men, Amphibians and fist fights in the reactor room.
The episode itself is middling, a run around with a lot of padding - like 5 minutes of a clip from the third season's "Thing from Inner Space." Mr. Pem succeeds as a character solely on the charm of Henry Jones who infused him with am impish quality. There is no real plot to speak of and, like a lot of William Welch's episodes, the danger is a MacGuffin allowing the characters to run around, have fights and simply fill 51 minutes. Mr. Pem could have been a great character, a sort of Anti-Doctor Who. When he returns in the series finale, the episode is a lot better, but he's just as sketchily drawn.
However, the music is the saving grace and Stevens creates a great four note theme that stays with the series until the end. Better still, he bends and twists it as Pem reverses Nelson's fight in the reactor room. Instead of either creating an exciting underscore or simply running music backward, Stevens composed music that when (apparently) run backwards still plays the four note theme! Now I'm not 100% sure whether or not the music was written to be run backwards or if it was written to SOUND that way, but not only is it brilliant - it's a LOT more creative than the episode deserved. It's Sol Kaplan "Doomsday Machine" level creative. For music written to be disposable on a series designed to be seen once and forgotten, this is genius. Maybe he was doing the heavy lifting for a show that had gone lazy, but having now listened to his work on Lost in Space and Land of the Giants as well, I can confidently state Voyage contained Leith Stevens' best work for Irwin Allen. Utterly brilliant.
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Leith Stevens' score to "A Time to Die" is a frigging masterpiece. He composed a "time" themed score but it was so well done, it worked in other episodes which had no connection with time travel. Maybe because I saw a lot of these episodes for the first time on weekends in the summer, this music conjures up feelings of Sunday Sunday afternoons watching Lobster Men, Amphibians and fist fights in the reactor room.
The episode itself is middling, a run around with a lot of padding - like 5 minutes of a clip from the third season's "Thing from Inner Space." Mr. Pem succeeds as a character solely on the charm of Henry Jones who infused him with am impish quality. There is no real plot to speak of and, like a lot of William Welch's episodes, the danger is a MacGuffin allowing the characters to run around, have fights and simply fill 51 minutes. Mr. Pem could have been a great character, a sort of Anti-Doctor Who. When he returns in the series finale, the episode is a lot better, but he's just as sketchily drawn.
However, the music is the saving grace and Stevens creates a great four note theme that stays with the series until the end. Better still, he bends and twists it as Pem reverses Nelson's fight in the reactor room. Instead of either creating an exciting underscore or simply running music backward, Stevens composed music that when (apparently) run backwards still plays the four note theme! Now I'm not 100% sure whether or not the music was written to be run backwards or if it was written to SOUND that way, but not only is it brilliant - it's a LOT more creative than the episode deserved. It's Sol Kaplan "Doomsday Machine" level creative. For music written to be disposable on a series designed to be seen once and forgotten, this is genius. Maybe he was doing the heavy lifting for a show that had gone lazy, but having now listened to his work on Lost in Space and Land of the Giants as well, I can confidently state Voyage contained Leith Stevens' best work for Irwin Allen. Utterly brilliant.
Thanks for the fine analysis Mr. McOldsmith. I'm guessing Mr. Stevens approached his work like the greats of old, conjuring up scores that are not only satisfying musically, but equally strong in espousing the structure and even more, providing structure for the story when it is (often) lacking. Brilliant is not too strong a word.
These scores are among the chief reasons the episodes are seared into our brains, decades later.
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“Blow Up” is epic scoring, very full and filmic. It really livens up an episode which was great for being a cast-focused suspense piece, but not a logical one (Crane puts up with a lot of shenanigans he wouldn’t normally). There was a lean toward more realism at the start of the season. “Blow Up,” “Rescue,” “Man of Many Faces” and “Sealed Orders” (all by William Welch) were great monsterless episodes with some crazy plot holes. But since it’s Irwin Allen, these are a relief from the endless parade of monsters and alien menaces. These are like “Anti-Matter Man” on Lost in Space, which is primarily seen a great because the half dozen episodes before it are so dire. Yet the holes are huge. At this point, the best you could hope for is fairly sober action adventure. And “Blow Up” is a great example of reeling in the crazy fantasy in favor of drama and letting Basehart go a little nuts. Director Justus Addiss infuses a lot of energy into the proceedings, Richard Basehart slays the material as always and Leith Stevens’ powerhouse score does the rest. It’s still so strange that the scoring sessions included the new arrangement of the theme and they didn’t even use it here. Three episodes aired with it first and even in production # order, “Blow Up” falls after “Terror” which was the first episode to use it.
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Yeah, I agree, his work in "Blow Up" is much more subtle. Whenever he had to play either "Nelson goes nuts" or "Alien as Nelson" he did it differently each time.
"The Sky Is Falling" has Basehart affect a slight British accent and a more proper manner where "Day of Evil" has him providing a more over the top, maniacal bearing.
"The Haunted Submarine" is a wonderful Irishman ancestor for him to chew on.
"Destroy Seaview!" is so much fun, he's just Nelson taking steps to kill his own crew while "Blow Up" is sinister, paranoid Nelson.
You believed it. Every damned time. Honestly, when I discovered the show, it was Basehart who won me over more than anything else. Episodes be missed aren't nearly as enjoyable for me. I liked Hedison, but without Basehart to play off of, he was less interesting.
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Voyage also seems to be the only Allen show where the series theme was incorporated into the dramatic scores.
One can even hear a portion of the Sawtell theme in THE OUTER LIMITS about a year prior to VOYAGE when a Zanti Misfit climbs up a car window with Olive Deering inside the vehicle.
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Voyage also seems to be the only Allen show where the series theme was incorporated into the dramatic scores.
Yep, other than Lost in Space using the tail end of the first/second season theme to punctuate a comic tag before the obligatory cliffhanger. As brilliant as Williams' themes were, they didn't lend themselves to use as dramatic underscore. However, the third season LIS theme could have been, as evidenced by Christopher Lennertz's use in some action scenes of the Netflix reboot of the series.
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I'm surprised he didn't say "Star Wars" because every film score was composed by John Williams
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Having listened to this set a few times now, I gotta say I’m thrilled. It’s a legit shame so much music was lost, but I’ve grown accustomed to Voyage getting the short shift luck-wise. No Blu-Ray release, had the shorted CD run time when the GNPs came out and now so much music has been lost. While I hope alternative sources are found or maybe some stull was just labeled incorrectly, but really, what was found and released so far is amazing. Really, I can’t thank everyone involved enough. With luck, the response was strong enough to make a volume 2 a certainty.
On my own personal playlist, I have moved the cue “Clown Command” from the LIS set to Voyage. I also shifted the Leith Stevens library cues over. They are much closer I sound to Voyage than LIS and are great at the end of Disc 2. In the days to come, I’ll move a bunch of Fox movie cues over, the stuff that Voyage leaned on regularly from Leigh Harline, Hugo Friedhofer, Herrmann, Lionel Newman and Alfred Newman, etc.
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