This was a very long podcast, so it took several sittings to get through it all. (Kind of hoping that future ones will be shorter, but I suppose it depends upon the show or movie and how much music is composed.)
In this case it was entirely our fault, because we just couldn't stop talking about "Love Thy Neighbor" since it was such a shockingly powerful episode. (And the score *really* grew on me despite my unimpressed first reaction.) Our shows have gotten longer because David as an editor is more loath to lose anything he considers good content/conversation, as compared with Jens who was more of an active pruner, keeping things lean and to the point and efficient. Our recording session lengths have stayed about the same but more has been left in, typically.
Our next (and final this year) recording session will be on two hourlong Thriller scores, and we are seriously considering recording them as two separate podcast episodes even though we'll be discussing both in one night. That way we don't end up with another three hour podcast. (I'm so glad you persevered and made it through!)
I like in Love Thy Neighbor how a theme was fleshed out by Yavar. I didn’t hear one at first, but various examples did reflect a theme.
In that case I'm glad that David did what he did, in the editing. The funny thing is that initially I recorded only a very brief thematic section at the beginning, but two hours later when we were finally leaving our discussion of "Love Thy Neighbor" and moving onto our (much more efficient) discussion of "Old Faces"...that's when David mentioned -- in his very positive review of the score! -- that he was unable to detect the main theme. So at that point -- just for him, mind you -- I decided to take a few minutes to quickly run through the theme's development in the score for him, so that he could hear it. I wasn't doing it to be used in the final podcast, you see. But David liked it so much that he found a way to take that chunk of later recording and move it to the beginning of the podcast, and with his BRILLIANT editing magic made it flow naturally and work! And that section never would have existed if he, who loved that score more than me or Clark, hadn't been unable to detect the main theme himself. Funny how these things work out.
Also, I like how some of the cues seem to foreshadow later scores like Alien and Patton. The TV show itself sounded pretty tragic.
It really is, but really powerful. I highly recommend you see it some time.
Old Faces had a nice positive opening and then shorter cues. I particularly like the various uses of the banjo.
Yes, very enjoyable score with some nice variety.
I like that the three narrators brought in other Goldsmith pieces as well as other composers’ cues for comparison or illustration. As always, all three narrators were very insightful into Goldsmith’s music and how the cues fit the context of the two westerns.
All three narrators blush at your praise and send their appreciation for sharing your thoughts, as always, Joan!
...In this case it was entirely our fault... ...Our shows have gotten longer because David...
Speaking of fault and longer, I am definitely at fault for the longer release schedule since March. I jumped in as a regular when I was very close to winding down a huge project, so initially, I'd expected to ramp up to normal within a month, but then a family medical situation stretched from almost then until almost now. Huge chunks of time got reallocated over the past 7 months, that project only just started winding down, and the guys, including Jens, have been extra propulsive on Odyssey Interviews in no small part to fill the gaps my situation was threatening to leave. They totally had my back, Yavar in seeming to pull these out of dark matter, and Jens, who wanted this thing to stop eating his life up, basically doing the lion's share of editing, as he has handled those recordings, and was no small help on The Invaders, too. Clark isn't absent from this adjusting either - everyone was as cool as possible about me jumping into the boat, then clumsily boring little holes into it.
I really hope that in a couple of months, regular episodes will more regularly appear, and that one day we might actually hit a feature film score, not that these TV things aren't real treasures.
Speaking of that...
Our next (and final this year) recording session will be on two hourlong Thriller scores, and we are seriously considering recording them as two separate podcast episodes even though we'll be discussing both in one night. That way we don't end up with another three hour podcast. (I'm so glad you persevered and made it through!)
1. Thanks, Joan, for mentioning how the length of our last episode affected your listen. It prompted the considerations Yavar cited.
Wow! The link between Steve McGarrett (the proper one), Quincy, Buck Rogers and Babs and Buster! Listening to it now. EDIT: Made a mistake - I forgot he wasn't involved with Animaniacs.
And don't forget the most recent addition to his fine work in television: his fantastic work on the main theme and pilot score for The Orville, which we also discuss for some time near the end of the interview!
This was truly a nice bit of timing considering our recently having covered more of Jerry's fine Gunsmoke work on The Goldsmith Odyssey, because Bruce got his composing start at CBS television on that very same show! His memories of his CBS years were a particular gift that kept on giving in this conversation, as he worked closely with a lot of people who knew Jerry from his time under contract there just over a decade earlier, and (before he even got to know Jerry better) he found his way into multiple recording sessions, such as Brotherhood of the Bell! Among a wide variety of subjects spanning the breadth of his entire Hollywood career, we also discuss the three (!) times he was asked to adapt a Goldsmith theme, his insights into incorporating unusual instruments with the typical symphony orchestra, and his experience in the world of concert music, with an exclusive clip of his upcoming Trombone Concerto, "Quaternity"!
I hope you all enjoy listening to the conversation as much as I enjoyed having it, and I hope you'll chime in with any thoughts should you feel so inclined.
Yavar
P.S. In addition to Bruce himself, I'd like to thank Doug and Roger of Intrada, and their friend at Disney Randy Thornton, for their kind assistance in facilitating the inclusion of a precious 30 seconds of the unreleased score to Soarin' Around the World, which was so helpful to illustrate Bruce's skillful putting Jerry's melody into new ethnically flavored musical settings. I think it was way back in a 2016 interview where Bruce originally revealed that Doug was working on a set of his Disney Parks compositions, so I'm sure everyone here will be pleased to know that work on that has not been abandoned, almost four years later. I for one am sure that whenever it comes out, it will be worth the wait!
Great interview! Broughton has always been a good interview subject, very willing to talk honestly about his music with lots of informative stories. He always comes across as very humble with regard to his musical abilities.
I'm very much looking forward to the theme park box set. (And a Tiny Toons set would be welcome, too.)
Super articulate gentleman. Loved his quote about Goldsmith:
" Jerry was the best by far...there was.no number two" .exactly. .btw I confused your pod with Erik Woods Bruce Botnick interview.
I'm listening and wondering " why hasn't he mentioned the Doors?".." What a coincidence that he and Brought on were both involved with Salvation Army!"...( I thought Botnick was Jewish!) Finally, when BARNABY JONES came up I went " D'Oh!" Idiot, it's Bruce BROUGHTON
Thanks Bruce, Graham, and jkholm! I'm really glad you enjoyed our conversation, and Bruce was indeed a great guest! (CindyLover & batman&robin, any thoughts after listening?)
I was myself a little worried when Cinematic Sound Radio released their Bruce Botnick interview on the same day, that some people might get the two different Bruces mixed up at the two different podcasts, so that's funny to hear that it actually happened...for another Bruce.
Thanks Bruce, Graham, and jkholm! I'm really glad you enjoyed our conversation, and Bruce was indeed a great guest! (CindyLover & batman&robin, any thoughts after listening?)
I was myself a little worried when Cinematic Sound Radio released their Bruce Botnick interview on the same day, that some people might get the two different Bruces mixed up at the two different podcasts, so that's funny to hear that it actually happened...for another Bruce.
SHOW NOTES An episode so nice we recorded it twice! This time, your humble hosts David, Yavar, and Clark, along with special guest Jeff Bond - graciously agreeing to return after technical snafus thwarted our initial recording with him - take a look at the Thriller episode "Hay-Fork and Bill-Hook." In addition to spotlighting a memorably vivid Goldsmith score (offering lovely melodies, thrilling action music, and a good deal more), this episode also functions as a solid jumping-on point for those curious about the podcast. Grab your rustic deadly farm tool of choice and join us!
Cues from the original, isolated score track:
0:46:19 - 1. Prologue
0:50:26 - 2. Roll Call
0:56:10 - 3. Title Screen
1:00:33 - 4. Constable Evans
1:05:36 - 5. Car Ride
1:09:48 - 6. The House
1:11:26 - 7. The Druid Circle
1:15:47 - 8. Nothing To See
1:18:02 - 9. Inn of the Dark Woods
1:24:12 - 10. Black Dog
1:25:26 - 11. Fearsome Weapon
1:29:10 - 12. Town Hall
1:35:24 - 13. Records
1:37:28 - 14. Suspicions
1:40:39 - 15. Spyglass
1:42:23 - 16. Sleepless
1:53:11 - 17. Abduction
1:59:07 - 18. Fork and Hook Fight
2:06:05 - 19. Finale
Other sources:
0:00:03 - [Hay-fork…] The Druid Circle (Tadlow)
0:07:10 - Sergeant and the Lady “Blue Jeans” Main Title
0:07:20 - Man On The Beach - Main Title (from Jazz Theme 1)
0:07:44 - Cain's Hundred - Main Title
0:07:53 - Dr. Kildare - Main Title
0:08:39 - Cain's Hundred - End Title [Series Version], The Heist, Early Appointment
0:12:55 - Chinatown - Main Title-Love Theme (Film Version)
0:13:13 - Star Trek: The Motion Picture - Main Title
0:13:18 - Dr. Kildare - Pilot End Title
0:13:22 - The Waltons - Main Title
0:13:25 - Patton - Main Title
0:20:13 - The List of Adrian Messenger - Main Title, Beagles And Fox, Cat And Louse, Quail Hunt
0:21:32 - Poltergeist - The Light
0:21:47 - The Omen - Beheaded
0:21:59 - The Other - Talking With Mother
0:22:26 - Yours Truly Jack The Ripper (suite excerpt)
0:22:34 - Thriller - Hay-Fork and Bill-Hook - Inn of the Dark Woods (Tadlow)
0:22:41 - Thriller - The Cheaters - Dirk Van Prinn
0:23:18 - Thriller - Mr. George - End Credits
0:24:07 - Twilight Zone - The Big, Tall Wish - Bolie Jackson
0:24:52 - Thriller - The Cheaters - End Titles (Miriam’s Theme)
0:26:45 - The Shadow - The Mirrors
0:27:03 - Freud - Charcot's Show
0:27:16 - The Twilight Zone - Nervous Man in a $4 Room - The Image
0:27:35 - Planet of the Apes - Main Title
0:27:38 - Logan’s Run - The Monument
0:27:47/28:09 - The Edge - Stalking
0:28:41 - The Shadow - The Hotel
0:33:18 - Seconds - Nightmare, Main Title
0:35:09 - Love Field - The Posters, Lost Luggage, The Motel
0:43:54 - On Dangerous Ground - The Death Hunt (Bernard Herrmann)
0:56:46 - The Swarm - Train Wreck/No Effect
0:59:17 - The Twilight Zone - The Invaders - Counterattack
Ooh, I like this idea of posting the episodes themselves for folks when we can find them online, for this early TV stuff!
And Jens, I'm glad you included David's full example cue breakdown for the curious here, even though it wouldn't fit on our Buzzsprout page because it was such a long list!
I look forward to hearing people's thoughts about this episode. I for one think it's an excellent jumping-on point for those interested in the show, due to our fantastic opening discussion with returning guest Jeff Bond!
SHOW NOTES The Goldsmith Odyssey plays a round of musical chairs as former host Jens returns to his former seat to fill in for the absent Clark. Well, to be accurate, Jens's seat is currently occupied by David, and Yavar is in the same seat he's always been in, so Jens is actually in Clark's seat. Unless David sat there? Entirely possible Yavar sat there. I'm not sure if... anyway, your three humble hosts – that's David, Yavar, and Jens, not Clark – go all the way back to 1958 to examine a little-known and recently uncovered rarity: the Westinghouse Studio One episode "Tongues of Angels." They discuss the questionable merits of the episode itself, along with the less questionable merits of the subtly effective Goldsmith score. They offer thoughtful insights, and do not become as sounding brass, or a tinkling cymbal. Enjoy!
Cues from "Tongues of Angels":
00:03:07 - 6. Mother 1
00:34:13 - 1. Tongues of Angels 1
00:38:30 - 2. Missing Guest
00:42:40 - 3. Instructions
00:45:40 - 4. Night Talk 1
00:49:57 - 5. Night Talk 2
00:51:15 - 6. Mother 1
00:53:41 - 7. Mother 2
00:57:05 - 8. Speech 1
01:05:28 - 9. Sick Boy 1
01:08:11 - 10. Worries
01:11:37 - 11. Promise
01:11:12 - 12. Sick Boy 2
01:18:43 - 13. Secrets
01:21:54 - 14. Speech 2
01:23:07 - 15. Young Talk
01:27:36 - 16. Confession 1
01:37:04 - 17. Tongues of Angels 2
01:32:14 - 18. Together
01:33:30 - 19. Victory
01:37:24 - 20. Confession 2
01:41:25 - 21. Bright Future
01:44:37 - 22. “Not Going”
01:46:20 - 23. End Credits
Other sources:
00:17:38 - Black Patch - A Job (End Credits)
00:18:44 - Black Patch - Detective Work
00:21:17 - Black Patch - Gun Practice
00:22:11 - Star Trek: First Contact - Main Title
00:27:27 - Star Trek: Insurrection - Ba’ku Village
It was great to have you back with us for this, Jens! (And thanks also for your wonderful work as editor on it, so David could have a much-deserved break).
So, to explain for those curious: though this program has been up on YouTube since before our podcast started, we only discovered recently in November that Jerry had composed the score for it, thanks to our correspondence with Carson Cohen (it turned out it had been listed for him on IMDb, but only a conducting credit, not a composing credit... so I missed it -- mea culpa!) Even though we are jumping back three years, this is a very mature work from Jerry, with three distinct themes (two of them particularly beautiful and long-lined), all of them well-developed throughout the score. One of them however bears a particularly strong resemblance to the theme for the title character in Black Patch...
So glad you're onboard the Odyssey train now, George! Do please chime in here with your progress and any thoughts about the episodes as you listen to them (even the very early when we were a little rough!) We love having conversations and hearing feedback.
Regarding the first Odyssey Interview of 2020, I would like to offer special thanks to guest editor Wes Deckers, who last year offered to help us out should we ever have a scheduling crunch...and he really came through with some fine work, here!
And there will be even more to look forward to in Part 2 later this month, which will contain an examination of Jerry's work venturing into the "middle eastern" sound, as well as a crash course (with samples) in original Iranian film music, focusing on the eight most important Iranian film composers of the 20th century.
Hope everyone enjoys the conversation as much as I enjoyed having it, and I look forward to hearing anyone's thoughts here.
