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I'm amazed they even got released on DVD, since they're so godawful (I saw them as a kid). I would've figured they'd get treated more like the Holiday Special.
But the wonderful Peter Bernstein scores are an exception and I hope Lucasfilm sees fit to make an exception for the one good aspect of those films. Intrada has the Disney relationship AND the Peter Bernstein relationship, so I choose to live in hope.
Varese probably doesn't have perpetuity rights on them because they didn't often do that in the 80s, and of all studios I very much doubt that Lucasfilm would be the ones to do perpetuity rights. Of there are probably other issues due to them being SW-connected.
Yavar
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We Hear You Series #8
21 Jump Street
Music by Peter Bernstein
$21.98 / 1200 Copies
Purchase/Audio Samples: https://www.varesesarabande.com/products/21-jump-street
Varese Sarabande is proud to announce the latest installment in our ongoing series of fan requested soundtracks with 21 Jump Street featuring the original score composed by Peter Bernstein (The Ewok Adventures, My Science Project). For the first time ever our 2-CD release features over 80 minutes of score, handpicked by Peter Bernstein, from the series.
The show focused on Officer Tom Hanson (Johnny Depp) and his band of agents in the special Jump Street division who would go undercover to infiltrate local schools and put a stop to crime to keep students safe from corrupt influences. The 21 Jump Street team was a mixed group which included the wise cracking Officer HT Ioki (Dustin Nguyen), the brilliant Officer Judy Hoffs (Holly Robinson Peete), the streetwise Officer Doug Penhall (Peter DeLuise) and, in latter episodes, the renegade Officer Dennis Booker (Richard Grieco).
21 Jump Street was among the fledgling Fox TV network’s biggest breakout hits and made stars of the young cast, especially Johnny Depp and Richard Grieco. Like everything else about the show, the score became something new in the history of television. “The cast, stories and music were all aimed at a new generation of viewers largely ignored by series television of the time and helped launch the careers of many young directors and actors including its top billed star Johnny Depp,” explained Peter Bernstein.
The music itself was also revolutionary in how it was recorded. Bernstein composed anywhere between 12 and 20 minutes of music per episode, as explained in the albums extensive liner notes by Jim Lochner, working from his home studio set up in his spare bedroom – a rarity at the time - using mostly samples, a bank of synthesizers, with an occasional acoustic overdub.
As the series evolved through the years, so did the music. “It got a little darker as time went on, more emotional,” Bernstein said. “In the beginning, I think it was enough to have some rhythm going on. As time went on, everybody was digging deeper and the series changed. The music reflected that.”
Limited edition of 1,200 copies.
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Posted: |
Feb 23, 2018 - 2:26 PM
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By: |
BryonDavis
(Member)
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I look at it this way, over the years I have read here and on other site the wants of more Peter Bernstein scores to be released. Varese found that they had access to release 21 Jump Street and are releasing it. Yes, it is not the Ewok scores some of us want (some of the first movies my father showed me), but I will check them out, because I know nothing about these scores and I love the scores of him that I have heard. Just pass on it if you are not interested, I am just hoping it is not released in a cardboard brick wall box!
*Edited* I just listened to the above links to the score, yeah...definitely not like the Ewoks.
This is a brilliant example of what We Hear You is designed to be. As one of the producers of this series, if a specific score is asked for, we will release it if available. If a composer gets a lot of requests and a score is available that makes sense to license, we will release it.
Thanks Kim Peterson for pointing this out. I appreciate it.
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…those samples bring back some memories…
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Based upon the samples, this is a firm pass for me. There seems to always be something for someone out there, but I'm just not getting it on this release.
This is a very very pale synth work when put against something like "Miami Vice".
And lest some dolt come in and say I'm attacking Bernstein, remember I started the Varese "We Hear You" Suggestion Thread and my first suggestion was a Peter Bernstein score.
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