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Posted: |
May 24, 2021 - 3:42 AM
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By: |
Graham Watt
(Member)
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And so it came to pass (once more) that, despite my good intentions of listening to and digesting each score as a separate entity (after my happy re-encounter with my 1978 self when listening to the pilot score), that I forged ahead with the rest of Disc 1 without pause. It was too enjoyable. I was too hooked. And thus it has clouded my vision of how to convey my joy by referring to specific episode scores. But I shall try. I'm bound to get some details mixed up though. Perhaps on the twentieth listen my rabbit shall emerge beautifully formed. But for now, you get the following -
"The Thirty Year Pin" is probably the wacka-wacka wackiest (in the good sense of the word) score on the set. But there's a lot of great dramatic touches behind it all. "Tower Beyond Tragedy" is the one which has the classical-based piano theme at its centre, which I previously mentioned had reminded me of Legrand's End Titles for THE THOMAS CROWN AFFAIR, and others said Columbo. Perhaps both. "In the Midst of Strangers" is moody and groovy at the same time, "Bitter Wine" has some really spectacular and beautiful sounds to it, and "Act of Duty" goes into very dark and tumultuous aural territory.
I do realise that writing the above was a waste of time. I couldn't separate the scores in my head. I could yesterday but not today. What I can say is that, without remembering the content of Disc 2, this is turning out to be the nearest we might get to anything approaching an "ABC Movie of the Week" box set, with scores by Patrick Williams, Robert Drasnin, Duane Tatro, Billy Byers, Bernardo Segall etc etc etc. And there's a LOT of material which deviates from trying to recreate Karl Malden and Michael Douglas running around San Fran. Much of it could be from a supernatural drama, or any TV Movie thriller of that decade. One part of one of the scores reminded me of David Shire. I was thinking of FAREWELL MY LOVELY (not the Main Theme but one of the action pieces on that) then I realised that I was actually thinking of INCIDENT IN SAN FRANCISCO (curiously), which I thought was by Shire but, upon checking, was actually by... Pat Williams.
Top-quality scoring throughout. I wish I could really identify a "Patrick Williams sound", but I can't yet. Maybe I ought to listen to some of his jazz albums to find out his musical signature(s).
I apologise for the above malformed rabbit, and can't guarantee that the next one will be any better. It certainly won't be as enjoyable reading for you poor sods as the CDs are for listening. And with that incomprehensible sentence I shall sign off for now.
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