One of the first albums I ever owned - and certainly the first soundtrack album that I ever owned - was the Dark Shadows LP on Philips.
This track still scares me.
I've only seen a couple episodes of "Dark Shadows", yet this cue sounds eerily familiar. Given that show's...limited...budget, would it be safe to believe that music cues were used (and reused) frequently?
One of the first albums I ever owned - and certainly the first soundtrack album that I ever owned - was the Dark Shadows LP on Philips.
This track still scares me.
I've only seen a couple episodes of "Dark Shadows", yet this cue sounds eerily familiar. Given that show's...limited...budget, would it be safe to believe that music cues were used (and reused) frequently?
It's actually a combination of two short cues, plus a pre-break stinger.
The two short cues were originally written for another Dan Curtis project, can't remember which, and ended up in the Dark Shadows library.
Regardless of their origin, I first heard them on that album as a five-year-old, and they scared the hell out of me!
The two short cues were originally written for another Dan Curtis project, can't remember which, and ended up in the Dark Shadows library.
It's from The Strange Case of Dr. Jekyll & Mr. Hyde with Jack Palance.
Cobert's music for this (and the rest in Dark Shadows) & The Night Stalker movie are among my earliest memories of loving instrumental film/tv music. Dark Shadows would have been forgotten without the music threading through each scene like a darkling miasma.
And yes, his War scores are a wonderful other side to this fine composer.
One of the first albums I ever owned - and certainly the first soundtrack album that I ever owned - was the Dark Shadows LP on Philips.
This track still scares me.
I've only seen a couple episodes of "Dark Shadows", yet this cue sounds eerily familiar. Given that show's...limited...budget, would it be safe to believe that music cues were used (and reused) frequently?
I spoke with Bob a few times over the years and was told Dark Shadows was the first soap opera to ever use an orchestra. He also told me he had to record most of the music cues over in England due to music union rules. They would reuse the music cues over and over again during the shows near 5 year run. Dan Curtis would occasionally call Bob to request new additional cues to be written whenever the show introduced a new "spook".
Cobert's music for this (and the rest in Dark Shadows) & The Night Stalker movie are among my earliest memories of loving instrumental film/tv music. Dark Shadows would have been forgotten without the music threading through each scene like a darkling miasma.
For all of the jokes you can make about "Dark Shadows" - and there many to be made - the show was always rich on atmosphere. The combination of the sets, the lighting, and the music was indeed the subliminal glue that kept viewers hooked.
My experience is similar to yours, and I would add "Lost in Space" to that list. LIS was my introduction to Bernard Herrmann, whose music wound up in the CBS library and was tracked extensively through the first B&W season.
What Cobert did for tv alone was truly masterful maybe this year he'll be fully honoured with some Dan Curtis projects, I love Cobert very-much that i bought the Little box of Horrors solely for Dr. Jekyll that is a great score.
