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since i'm now digitizing my entire cd collection, it's part of the "show" to look at the issues.
generally both did not orchestrate their scores and I stumbled across the Cassandra Crossing Prometheus CD to find out that Jerry Goldsmith orchestrated that score himself
Rare incident, did he or Williams do it more often?
It's easier to find out with the Goldsmith Scores, since it's usually in the credits, but not in the John Williams Scores.
Any other scores orchestrated by these themselves?
And please no discussion about the fact that the sketches are so detailed that no additional orchestrator is named because of this :-) , we all know both of them did so!
Goldsmith’s first feature “Black Patch” is one of his solo efforts - the full charts, which we edited and typeset for the Intrada recording, were in his own hand.
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Goldsmith orchestrated his first four feature scores (so add City of Fear, Face of a Fugitive, and Studs Lonigan).
He also did the vast majority of his TV output, particularly early on. There’s an occasional Playhouse 90 on which he had some orchestrational assistance (I could look them up), but most episodes of Climax, Studio One, GE Theater, Playhouse 90, etc. (I’m pretty sure Thriller and The Twilight Zone too) he orchestrated.
Yavar
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Posted: |
Aug 14, 2022 - 1:27 PM
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By: |
Broughtfan
(Member)
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
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I don't know how much this counts but Goldsmith co-orchestrated THE EDGE with Sandy Courage. One of my favorite scores and the little flourishes in the woodwinds on the main theme are sublime.
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
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Posted: |
Aug 15, 2022 - 5:22 PM
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By: |
Trekfan
(Member)
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finding infos for Williams seems to be a bit difficult, as many albums did not credit an orchestrator, but often the actual film end credits has this information. curious, why it is not in the album credits.
That's discussed briefly in this thread:
https://www.jwfan.com/forums/index.php?/topic/26974-why-dont-john-williams-orchestrators-get-credited-in-the-soundtrack-releases/
Including this section with Conrad Pope:
CC: I just had a quick look at the notes for the original Sony Classical release for Episode 1, but didn’t find your name there, unfortunately.
CP: John’s point is that, he is the author of that music – fully and completely. When you take one of his albums, he is saying, “Look I am the architect of all the colors and you (the orchestrator) have just executed them.” And this makes perfect sense. I’m the same way.
CC: But you are credited in many of the film credits.
CP: Yes. You see, in the picture business the orchestration credit is a specific facet of the “picture” business NOT the “music” business. So John makes sure, once you have achieved a certain status with him, that you’ll get that credit in the picture, but not on the album.
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Posted: |
Aug 15, 2022 - 6:58 PM
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By: |
Broughtfan
(Member)
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
And yet, I STILL want to know more! I'm in love with the music of Gilligan's Island and I have been all my life. ("Pass the Vegetables, Please" from S3 by Gerald Fried is hands down my favourite of the entire series.) I want all of the music in a beautiful set - the Williams, the Ray, the Comstock, the Fried. Everything.
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Didn't Goldsmith orchestrate The Final Conflict himself?
That was probably Arthur Morton since he was Goldsmith's principle orchestrator for four decades and Morton was involved with the first two Omen films he scored.
I want to say The Edge was one as a solo orchestrator but it isn't since he co-orchestrated with Alexander Courage on that one.
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Posted: |
Aug 16, 2022 - 7:27 AM
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By: |
Broughtfan
(Member)
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
And yet, I STILL want to know more! I'm in love with the music of Gilligan's Island and I have been all my life. ("Pass the Vegetables, Please" from S3 by Gerald Fried is hands down my favourite of the entire series.) I want all of the music in a beautiful set - the Williams, the Ray, the Comstock, the Fried. Everything.
Mike - In S3 Fried recorded most of his complete scores June-July 1966, recording music for two episodes per session. First up was Voodoo (witch doctor)/Pass The Vegetables, followed by Hair Today, Gone Tomorrow/Where There's A Will, There's A Way, Gilligan VS Gilligan (G meets himself)/Up At Bat (Gilligan thinks he's a vampire/Sherlock Holmes meets Dracula dream sequence). His final complete score was for Ring Around Gilligan (Vito Scotti returns as mad scientist) recorded with Don Ray's Man With a Net (John McGiver as butterfly hunter), a nearly complete score. Don also wrote the sexy Ginger Theme (the Glen Miller-like one with clarinet lead), partials for Topsy Turvy (G sees double, quadruple, etc.), Gilligan Goes Gung-Ho (Lord Admiral Gilligan/seaplane/Scorpio EX-1 horn fanfare, Fried contributing teaser cue, "Murder"), The Invasion (0014's theme), Court-Martial Lord Admiral Gilligan fight scene (trumpet solo) and others. The one cue I couldn't find is the pigeon/jet pack music which I have since learned was composed for "It's About Time," probably by Mort Stevens (certain brass voicings being redolent of his S1 "5-0" scores) as he was CBS director of music then, conducting all series main titles and the occasional episode score (not composed by him). I have to add I was gobsmacked by the amount of music Don Ray composed for the series (music for which he never received screen credit!). If one was to produce a Gilligan OST (along the lines of other TV series scores released) Don's musical contributions would (easily) take up a whole disk (and, IMO, rightly so).
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
And yet, I STILL want to know more! I'm in love with the music of Gilligan's Island and I have been all my life. ("Pass the Vegetables, Please" from S3 by Gerald Fried is hands down my favourite of the entire series.) I want all of the music in a beautiful set - the Williams, the Ray, the Comstock, the Fried. Everything.
Mike - In S3 Fried recorded most of his complete scores June-July 1966, recording music for two episodes per session. First up was Voodoo (witch doctor)/Pass The Vegetables, followed by Hair Today, Gone Tomorrow/Where There's A Will, There's A Way, Gilligan VS Gilligan (G meets himself)/Up At Bat (Gilligan thinks he's a vampire/Sherlock Holmes meets Dracula dream sequence). His final complete score was for Ring Around Gilligan (Vito Scotti returns as mad scientist) recorded with Don Ray's Man With a Net (John McGiver as butterfly hunter), a nearly complete score. Don also wrote the sexy Ginger Theme (the Glen Miller-like one with clarinet lead), partials for Topsy Turvy (G sees double, quadruple, etc.), Gung Ho Gilligan (Lord Admiral Gilligan/seaplane/Scorpio EX-1 horn fanfare), The Invasion (0014's theme) and others. The one cue I couldn't find is the pigeon/jet pack music which I have since learned was composed for "It's About Time," probably by Mort Stevens (certain brass voicings being redolent of his S1 "5-0" scores) as he was CBS director of music then, conducting all series main titles and the occasional episode score (not composed by him). I have to add I was gobsmacked by the amount of music Don Ray composed for the series (music for which he never received screen credit!). If one was to make a Gilligan OST Don's music contributions would (easily) take up a whole disk.
This is incredibly thorough and fascinating. Thank you for all of this! Do the tapes exist anywhere, and/or are the written scores detailed enough that an enterprising archivist could dust them off for a new performance? I surely cannot be the only filmscore fan alive who wants this stuff!
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Posted: |
Aug 16, 2022 - 7:43 AM
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By: |
Broughtfan
(Member)
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
And yet, I STILL want to know more! I'm in love with the music of Gilligan's Island and I have been all my life. ("Pass the Vegetables, Please" from S3 by Gerald Fried is hands down my favourite of the entire series.) I want all of the music in a beautiful set - the Williams, the Ray, the Comstock, the Fried. Everything.
Mike - In S3 Fried recorded most of his complete scores June-July 1966, recording music for two episodes per session. First up was Voodoo (witch doctor)/Pass The Vegetables, followed by Hair Today, Gone Tomorrow/Where There's A Will, There's A Way, Gilligan VS Gilligan (G meets himself)/Up At Bat (Gilligan thinks he's a vampire/Sherlock Holmes meets Dracula dream sequence). His final complete score was for Ring Around Gilligan (Vito Scotti returns as mad scientist) recorded with Don Ray's Man With a Net (John McGiver as butterfly hunter), a nearly complete score. Don also wrote the sexy Ginger Theme (the Glen Miller-like one with clarinet lead), partials for Topsy Turvy (G sees double, quadruple, etc.), Gung Ho Gilligan (Lord Admiral Gilligan/seaplane/Scorpio EX-1 horn fanfare), The Invasion (0014's theme) and others. The one cue I couldn't find is the pigeon/jet pack music which I have since learned was composed for "It's About Time," probably by Mort Stevens (certain brass voicings being redolent of his S1 "5-0" scores) as he was CBS director of music then, conducting all series main titles and the occasional episode score (not composed by him). I have to add I was gobsmacked by the amount of music Don Ray composed for the series (music for which he never received screen credit!). If one was to make a Gilligan OST Don's music contributions would (easily) take up a whole disk.
This is incredibly thorough and fascinating. Thank you for all of this! Do the tapes exist anywhere, and/or are the written scores detailed enough that an enterprising archivist could dust them off for a new performance? I surely cannot be the only filmscore fan alive who wants this stuff!
Mike, I added some info to my previous post (More on Don's music for the show).
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Posted: |
Aug 16, 2022 - 7:52 AM
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By: |
Broughtfan
(Member)
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Williams - Gilligan's Travels (recorded Fox, January 1964, score, in JW's hand, UCLA Special Collections)
The pilot which, after recasting of three of the actors, would become "Gilligan's Island."
Guessing JW (and Goldsmith) orchestrated all of the early scores. Since he probably composed the score in late 1963/early January 1964 it's a good bet Revue permitted his being "borrowed" for the occasional pilot (in this instance, for UA, as CBS was not involved at this stage). Despite his credits on numerous S1 episodes, JW composed no original music for the actual CBS series (though cues from the pilot may have been re-recorded by Herschel Burke Gilbert, network music director up to the time Mort Stevens took over directorship in Spring 1965).
Anyway, that’s the one score I know about (as I spent a week in 2011 looking over all the cues from the series).
Surely it's time for someone to re-record Gilligan's Travels. An early masterpiece, a slice of Americana, and vintage Williams. I have one grail left, and that's it.
Neglected to mention that Williams composed more music than what's heard in the release print of the original pilot. Cut from the pilot (but scored by JW) the Minnow launch from the marina, the storm sequence (briefly appearing in the S1 main title). In the first actual episode (with the established cast) Frank Comstock receives the composing credit even though much of the score are Williams-composed cues for the "Travels" pilot. Looking at a cue sheet from "St. Gilligan and the Dragon" (appearing about midpoint of S1) one finds a dozen or so composers listed as cues were taken from various CBS productions (other than GI or GT pilot): Gunsmoke, Have Gun Will Travel, Perry Mason, etc. Also, the only composers to write complete (or almost complete) scores for S1 episodes were Gerald Fried ("So Sorry, My Island Now" and "Gilligan Meets Jungle Boy") and Lyn Murray ("President Gilligan"). In S2, when the series went to color, the practice of using library music was stopped (only a very few cues from S1 are heard in S2 shows and little of S2 music is heard in S3), Gerald Fried writing seven or eight complete scores (also for S3), Don Ray several contributing partials (including robot and mad scientist visits island, most of the dream sequence shows, butterfly hunter, lion on island, etc.) The famous "Producer" show (with series co-owner Phil Silvers) was a joint effort by Morton Stevens and Don Ray (Stevens writing all the "Hamlet" arrangements as well as the cues for the epilogue). This was a nearly complete score as Gerald Fried's "Gilligan-mobile" music (from "Hair Today, Gone Tomorrow") is heard in a few scenes.
Probably more than what you wanted to know!
And yet, I STILL want to know more! I'm in love with the music of Gilligan's Island and I have been all my life. ("Pass the Vegetables, Please" from S3 by Gerald Fried is hands down my favourite of the entire series.) I want all of the music in a beautiful set - the Williams, the Ray, the Comstock, the Fried. Everything.
Mike - In S3 Fried recorded most of his complete scores June-July 1966, recording music for two episodes per session. First up was Voodoo (witch doctor)/Pass The Vegetables, followed by Hair Today, Gone Tomorrow/Where There's A Will, There's A Way, Gilligan VS Gilligan (G meets himself)/Up At Bat (Gilligan thinks he's a vampire/Sherlock Holmes meets Dracula dream sequence). His final complete score was for Ring Around Gilligan (Vito Scotti returns as mad scientist) recorded with Don Ray's Man With a Net (John McGiver as butterfly hunter), a nearly complete score. Don also wrote the sexy Ginger Theme (the Glen Miller-like one with clarinet lead), partials for Topsy Turvy (G sees double, quadruple, etc.), Gung Ho Gilligan (Lord Admiral Gilligan/seaplane/Scorpio EX-1 horn fanfare), The Invasion (0014's theme) and others. The one cue I couldn't find is the pigeon/jet pack music which I have since learned was composed for "It's About Time," probably by Mort Stevens (certain brass voicings being redolent of his S1 "5-0" scores) as he was CBS director of music then, conducting all series main titles and the occasional episode score (not composed by him). I have to add I was gobsmacked by the amount of music Don Ray composed for the series (music for which he never received screen credit!). If one was to make a Gilligan OST Don's music contributions would (easily) take up a whole disk.
This is incredibly thorough and fascinating. Thank you for all of this! Do the tapes exist anywhere, and/or are the written scores detailed enough that an enterprising archivist could dust them off for a new performance? I surely cannot be the only filmscore fan alive who wants this stuff!
As far as I know it's all still there. Interestingly, the missing (from UCLA Collections) S1 Fried music is housed at the American Heritage Center (along with all of his Mission: Impossible score cues), including his complete scores for So Sorry, My Island Now (Japanese sailor on island) and Gilligan Meets Jungle Boy (Kurt Russell as the jungle boy).
In terms of a release of the music (original or re-recording) the JW "Travels" score shouldn't be a problem to release as it's not part of the actual series (episode is not in syndication, though some excerpts appear in S1's Birds Gotta Fly, Fish Gotta Talk). So, with CBS not involved (UA, Phil Silvers production company, Gladysya co-financed the, original rejected, pilot) the decision (probably) rests with John Williams himself. He had top-notch players on the date so I don't know why he would have reservations (about this being released).
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Yeah, it's possible just to quote an excerpt of the previous thing you're replying to, folks... 
Example:
He had top-notch players on the date so I don't know why he would have reservations (about this being released).
Williams had top-notch players on Sugarland Express too, which he nixed LLL releasing as their debut Universal Heritage title. It's clearly not a matter of the players. I think (for whatever reason) he has reservations about some of his early work being released as standalone music. Hopefully Mike Mattesino can change his mind sometime.
Yavar
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Posted: |
Aug 16, 2022 - 9:43 AM
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By: |
Broughtfan
(Member)
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Yeah, it's possible just to quote an excerpt of the previous thing you're replying to, folks...
Example:
He had top-notch players on the date so I don't know why he would have reservations (about this being released).
Williams had top-notch players on Sugarland Express too, which he nixed LLL releasing as their debut Universal Heritage title. It's clearly not a matter of the players. I think (for whatever reason) he has reservations about some of his early work being released as standalone music. Hopefully Mike Mattesino can change his mind sometime.
Yavar
Yes, well, I read (maybe here) that he wasn't happy with some of the "Sugarland" cue readings. Whereas this "Travels" pilot score is really well performed (and, IMO, is as good as almost anything he wrote for LIS, LOTG, TT, Checkmate, etc.)
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