The Fugitive: Season 3 Volume 1 (1 Viewer)

[Jack P]

At the 11 minute mark it seems to be back to original now. Can't place it, but this doesn't have the sound of something replacement. Act II opening is normal Rugolo cue.

 

[Jack P]

More melodramatic Heyes stuff at the 20 minute mark.

 

[Jack P]

And FINALLY, the first recognizable CBS TZ cue at the 23 minute mark with the distinctive sound of "A Hundred Yards Over The Rim."

 

[Jack P]

That Act III opening sounded more replacementish but I was soon hearing the familiar sound of a TZ cue that I know is "Back There" so maybe that open wasn't replacement. This is the same part of "Back There" that I immediately recognized when I was watching "Man In A Chariot".

It's clear that the episodes need to be evaluated one at a time as has been the case with the last two releases. But again, I should reiterate that we are NOT getting our worst-case fear. We're not getting our best-hoped for wish either, so it's going to have to be an individual decision on whether to commit or not.

 

[Jack P]

That Act IV open is definitely Heyes coming off a traditional Rugolo theme cue that ended Act III.

So far it's been a jumble with the only saving grace being that the sound level on these replacement cues for the most part (except for the very loud blasts in one spot) are mixed in better allowing at least for a more seamless presentation that in all candor is not distracting in the same way it was in "Brass Ring" or in those telltale spots of "Moon Child."

 

[Jack P]

"Back There" cue again in Act IV at the 42 minute mark.

 

[Jeff Willis]

Jack,

Thanks for the blow-by-blow review. I'll check my alt set and see if I can post more info on this episode. If you can give a brief expl of a scene in question (ie the example like you mentioned earlier ("when Kimble was shot...") that will help me do an A/B comparison. My set is time-compressed (but uncut) so the elapsed time is harder for me to compare scenes.

Gary, nice post #174. Thanks. Those who choose to support the CBS/P releases, that's great. Seriously. There's 2 distinct "camps" here about this backscore issue and, imo, both sides should be respectful of the other's choice. We who decide not to buy the altered CBS sets should be respected for our choice as well.

 

[Jack P]

Thanks Jeff. The scene I'm thinking of is when Kimble goes into action on the bus to stop the escaped prisoner and gets shot in Act I. That's when this scene sounds like pure Heyes and it continues that way all the way up to when the action takes us to the prison, where Kimble is brought for treatment.

 

[Jack P]

A farily loud blast at the 47 minute mark as the police go off in pursuit of Kimble after he's made it out of the prison (and after he's told the girl he saved who he is). Whenever I hear a blast I have an instinct for thinking it's Heyes but I'll admit I'm not always right. I remember thinking a lot of loud sounding stuff in the episode involving Girard's son was Heyes but Dave VP corrected me on that.

 

[Jack P]

The Epilogue is all Heyes only up to the very last cue which is traditional Rugolo.

If I were pressed to put a percentage number on this I couldn't possibly do it more than 60% original.

 

[Jack P]

"Middle Of Heat Wave." Teaser is original. Act I opening is low-key jukebox music that honestly doesn't sound replacement to me, because if it is, they did a good job dialing it down.

 

[Jack P]

The first non-jukebox cue that begins with the establishing shot of the hotel Kimble is in is clearly original, though I don't know its original source.

 

[vnisanian2001]

Jack, I mentioned earlier in this thread that MGM should have been the studio to release this show on DVD and not CBS, because of the fact that MGM owns United Artists Television, the company that co-produced the show along with Quinn Martin. Do you think MGM would have done a better job?

Also, what about the old Paramount regime (if they still existed of course)? Would they also have done a better job?

 

[Jack P]

THe old Paramount regime would have clearly paid the freight since that's what they did for S1 of "Happy Days" and the first three seasons of "Taxi."

But MGM has no legal claim to this and the other QM titles that CBS/Paramount is releasing because these were "Quinn Martin Productions IN ASSOCIATION with UA Television." That meant Martin retained the principal rights and thus whoever ended up with QM would have the last say, which turned out to be CBS/Paramount because Paramount took over Worldvision which had ended up with QM earlier.

In a similar vein, "Streets Of San Francisco" was produced "in association with Warner Brothers Television" which explains why CBS/Paramount has the rights to that, whereas "The FBI" was produced by Warners in association with Martin, and explains why Warners would have to release "The FBI" (and likewise why Martin's other show, "Twelve O'Clock High" would be Fox's call to release).

 

[Jack P]

No replacement music in Act I of "Middle Of A Heat Wave".

 

[Jack P]

No replacement music in Act II either and Act III starts with a TZ cue. So far, this episode is sounding untouched!

 

[Jack P]

And the good sound continues in Act III with that memorable "Invaders" cue that underscored Ed Begley's speech in "Man On A Chariot" (as Carol Rossen explains what really happened).

 

[Jack P]

And if I were to say that "Middle Of A Heat Wave" was 100% intact, I think I'd be correct.

 

[jimmyjet]

Originally Posted by vnisanian2001

Jack, I mentioned earlier in this thread that MGM should have been the studio to release this show on DVD and not CBS, because of the fact that MGM owns United Artists Television, the company that co-produced the show along with Quinn Martin. Do you think MGM would have done a better job?

Also, what about the old Paramount regime (if they still existed of course)? Would they also have done a better job?

can more than one studio legally release a show ? it has to be owned by somebody. why can anyone but said somebody release the show ?

 

[Gary OS]

I still wonder if there isn't more than one person at CBS/P working on these music replacements. I don't mean a higher up either. I mean one person working on one episode who tends to leave everything in and another person working on another episode who's more skittish and taking things out. That's about the only explanation I can come up with for some episodes being all but untouched (replacement wise) and others having liberal amounts of replacement music sprinkled throughout. Anybody got a better explanation? I know for a fact that in S2,V1 the same CBS Library score would be present in one episode and excised in another. It's so haphazard I just can't think of another reason other than 2 different people working on these episodes.


Gary "thanks for the blow by blow, Jack" O.