Vintage Television Soundtrack Corner (1 Viewer)

[Harry-N]

My Volume 2 CD set is in the shipping process, and has begun the bizarre hopping around the state that sometimes happens. I've been quoted as getting the set on Tuesday, but it's been within about 40 miles of home earlier today (Ybor City). Then it shipped out to the Gulf coast (Sarasota) (we're in the middle of the Florida peninsula), about 80 miles or so from here.

As it's Sunday, I half expect it to yet go to another ridiculous location like Jacksonville, which is a few hundred miles from here. We'll see.

 

[ScottRE]

Mine is apparently out for delivery. I'll believe it when I get it.

 

[Harry-N]

Mine has arrived - a day early. Must be a time warp.

 

[Neil S. Bulk]

Especially since the LLL page says they're not shipping until tomorrow.

Enjoy!

 

[Harry-N]

Especially since the LLL page says they're not shipping until tomorrow.

Enjoy!

Someone up there likes me I guess!

 

[Harry-N]

Exploring Disc One at the moment. Sounds superb as always.

Neil, question.

Many soundtrack albums are assembled with multiple cues in one track index number. Are these cues found together on the tape reels, or are they assembled into bunches by you, the compilers?

 

[Neil S. Bulk]

Many soundtrack albums are assembled with multiple cues in one track index number. Are these cues found together on the tape reels, or are they assembled into bunches by you, the compilers?

We put them together. Every cue is recorded separately with its own slate. Sometimes cues are cut together in the show/movie and I'll duplicate that combo. Other times I'll put shorter cues together for multiple reasons.

 

[Harry-N]

Thanks. I've always guessed that for home media purposes, fewer track numbers are preferable, and that would surely be true for an LP. Trying to place a stylus on, say, track 22 is problematic. I'm not sure that CDs necessarily need that, although I know of the limit of 99 tracks.

 

[Neil S. Bulk]

I try to avoid short tracks if possible. Sometimes trying to maintain chronology makes it tough.

 

[Harry-N]

I appreciate the explanation, thanks. Just finishing up sampling Disc 3, and loving it!

 

[ScottRE]

Mine arrived today, too. I'll pop it in as soon as I'm done savoring the lush goodness of the remastered score for Star Trek II.

 

[ScottRE]

This set is insanely good. As much as people tend to glom into the William name, he didn't set the tone for this series. It was the work of Leith Stevens, Robert Drasnin and Lyn Murry would really gave the show it's musical identity.

"Revenge of the Gods" by Stevens is epic scoring, truly feature picture worthy. It's honestly better than the material deserved. I had to actually remind myself this was made for television. Stevens was on fire here.

"The Death Trap" by Drasnin and "The Death Merchant" by George Duning are masterworks. Most of the series' signature fight and action tunes are on this album and they sound AMAZING!

Only Paul Sawtell's work still fails to impress. It's okay just not up to the same level of scope and excitement.

A phenomenal presentation and it's incredible it all survived. @Neil S. Bulk, man, this is fantastic! Thank you! And please pass along my appreciation for all the work and love that went into this.

 

[Harry-N]

Only Paul Sawtell's work still fails to impress. It's okay just not up to the same level of scope and excitement.

...and yet it's the one that has excited me the most on this set, and I know why. It's from my favorite episode, one that I've watched many times, and am thus really familiar with the score. So it's like an old friend.

But I agree that some of these other scores are just epic.

 

[JohnHopper]

"The Death Trap" by Drasnin and "The Death Merchant" by George Duning are masterworks. Most of the series' signature fight and action tunes are on this album and they sound AMAZING!

I remembered that the score of Williams and Duning were the only ones on the previous GNP/Crescendo edition.
Can you tell me which scores have those fight and action tunes, please? Thanks.

 

[Neil S. Bulk]

I'm going to share something creepy about "The Death Merchant." It requires a little background on the scoring process, but I think you'll find it's all worth it.

The scoring takes for each individual TV season were numbered sequentially for the entire season. As an example, "Take Off" from "One Way To The Moon" (the first episode scored after the series was picked up) was s1, the very first take recorded for the series proper. Every subsequent take for the season would count up numerically with the last recorded slate for the show being one of the percussion takes used in "Merlin The Magician" (s724). So that's 724 takes for the entire season.

See that track "Omens" in "The Death Merchant?" Can you guess what take that was?

 

[Harry-N]

 

[Blimpoy06]

See that track "Omens" in "The Death Merchant?" Can you guess what take that was?

The Anti Clef?

 

[JohnHopper]

*
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And now… for something, completely different… It’sss 12 O’Clock High.
Find a thread related to Quinn Martin’s great WWII series from a musical standpoint.

FSM Board: "12 O'Clock High" (Dominic Frontiere, Steiner)

 

[JohnHopper]

Oh, by the way, today, I received my Time Tunnel volume 2. Keep up the good work, Neil.

 

[stringbean]

Will there be a Quinn Martin Collection Volume 4 from LLL? They released the first two volumes in May and October 2019 and a third volume a year later in October 2020 with the release of The Streets of San Francisco.