Greetings everyone! In this new episode of the podcast, my sonic journey through the music for Science Fiction cinema through the decades continues, by closing out the 1970's. This will focus on titles from the 1977-1979 years, and more specifically STAR WARS and the ripples created by that seismic shift of its musical score composed by John Williams. The electronic and avant garde sounds of the genre heard during the early Seventies found themselves supplanted by the return of those of the Golden Age of Hollywood, being the more traditionally symphonic soundscapes.  

 

John Williams features prominently as expected, by way of not only STAR WARS but both CLOSE ENCOUNTERS OF THE THIRD KIND and SUPERMAN: THE MOVIE, along with titles by Jerry Goldsmith (DAMNATION ALLEY, ALIEN, STAR TREK: THE MOTION PICTURE), John Barry (STARCRASH, THE BLACK HOLE), Laurence Rosenthal (THE ISLAND OF DR MOREAU, METEOR), Brian May (MAD MAX) and others...

 

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Hi again everybody! In this episode of the podcast, my multi-part deep dive into the malleable soundscape of Science Fiction cinema continues, with the focus today being the 1970’s. Well, to be more specific, this episode focuses on the first half of the 1970's.
 
 
It was a period when the sweeping symphonic sound of the Golden Age had briefly faded, mostly supplanted by either pop inflected scores and songs, tracked in classical works or experimental, often electronic tones. Sci-fi film scores (and composers) represented here include COLOSSUS: THE FORBIN PROJECT (Michel Colombier), THE OMEGA MAN (Ron Grainer), SILENT RUNNING (Peter Schickele), SOYLENT GREEN (Fred Myrow), LOGAN'S RUN (Jerry Goldsmith) and a suite of music from the four PLANET OF THE APES sequels.
 
 

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Welcome back to the podcast! In this episode I continue on to the next chapter of a multi-part deep dive, into the evolving music of Science Fiction cinema through the decades, with my focus today being the 1960’s. Thus far, we’ve journeyed through the 1950’s scores which were brimming with electric violins, theremins, Novachords, jarring stinger chords and harsh onslaughts of brass and percussion.

 

Now, as we advance into the 1960's, we'll hear sumptuous symphonic scores for THE TIME MACHINE (1960) and MASTER OF THE WORLD (1961), pop and jazz influences in PANIC IN YEAR ZERO! (1962) and BARBARELLA (1968) and avant garde concert techniques expressed in the music for FANTASTIC VOYAGE (1966) and PLANET OF THE APES (1968). Composers featured here include Bernard Herrmann, Jerry Goldsmith, Les Baxter, Russell Garcia, Akira Ifukube - plus vocal crooning by Frankie Avalon! I also include samples of Alex North's original, unused score for the Stanley Kubrick directed, game-changing 1968 classic 2001: A SPACE ODYSSEY.

 

Stay safe out there, take care of yourself and each other! 

 

Small correction: I mistakenly attribute the score for 1954's 20,000 LEAGUES UNDER THE SEA to Paul Sawtell and Bert Shefter, but it was composed by Paul J. Smith. Thanks to my attentive listeners!

 

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Beginning with this episode (the 40th!) of the podcast, I plan to present a multi-part analysis into a specific cinematic genre, that being the music of science fiction through the years. The 1950's is often considered the initial Golden Age of Science Fiction, when the genre showcased its own distinctiveness onscreen and gained notoriety in part due to films such as THE DAY THE EARTH STOOD STILL (1951), CONQUEST OF SPACE (1955) and INVASION OF THE BODY SNATCHERS (1956). Music from this decade's theatrical entries is where my listening journey starts, including selections composed by Bernard Herrmann, Leith Stevens, Herman Stein and Nathan Van Cleave.

 

Of course, this isn’t meant to be an exhaustive or definitive overview in any sense of the word, consisting instead of my own observations of how music for science fiction movies, those involving outer space, invading aliens and time travel, developed its own personality and evolved over time. With luck, my reach won't exceed my grasp and I will endeavor to produce an episode for each decade at least up until the 1990's. As a teaser, I've created a special suite of musical selections from various Sci-Fi film scores from the 50's to the 90's. 

 

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Hello again, everyone! On this episode of the podcast, I am joined by the brilliantly skilled composer Benji Merrison. Benji is based in London and has provided music across a wide spectrum of media, from TV to film, documentaries and art installations. His background includes both formal music schooling as well as music production and engineering. Some of Benji Merrison's previous projects include TV series for BBC 1 such as FORCES OF NATURE, DYNASTIES and GREEN PLANET. Today, I have welcomed him to my podcast to talk about his latest feature film score, for the action thriller SAS: RED NOTICE, directed by Magnus Martens. The soundtrack for SAS: RED NOTICE is available from Lakeshore Records.

 

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Welcome back to the podcast! Marvelously proficient composer, arranger and songwriter Matthew Head joins me on this episode to discuss his background and diverse career. Matthew's soundtracks have garnered Grammy, Emmy, Peabody and NAACP awards and nominations, all while working from his home in Marietta, Georgia. His notable projects include TV series such as GREENLEAF (on OWN), Boomerang (on BET), THE FAMILY and P-VALLEY. Here I talk with Matthew about composing and arranging score and songs for the new Lifetime feature, ROBIN ROBERTS PRESENTS: MAHALIA, which details the life of gospel music legend Mahalia Jackson, starring Danielle Brooks and directed by Kenny Leon.

 

The soundtrack for ROBIN ROBERTS PRESENTS: MAHALIA, produced by Matthew Head, including both score and songs with performances by Danielle Brooks, is available from ABKCO Music & Records.

 

Stay safe out there, wear a mask and take care of yourself and each other! 

 

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Hello all! In this new episode of the podcast, I am joined by the wonderfully innovative composer Grant Fonda. Grant has contributed music to various multi-media projects, including notable documentaries such as THE DATING PROJECT and the award-winning DOWN THE FENCE, and is graciously taking time to talk about his score for the new documentary feature film entitled THE HOUSE THAT ROB BUILT, which premiered in February 2021. THE HOUSE THAT ROB BUILT was directed by Jonathan Cipiti and Megan Harrington and focuses on the formation of women’s collegiate basketball in the state of Montana, specifically the Lady Griz basketball team as coached by Rob Selvig. Grant Fonda’s music is now available to purchase through the major streaming music services.

 

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Welcome back, everyone! In this new episode, I talk with multi-talented composer Enis Rotthoff. Born in Berlin, Enis is a well established and distinct musical voice in German cinema and in recent years has been been cultivating a similarly impressive reputation here in the United States. He has composed music for diverse films such as GUNS AKIMBO and THE SUNLIT NIGHT and I'm pleased to welcome Enis to the podcast to discuss his latest feature, LOVE SARAH. Released in January 2021, LOVE SARAH was directed by Eliza Shroeder and is now available on all major streaming platforms. Rotthoff collaborated closely with director Eliza Schroeder on the score, recording the music with the Budapest Art Orchestra and also blending electronic sounds with acoustic instruments.

 

Stay safe out there, wear a mask, take care of yourself and each other! 

 

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Email the show at ascoretosettlepodcast@gmail.com 

 

 

Welcome to the first new episode of 2021! I am graciously joined once more by soundtrack album producer and editor Neil S. Bulk to review his projects from the previous year and discuss surprises, roadblocks and highlights along the way. Titles covered in this episode include THE KARATE KID II (1986) and THE KARATE KID III (1989), with music composed by Bill Conti, both available in deluxe editions released from La-La Land Records, completing the trilogy alongside their previous release of 1984's THE KARATE KID. 

 

Following on from this, we discuss HOFFA (David Newman), DARKMAN (Danny Elfman) and the 4-CD set of music from the Irwin Allen produced 1960's TV series VOYAGE TO THE BOTTOM OF THE SEA. Next, we delve into MR. MOM (Lee Holdridge), JACOB'S LADDER (Maurice Jarre) and a batch of 1960's era Jerry Goldsmith scores presented on the new GOLDSMITH AT 20TH (formerly 20th Century Fox) series from the aforementioned La-La Land Records. Neil also adds comments about working on the recently expanded 2-CD edition of Goldsmith's final theatrical score, LOONEY TUNES: BACK IN ACTION, from 2003. 

 

Stay safe out there, wear a mask, take care of yourself and each other! 

 

Albums discussed now available at:

https://lalalandrecords.com/

https://www.quartetrecords.com/

https://www.varesesarabande.com/

 

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Welcome back, everyone! In this episode of the podcast, I am charting the musical journey of the popular TV series, STAR TREK: THE NEXT GENERATION, which ran from 1987 to 1994. THE NEXT GENERATION, or TNG, was a syndicated sequel series to the beloved original STAR TREK series, the first spin-off in what is now a long-running media franchise. Personally, it happens to be my favorite TV series, it's what made me into a Star Trek fan and features some of my favorite music for television. 

 

The three primary composers on TNG were Dennis McCarthy, Ron Jones and Jay Chattaway. My aim, as with other installments in my "Listening To..." episodes, is to identify the hallmarks of the show's overall musical style, where each composer's sound represented this and differed and how the music evolved during its 7-year run. 

 

Stay safe out there, take care of yourself and each other! 

 

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Email the show at ascoretosettlepodcast@gmail.com 

 

 

 

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