The Music Of Defiance

I've always enjoyed the music of composer Bear McCreary. His work on the soundtracks for both the reimagined Battlestar Galactica (2004-2009) and The Walking Dead (2010-present) was impressive and suited the mood and often dark atmosphere of both those series appropriately lending real character too. The scores for Battlestar Galactica are immersive, gorgeous and propulsive in their addiction. His work on Defiance mirrors the excellence of his Battlestar Galactica work and builds on new sonic themes.



McCreary's work in the science fiction genre has wholly usurped my attention. His approach to the series Defiance (2013-present) has delivered some of those stunningly atmospheric compositions combined with a real pop accessibility and sensibility. He took some of the approach he applied to his interpretation of Bob Dylan's All Along The Watchtower for Battlestar Galactica Season Three (Crossroads) and takes it to new pop heights and to a new level for Defiance.

The music recorded for Defiance offers a unique approach to science fiction television. It's a rare thing to see music presented in this way. The music, while entirely connected to the show (like the video game) still works on its own terms. His score combines thrilling or heavenly instrumentals with a selection of pop classics, like Elvis Costello's Man Out Of Time (1982), or McCreary's own pop reinterpretations. Utilizing a host of guest vocalists like Raya Yarbrough McCreary is able to deliver his own take on vintage numbers like Cyndi Lauper's Time After Time (1983).

The music established for Defiance is indeed another layer added to the show's character and lends the series real personality to an already colorful world. While the music accentuates the drama or the action, it also maintains a quality that can be enjoyed entirely removed from the series.

Generally fans of television or film scores will embrace instrumental music on its own terms anyway, but, here, the soundtrack for Defiance is even more accessible than most, but no less complicated or original.

There are two soundtracks available for each season of the series, both first and second. A third score exists for the accompanying video game and a Deluxe Edition includes the game score combined with Season One. Fans of Defiance will pray for future soundtrack releases, because as much as Defiance fans pray for a fourth season renewal of the series, they know the complimentary soundtrack releases make for an equally big treat.

Season One is a melding of electronics and classical instrumentation alternating throughout with a selection of pop renditions, alien interpretations of the originals, collaborating with a number of artists like Raya Yarbrough (Outlander, Battlestar Galactica). The new spins on the pop classics are a real delight too.



McCreary commented on his approach for the series on his website noting, "heavy synths and ethnic soloists played a key role in defining the sound of Defiance, but the cinematic quality came from working with a string orchestra. ... I was asked to help bring the alien cultures to life by developing a distinct musical heritage for each. I fashioned Votan instrumentation and lyrics into a variety of popular songs and ceremonial pieces. I wrote pieces for street musicians that float through open-air marketplaces. I produced alien classical music, jingles, jazz, rock-anthems and torch songs." It's all here and the music works as both an immersive experience into this new alien Earth or as a vehicle for delivering great music for, well, your vehicle.

As McCreary himself noted on his blog, there is a "daunting" amount of music scored here. "I constantly juggled a dozen or so character themes and followed intricately crafted story arcs."

There are some real highlights like McCreary's heroic Nolan theme that is epically cinematic and threads the series.

The Main Title theme for Defiance is succinct yet powerful and never tires the ear. It's another composition triumph and one of McCreary's best to date. It is often applied to propel the relationship dynamic of the protagonists in the series, Earth human Joshua Nolan and Irathient daughter Irisa. The edit can be found on the TV series soundtrack while the full version is on the video game soundtrack. The combined Deluxe Edition will give you both or you can head straight to iTunes.

McCreary develops the original alien sounds of the Castithans and the themes (Castithan Bath) that connect with characters Datak Tarr and Stahma Tarr channeling the inspiration of Nino Rota's score to The Godfather (1972). The ethnic sounds that complement these characters are the most alien in the show, but beautiful.

The synthetic laced bombast of the Battle Of The Volge is a "dub-step" (as my son The Boy Wonder likens it) infused eight minute, thirty-three second epic march to war. According to McCreary he requires "at least one gargantuan battle cue on every record." This Defiance classic rests comfortably next to Assault On The Colony (Battlestar Galactica Season Four) and Storming New Caprica (Battlestar Galactica Season Three) and it is a thrill ride. It's definitely a personal favorite on the Season One soundtrack along with the entirely bizarre but entrancing Concerto For Insects.

Renditions of Five Stairsteps' Ooh Child (S1, Ep3, The Devil In The Dark) and Cyndi Lauper's Time After Time (S1, Ep11, Past Is Prologue) by Raya Yarbrough are particularly gentle and sensitive for a series that truly runs the gamut of emotional highs and lows.



There are pop songs interspersed with McCreary's score throughout the series to further underscore this is a future world that has not forgotten its past either despite the changes.

Songs Of Defiance Season Two continues this remarkable blending of pop music originals while also adding interpretations of Doll Parts (Hole; 1994) (S2, Ep11, Doll Parts) and What's Up? (4 Non Blondes; 1993) (S2, Ep9, Painted From Memory) by Fyfe Monroe. To further illustrate the originality of the compositions, Trace Adkins recorded an original that includes lyrics that directly promote the reality of Defiance through the cultures of the various races. The song is exceptional and is called Across The Storm Divide (Season Two, Episode 1, The Opposite Of Hallelujah).

It is truly the sheer originality of this spicy and eclectic mix of songs and music that make these two scores such a sensation to the ear.

As McCreary declared, these soundtracks were not pessimistic "music-inspired cash-grabs." He passionately produced each and every composition to "tell us something specific about the Votan / Human culture in Defiance." The selections speak directly to the bible of cultures created for this powerful series. Continue to experience the world of Defiance aurally with these outstanding works from Bear McCreary. Defiance rivals his exceptional involvement on Battlestar Galactica and that's really saying something.

Hoyt Curtin (1922-2000) & Battle Of The Planets Theme

"... The music of Battle Of The Planets is a significant part of the magic to the appeal of the show. The lovely sound of the harmonies composed by Hoyt Curtin and Bob Sakuma transported the children to a world of rousing adventure and uncanny excitement. When the music was compounded with the show's beautiful animation and dramatic storylines, it proved to be an exhilarating addiction. The organic tonalities of the Battle soundtrack gave it scope, and contributed to the epic storyline's romanticism."

  

-G-Force: Animated- The Official Battle Of The Planets Guidebook (p.60)-

Kicking off both Battle Of The Planets (1978) and Gatchaman (1972) in grand fashion was composer Hoyt Curtin and Bob Sakuma respectively.

Like any unforgettable theme song that does its job and does it right, these themes set the tone for their respective series. Hoyt Curtin (1922-2000) stepped up and in big with his complement to the series for Battle Of The Planets. There isn't a phoned in note to be heard. It's big, bold and memorably brilliant.



The theme song to the series was as powerful, exhilarating and heroically uplifting as they come. The theme itself also speaks volumes about Battle Of The Planets in that the theme actually matched the staying power and original strength of its Japanese counterpart by Sakuma. The Gatchaman theme song, by then young composer Bob Sakuma, was indeed impressive and, equally so, has easily stood the test of time when it comes to theme song classics in its own right. Sakuma relied heavily on horns whereby Curtin turned to synthesizers for a more futuristic appeal. Synthesizers can sometimes prove fatal or date the material wildly, but Curtin managed to walk the line and his theme for Battle Of The Planets holds up remarkably well.



In fact, in designing the theme, Curtin listened to much of the music from Gatchaman before composing his own score which is an approach not always taken. But Curtin was concerned with paying deference to the score of the original composer and wanted to infuse the re-edited Gatchaman series transformed for Battle Of The Planets with compositions that married well to the original Sakuma scoring.

Sandy Frank was also fortunate to land the talents of Curtin who was contracted with Hannah-Barbera producing a long run of terrific theme music to shows like my favorite Jonny Quest (1964-1965) as well as Josie And The Pussycats, Superfriends and other childhood notables like The Flinstones, Top Cat and The Jetsons.



Fortunately for Battle Of The Planets the talent culled for the series resulted in equally stunning music in all its theme song glory establishing a simple narrative setting up the series while also delivering a magnificent theme composition. In the vein of The Incredible Hulk theme opener the narration works for this series too.

For those who enjoy waxing nostalgic here are the few lyrics to the 90 second theme song.

"Battle Of The Planets. G-Force. Five incredible young people with super powers. And watching over them from Center Neptune, 7-Zark-7. Watching, warning against surprise attacks by alien galaxies from beyond space. G-Force. Fearless young orphans protecting Earth's entire galaxy. Always five acting as one. Dedicated. Inseparable. Invincible."

And after the initial episode the opening was modified to a new narration as follows:

"Battle Of The Planets. G-Force. Princess. Tiny. Keyop. Mark. Jason. And watching over them from Center Neptune, their computerized coordinator 7-Zark-7. Watching, warning against surprise attacks by alien galaxies from beyond space. G-Force. Fearless young orphans protecting Earth's entire galaxy. Always five acting as one. Dedicated. Inseparable. Invincible."

As both a fan of Gatchaman and Battle Of The Planets I'm not sure which theme I enjoy more. The fact that I find both to be equally strong speaks to the quality of effort that went into both series. Each theme song sets the tone for the kind of quality production that went into these respective series.

To compare for yourself first listen to the theme for Gatchaman.



And now the theme to kick off the series Battle Of The Planets.  It's also worth noting that the screen scroll doesn't actually get established until Episode 3, The Space Mummy. Before that the logo didn't scroll in Episode 2 and in Episode 1, the logo is altogether different in font.

Science Fiction Non-Fiction: Gerry Anderson (Thunderbirds)

5-4-3-2-1!
Thunderbirds Are Go!

 

  

"I watched from the monitor room... I'll never forget the incredible feeling I got when Barry conducted the first take.

It sent shivers down my spine - I knew straight away that it was something special.

His music is like fine wine - it improves with age."

 

-Gerry Anderson on composer Barry Gray's score and theme music to Thunderbirds, What Made Thunderbirds Go!: The Authorized Biography Of Gerry Anderson, p.123-124, Simon Archer/ Marcus Hearn-

Thankfully the weekend is here.  I'm just plumb tuckered out of steam.  I feel like Steve Austin crashing and burning in that jet, but the rebuilding part isn't likely for this body.

So, I turn to the Thunderbirds to rocket and launch us into the weekend.  It's FAB FRIDAY with a little inspiration from the world of Gerry and Sylvia Anderson to take us there.

Fringe Theme

The incredibly delicate, beautiful theme to Fringe by Michael Giacchino [Lost, Alcatraz, Star Trek, Cloverfield, Up] and composer J.J. Abrams is something to behold and easily falls in line behind other wonderful scoring selections like Giacchino's work on Lost.

It's one of the best sci-fi themes out there and easily ranks up there with the likes of Mark Snow's fantastic theme for The X-Files and Joel Goldsmith's numbers for the Stargate franchise as contemporary compositions go.  It is yet another in a long line of terrific themes dating back to Star Trek [Alexander Courage] and Lost In Space [John Williams].  It is simply memorable.

The Fringe theme is deceptively simple yet effectively captures the essence of Fringe like an idea born and then building into something thoroughly complex, beautiful yet unnerving.  It is both gorgeous and chilling at once.

Upon several listens I added the soundtrack to a Fancave shelf that boasts the best of Mark Snow's work on The X-Files and Millennium as well as the works of Joel Goldsmith, Barry Gray [Space:1999, Thunderbirds with a little nod to FAB FRIDAY], Alexander Courage and John Williams just to name a few.

Giacchino provided a few selections to the soundtrack for Fringe Season One.  Most of Season One is scored by his assistant Chad Seiter, while Chris Tilton assumed scoring responsibilities for the other half.  Tilton would take the lead on the remaining seasons for the series.  Giacchino's wonderfully sinister End Title Theme appears on the soundtrack for Season Two.  I only have the first season which is essential, but all of the soundtracks provide wonderful accompaniment to the mood of the series in general.  Here is the fantastic opening music, composed by J.J. Abrams, accompanying a clever visual experience as ciphers, with more going on than meets the eye, combine with assorted fringe science subject titles that drift across the screen.

Joel Goldsmith [1957-2012]

Stargate SG-1 [1997-2007], Stargate Atlantis [2004-2009] and Stargate Universe [2009-2011] composer Joel Goldsmith passed away on Sunday, April 29, 2012.

Joel had such an impact on my listening enjoyment particularly within the science fiction genre. His scoring of all three Stargate series left such a mark on me over the years. His music was majestic and beautiful and simply a thrill a minute to enjoy.

A few years ago I jumped at the chance to purchase the accompanying soundtracks to both Stargate SG-1 The Ark Of Truth [2008] and Stargate SG-1 Continuum [2008]. Early on there was a window of opportunity to receive autographed liner notes to those scores. You can see his signature emblazoned in gorgeous gold marker in the image. They are a real treasure within the Fancave.

I own five Joel Goldsmith discs as pictured including his sole release for the underrated Stargate Atlantis series. Goldsmith's mark can also be found on the soundtrack to cult sci-fi film Laserblast [1978], The Man With Two Brains [1983], Moon 44 [1990], Man's Best Friend [1993], Kull The Conqueror [1997], plus the TV series Witchblade [2001-2002], Helen Of Troy [2003] and Sanctuary [2008]. He also collaborated with his father, Jerry Goldsmith, on Star Trek: First Contact [1996] as well as the Main Title for Star Trek: Voyager [1995]. The greatest omission to date has been the unavailability of a score release for the impressive Stargate Universe. It should be issued posthumously our of sheer respect and part of his impressive cannon of music.

Stargate SG-1 creator Brad Wright even returned to Stargate SG-1, Children Of The Gods to edit the Final Cut and even restored Goldsmith's original score in full. Series star Richard Dean Anderson, who played Colonel Jack O'Neill, took to twitter and wrote, "Dear Joel, Heaven sounds so much sweeter now, but we'll forever miss you here. Play on, Friend." Amanda Tapping, who played Samantha Carter, followed suit and wrote, "RIP Joel Goldsmith. Very sad day. Stargate wouldn't have been the same without you. The music and the legend live on."

For me, Goldsmith has been a mainstay in my living room and car whenever I watch an episode of the classic Stargate franchise or listen to his scores on a science fiction mix disc. He will indeed be missed. Goldsmith passed from cancer and left through heaven's Stargate at the age of 54. His music will endure. Indeed.

The Music Of Farscape

The sounds of Farscape entirely complement the series with its otherworldly peculiarness. I love it. The compositions mix the strange with the ethereal. The music was entirely the work of Subvision and Guy Gross. Nothing set the tone for the shoot down the wormhole better than the series' theme song.
*

The Theme from Farscape was composed by Chris, Toby and Braedy Neal, the core of Subvision. The creators wanted something between "medieval" and "tribal" according to Farscape The Illustrated Companion. According to that book, the networks were not pleased with the final music production largely due to the the feminine thread that ran through the piece. The female vocal component was provided by Avigail Herman. Fortunately just about all involved felt very strongly about the plan that was laid out by Brian Henson and felt very strongly about the piece created by Subvision. Composer Chris Neal recalls, "We felt we had to have some sort of yearning sound, a tribal feel, because that's the whole point of Farscape."

*

One of the things I love about Farscape is the strong female current in the show. Henson, O'Bannon, Kemper and company have designed a show with strong male and equally strong female lead counterparts particularly in Aeryn Sun, Zhaan and Moya. Neal really brings that point home. "Moya's a female, there's a strong female presence in the cast, and there are all these people trying to find their way home." I love this point. Not only does the music emphasize this female sensuality throughout the series, but its represented symbolically through Moya as the mothership. Her female strength houses this band of characters as if carrying a child in her womb. There is something innately powerful about that image week after week and its conveyed positively throughout Season One and the series.

*

I have the good fortune of having five unique Farscape CDs that have been released to date including Music From The Original Soundtrack Farscape [released by Crescendo], featuring music from Seasons One and Two and now well out of print. Also available are Volume One, Two and Three of Farscape Classics through La La Land Records. These three discs feature the compositions of Guy Gross and include the scores to the following episodes: Revenging Angel, Eat Me, Die Me Dichotomy, Into The Lion's Den Part 2: Wolf In Sheep's Clothing, The Choice and The Locket. Finally, Farscape The Peacekeeper Wars featuring Guy Gross and the Sydney Symphony and Cantillation . All of these La La Land Records releases are in low supply with Farscape Classics Volume One sold out.

*

As far as musical compositions and soundtrack scores go you can't do better than those conducted for Farscape. The music easily ranks up there with the best of Star Trek, Space:1999 and Stargate SG-1.

William Shatner: Has Been?

A man in his prime? Maybe.

William Shatner sure is a busy boy. He's always doing something. He's even going to receive his own talk show. I'm surprised it took them that long to consider giving him a shot. I mean the man is vocal. He always has something to say. Like 'em or hate him he has an opinion. You know what they say about opinions. Yes, they're like assholes and everyone has one. Well, rest assured Bill Shatner has been referenced as such and probably worse along the way. Just ask George Takei a.k.a. Sulu. Certainly some of Bill's castmates do not look upon the man as fondly as say, um, me.

I love William Shatner. The man is a genius. He has a gift for the camera and he uses it wherever he can. Still, put him behind the microphone and the results can vary. It's not that he gets behind it so much as a singer, but to provide that niche genre of music referred to as the Spoken Word Album. You'll recall The Transformed Man [1968]. Perhaps, if you're lucky you don't recall or you won't. Quite frankly it's terrible. It was his first ditch attempt at something unique and different, but in the end fails miserably. Whether it's Lucy In The Sky With Diamonds or Mr. Tambourine Man they just stink! In fact, they haven't aged well either. They sound like rejects from a Rankin Bass Christmas special. You hear them and you just cringe.

Spaced Out: The Very Best Of Leonard Nimoy & William Shatner [1997] is a reissue of those early recordings from Mr. Nimoy and Mr. Shatner. I'd love telll you that Nimoy's work is seasoned and more accessible than Shatner's, but alas I am here to say, Nimoy's selections are God awful as well. They just suck! Although it is notable that the Ballad Of Bilbo Baggins seems to be a huge hit on Itunes as a popular favorite with The Lord Of The Rings set no doubt. All of our fellow Fantasy genre geeks come out of the woodwork for that inspired gem of dreck. Ech!

William Shatner recently lended his Vocal/ Spoken Word hand to Exodus [2008]. It is a classical Oratorio in three parts credited to William Shatner, David Itkin, The Arkansas Symphony Orchestra and Paul Rowe. The choral orchestrations are lovely, with nothing to over-the-top from Mr. Shatner here. It is passable in my humble opinion.

Shatner also lent a hand to a couple of tracks for Brian Evans Live [2006]. Lady Is A Tramp and What Kind Of Fool Am I? are trademarks in Shatner's more contemporary, irreverent style. Still, nothing too impressive here if you're a Shatner fan. The only worthwhile turn in this vein came to fruition a few years earlier.

William Shatner struck just the right cord when he got involved with Ben Folds [formerly of Ben Folds Five] for Has Been [2004]. This recording took me completely and utterly by surprise. It is a work of pure genius. It's a credit to Ben Folds too because he's the only man that has been able to tap raging energy of Shatner at his best within the Spoken Word concept Shatner seems to enjoy so much. Shatner absolutely delivers and the recording is an amazing, varied, pop masterpiece. The writing is fantastic and no doubt Ben Folds was behind some of it. I know very little about Ben Folds by the way. At times, the recording drips with irony, sometimes tenderness, sometimes scathing humor, self-mockery, pain and much more. There is nothing cringe-worthy here in the way The Transformed Man had you cowering for your binky. Listen, if The Transformed Man was a guilty pleasure and you are definitely guilty if you are out there, this is not. There is nothing about this recording that you need be ashamed of for liking. The One To Be Pitied would beg to differ of course. A friend of mine also fails to appreciate the inspiration found in the work as I did. It is a rich collection of songs that even benefits from guests Aimee Mann, Joe Jackson and the insane Henry Rollins. There's something about this collection. It just works. William Shatner delivers like some mad uncle that visits after a few stiff vodkas and just starts ranting and going off. Still, he is such a sympathetic character in his delivery here you'll be hard pressed not to be won over. You will be overwhelmed by emotion thanks to his impassioned way with the word, the spoken word. Talk about self-effacing brilliance. This guy literally tears himself down, or plays into the stereotypes for a laugh, or breaks them down with heartwrenching honesty. I don't know how he did it, but producer/ arranger Ben Folds brings out a classic William Shatner fronted recording. You need to hear this recording to believe it. When that's done you'll listen to it again and again for every little nuance of emotion you can ring out of every word and melody. Oh and that voice, it's a winner behind the microphone here.

Highlights are in bold, but as a whole this thing is rock solid. The tracklisting for Has Been is as follows:

• Common People [A scorching remake of a Pulp track]
• It Hasn't Happened Yet [a genuinely introspective heartbreaker]
• You'll Have Time [outrageous commentary on death]
• That's Me Trying [Shatner reaches out to a daughter after failing as a father]
• What Have You Done
• Together
• Familiar Love
• Ideal Woman
• Has Been
• I Can't Get Behind That [with Henry Rollins on societal insanity]
• Real [duet with country singer Brad Paisley]
  
  So don't forget to, as William Shatner puts it, "live life, like you're gonna die, because you're gonna'." So, Shatner, a has been? I don't think so.

Has Been: A