Sun, 18 June 2017
The Hunt for Red October with Lukas Kendall.
For eighty episodes and three supplementals, Melodic Treks has explored the world of Star Trek composers and their works outside of the Star Trek franchise. Basil Poledouris is a talented composer, and while he never composed for the franchise, he did appear in roles as an extra for three episode of the original Star Trek.
In this episode of Melodic Treks, host Brandon-Shea Mutala is joined by film music historian Lukas Kendall to discuss the score for the film The Hunt for Red October. We also talk about Poledouris' career, why soundtracks used to be so short, the meaning of a "cult film," and how the budget for the scoring of the film was truncated during production and how that affected the score.
Welcome, Lukas! (00:01:28)
Basil Poledouris (00:02:50)
The Hunt for Red October (00:13:38)
"Main Titles" (00:16:31)
"Course Two Five Zero" (00:20:30)
"Opening Title" (from The Abyss composed by A. Silvestri) (00:20:50)
"Two Wives" (00:24:44)
"The Payoff" (from the film No Man's Land) (00:25:50)
"Nuclear Scam" (00:28:45)
Finding Lukas (00:33:33)
*all music composed by B. Poledouris, except where noted
**all music from The Hunt for Red October, except where noted
Brandon-Shea Mutala (Editor) C Bryan Jones (Executive Producer) Matthew Rushing (Executive Producer) Ken Tripp (Executive Producer) Norman C. Lao (Associate Producer) Tony Robinson (Associate Producer) Stephen Boyd (Associate Producer) Richard Marquez (Production Manager) Brandon-Shea Mutala (Patreon Manager)
Sun, 12 June 2016
Goldsmith vs. Jones.
Ron Jones has said that one of the major influencers on his work was Jerry Goldsmith. The latter brought fans incredible scores for film’s such as Star Trek: The Motion Picture, The Final Frontier, and First Contact, as well as the Emmy Award-winning theme from Star Trek: Voyager. The former was a prolific composer of the music that brought TNG to life.
In this episode of Melodic Treks, host Brandon-Shea Mutala compares the plots of and scores for the Star Trek: The Next Generation episode “Datalore” and the 1979 Sci-Fi/Horror film Alien, which was scored by Goldsmith. He also conducts an in-depth analysis of the themes and motifs used by Ron Jones in the music of “Datalore.”
(All tracks composed by R. Jones except ”Hypersleep” and ”Sleepy Alien,” composed by J. Goldsmith)
Sun, 8 May 2016
Star Trek IV and Leonard Rosenman.
With a career that spans five decades and includes more than 100 films and television productions, Leonard Rosenman was once regarded as one of the most promising young composers in America—yet he was never a Hollywood favorite. He sometimes publicly chastised producers and directors for what he felt was musical ignorance and a lack of taste, but managed to make his voice heard by using film scoring as a way to experiment with advanced musical ideas. Some of the memorable movies that he worked on include East of Eden, Rebel without a Cause, A Man Called Horse, The Car, 1978's animated The Lord of the Rings, The Jazz Singer, and RoboCop 2. His final film was Jurij, an Italian work about a young violinist, released in 2001.
In this episode of Melodic Treks, host Brandon-Shea Mutala begins a 13-part series on the Star Trek films. Joining him to examine Rosenman's life and career is Standard Orbit co-host Ken Tripp. Beginning with some of Rosenman's television work from the 1950s and '60s, including The Twilight Zone and The Alfred Hitchcock Hour, we also focus on big-screen works such as Fantastic Voyage, Beneath the Planet of the Apes, Battle for the Planet of the Apes, and, of course, Star Trek IV: The Voyage Home. We also discuss his awards and nominations, and listen to the trailer for the low-budget horror film The Car.