veröffentlichung La-La Land Records: THE MUNSTERS: TELEVISION MUSIC OF JACK MARSHALL

[Alexander Grodzinski]

Nächste Woche von LLL:

[magnum-p.i.]

Ich bin ja gespannt, ob das ein großer Einstieg seitens LLL in Universals TV-Musikbereich ist oder ob das wieder nur eine Eintagsfliege ist und man Jahre auf den nächsten TV-Soundtrack warten muß. Soweit ich weiß, sind die "Munsters" nach wie vor recht populär in US & A und Marshall ist auch kein Unbekannter.

[Stese]

Mich reizen da eher die Musiken des „Beiwerks“ der CD, nämlich THE VIRGINIAN (dt. „Die Leute von der Shiloh Ranch“) und WAGON TRAIN. Album wird gekauft, auch wenn es sich womöglich nur um ein paar Minuten Score in Mono handeln wird.

[Trekfan]

vor 3 Stunden schrieb Stese:

Mich reizen da eher die Musiken des „Beiwerks“ der CD, nämlich THE VIRGINIAN (dt. „Die Leute von der Shiloh Ranch“) und WAGON TRAIN. Album wird gekauft, auch wenn es sich womöglich nur um ein paar Minuten Score in Mono handeln wird.

Sehe ich genauso, mich reizen auch eher die Bonusscores zu den Serien. Auch wenn Marshall wahrscheinlich der uninteressanteste Komponist ist, der für diese Serien komponiert hat. Das legen jedenfalls die beiden ziemlich drögen Marshall CDs nahe, die LLL bisher produziert hat. Aber da arbeiten sie mit dem Sohn zusammen, das hat diese Alben vermutlich möglich gemacht. Das "Thunder Road" Album verscherbelt das Label gerade auch für $4,98. Dass der Score zu dem Munsters Spielfilm unter dem Universal Film Music Classics Collection-Logo lief, konnte man wegen des Kults um die Serie noch einigermaßen rechtfertigen, hier bei der Musik zur TV-Serie passt es natürlich besser.

Zu der TV-Serie The Deputy mit Henry Fonda hat Marshall auch das Thema komponiert, das dann sicher auch mit auf der neuen CD sein wird.

 

[Trekfan]

Für das erste Album konnten sie sogar John Williams gewinnen, um ein Grußwort zu schreiben. Nette Geste.

[JuergenH]

Beim Thema MUNSTERS bin ich auf eine Kleinigkeit gestoßen, die mir bisher überhaupt nicht bewusst war:

Falls es kein Falscheintrag ist (wovon ich ausgehe), gibt es einen Film "The Munsters' Revenge" von 1981, für den nicht Jack Marshall, sondern ein gewisser Vic Mizzy die Musik geschrieben hat, bekannt aus der "Addams Family". Für mich schon sehr überraschend*, da "Munsters" zu "Addam's Family" bisher so etwas wie das 60er-Jahre-Grusel-Comedy-Sitcom-Pendant zu Star Wars/Star Trek gewesen ist. Kennt jemand Vic Mizzy' s Musik hierzu?

https://www.soundtrackcollector.com/title/26721/Munsters'+Revenge%2C+The

https://de.wikipedia.org/wiki/Die_Rückkehr_der_Familie_Frankenstein

 

*Nachtrag: das ein anderer Komponist in 1981 gefunden werden musste, ist aufgrund den Lebzeiten Marshalls natürlich logisch, dass die Produzenten auf Vic Mizzy gekommen sind ist wegen der thematischen  Nähe auch irgendwie nachvollziehbar - habe aber darüber noch nie etwas gehört (und kenne den Film auch nicht)...

Nachtrag #2 - Film ist auf youtube... https://www.youtube.com/watch?v=Vuw8DTfP36A

 

 

 

[Trekfan]

Percepto Records war vor vielen Jahren vielleicht recht nah davor, eine CD zu Vic Mizzys "Addams Family" zu veröffentlichen. Jedenfalls war das damals offíziell angekündigt. Die hatten eine ziemlich erfolgreiche Zusammenarbeit mit dem Komponisten, bei der einige sehr schöne CDs dabei herausgekommen sind. Es war damals auch die Übergangszeit vom "composer promo" zur ordentlich lizensierten CD, da Mizzy es über seine Beziehungen möglich gemacht hatte, zumindest seine Musiken von Universal zu veröffentlichen. Damals eine besondere Sache. Und damit schließt sich hier auch der Kreis mit den "Munsters" Scores von Universal TV.

[Stefan Jania]

Vielleicht interessant (aus dem Booklet).

About This Release BY MIKE MATESSINO

History can take its time revealing itself, and when it does, it seems to cry out for people to discover it. Commuters who emerge from the Universal / Studio City station of the Los Angeles Metrolink B-line pass a structure built in adobe style positioned close to where an original rancho house, Campo de Cahuenga, once stood. It was there, on January 13, 1847, that the Treaty of Cahuenga was signed, ending hostilities of the Mexican-American War in California. 150 years later, it was while building the train station that the foundation of the original house was discovered. The remnants were excavated, situated above ground for permanent display, and decorative pavement was added to Lankershim Boulevard to mark the historic building’s footprint.

It was hardly the last history to be forged on this land, as most Metro riders are more likely to notice, just across Lankershim, the massive frontage of Universal City. On the 400 acres that lie beyond, motion picture pioneer Carl Laemmle opened this studio in 1915, where it remains to this day, as countless visitors have experienced firsthand thanks to its world famous tour and theme park.

As the movie industry grew in those early decades, Universal was also a key player in radio, and subsequently television, via its relationship with Music Corporation of America. MCA created its own TV production company, Revue Studios, in 1950, and the new medium became so huge so quickly that MCA bought the Universal Studios land in 1958 and leased it back to Universal for one million dollars a year. Four years later, MCA purchased the company itself, with both it and the property being renamed Universal. The stretch of Lankershim outside the gate that had featured a massive Revue Studios mural with logos of all of its shows, was then transformed with a new frontage proclaiming “the new Universal Studios - 1964” and the landscape began transforming for the modern era. Company ownership changed over subsequent decades, but a long-standing relationship with the NBC network ultimately led to the current incarnation, NBC Universal.

Just a few hundred yards past the studio gate on Lankershim stands Stage 10, built in 1928 and serving as the scoring stage from the early 1930s. All Revue Studios and Universal Television music was recorded there starting in 1947 and continuing well into the 1980s. The music contained in this release, spanning 1959-1968, has remained vaulted until being retrieved for this project. 

The superb quality of these scoring masters, along with remarkably clear accompanying documentation, is a testament to the well-oiled machine of television scoring that was overseen by musical director Stanley Wilson (1917-1970). A talented composer, arranger and conductor, Wilson began his supervisory role in 1953 and was responsible for many television theme tunes. Like Jack Marshall, Wilson died tragically young (just 52, of a heart attack in Aspen, Colorado in 1970).

Composer John Williams, who worked under Wilson, gave Billboard magazine this snapshot of the department at its peak: “In the hallway there, there were five or six rooms, little rooms with no windows. And each room had a little piano. And on any given day I would be in one room, Jerry Goldsmith in the next one, Lalo Schifrin in the next one, Quincy Jones in the next one, Morty Stevens, also Conrad Salinger and the late Bernard Herrmann, who made it his home  for a couple of years and wrote some great music and drove everyone crazy. It was a situation where we taught each other and learned from each other and it was a group effort that produced the results that each one of us was able to accomplish.” While not mentioned in his quote, Jack Marshall, one of Williams’ closest friends, was also there, of course, working on the shows represented in this release. ‘Jack always exuded fun and great joy whenever he was in the process of making music,’ Williams noted. 

Selecting material from The Munsters was particularly challenging, as the opportunity was taken to digitize every master tape from the series. Ultimately, the program presents a cross-section of the sounds and vibes heard in the series, with various permutations of the main theme and of the sneaky motif for Grandpa, resulting in (we hope) a satisfying overview that will spring to mind the latter’s mad scientist basement experiments, the laugh-inducing reactions of unsuspecting visitors to 1313 Mockingbird Lane, Herman’s experiences in the outside world, and a family dealing with issues common to all, while wondering why other people act so strangely.

A few pieces of source music, equally memorable from the show and featuring Marshall's great guitar writing, are added to the sequence to add variety to the listening experience.

Disc 2 offers some of Marshall's innovative and catchy sounds from The Deputy, excerpts from his Wagon Train score, and most of his score for The Virginian. This series has had remarkable staying power and has enjoyed a loyal fan base, with cast reunions taking place as recently as 2010, 2014 and (its largest) in 2016. With its 90-minute format and high production value, The Virginian, which was anchored on Wednesday nights for nine seasons on NBC, offered feature quality scoring, as exemplified by Marshall’s entry, “Image of an Outlaw.’ It’s a good thing that treaty was signed just outside the gates of Universal City so that the old west could be tamed and more history could be made.

[Stefan Jania]

Gibt es seit September auch digital von Backlot.