Welcome to the next new episode my podcast! This episode has more of a focus on music for television. In the first section I explore the music composed by Stu Phillips for the original BATTLESTAR GALACTICA television series, which aired for one season on ABC in 1978, produced by Glen A. Larson. This show and its music was an early favorite of mine and Phillips composed many wonderful themes and motifs heard through that single season. In the second section I talk with my friend and fellow soundtrack fan Mike Hagen about his favorite scores from TV series of the 1960's and 70's, including STAR TREK, LOST IN SPACE and DANGER MAN, the latter a UK television series aired here in the U.S. as SECRET AGENT MAN. Plus there are other fun recollections of his including his time working at the Tower Records in New York City and also being an extra on "Saturday Night Live"! If you're interested in more of Stu Phillips, check out his website, http://www.stuwho.com/. 

In this episode, I focus my "Listening To.." series towards the incomparable and distinctive French composer, Maurice Jarre. Born in 1924, Jarre studied composition and percussion at the Paris Conservatory, beginning his film scoring career in his native France during the 1950's through short films and documentaries. It was then his peerless, epic music for 1962's LAWRENCE OF ARABIA, one of the most highly honored and well-remembered movies, that introduced him to English-speaking audiences, who immediately embraced him. His subsequent career continually flourished until his passing in 2009, chock-a-block with additional musical highlights in films such as DOCTOR ZHIVAGO, IS PARIS BURNING?, THE MAN WHO WOULD BE KING, WITNESS, MAD MAX: BEYOND THUNDERDOME and GHOST. His uniquely melodic and often idiosyncratic style and approach remains a memorable component in all projects he scored. 

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I focus my "Listening To.." series towards the incomparable and distinctive French composer, Maurice Jarre. Born in 1924, Jarre studied composition and percussion at the Paris Conservatory, beginning his film scoring career in his native France during the 1950's through short films and documentaries. It was then his peerless, epic music for 1962's LAWRENCE OF ARABIA, one of the most highly honored and well-remembered movies, that introduced him to English-speaking audiences, who immediately embraced him. His subsequent career continually flourished until his passing in 2009, chock-a-block with additional musical highlights in films such as DOCTOR ZHIVAGO, IS PARIS BURNING?, THE MAN WHO WOULD BE KING, WITNESS, MAD MAX: BEYOND THUNDERDOME and GHOST. His uniquely melodic and often idiosyncratic style and approach remains a memorable component in all projects he scored. 

In this episode of the podcast, film & TV editor Marshall Harvey takes time to talk with me about the role of music in his editing process, his favorite film music and composers as well as editing the films of director Joe Dante, specifically THE BURBS, MATINEE, SMALL SOLDIERS and LOONEY TUNES: BACK IN ACTION. We also discuss discernible shifts in movie music styles in recent years and Marshall shares some stories involving the late, great composer Jerry Goldsmith when working on the aforementioned Dante films.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode of the podcast, film & TV editor Marshall Harvey takes time to talk with me about the role of music in his editing process, his favorite film music and composers as well as editing the films of director Joe Dante, specifically THE BURBS, MATINEE, SMALL SOLDIERS and LOONEY TUNES: BACK IN ACTION. We also discuss discernible shifts in movie music styles in recent years and Marshall shares some stories involving the late, great composer Jerry Goldsmith when working on the aforementioned Dante films.

In this episode, I turn my "Listening To..." focus towards the inimitable composer Jerry Goldsmith and specifically, his music for films released in 1982. In that year alone there were five theatrical releases which featured his eloquent accompaniment - POLTERGEIST, NIGHT CROSSING, THE SECRET OF N.I.M.H., THE CHALLENGE and FIRST BLOOD. It was a typically busy year for Goldsmith and he produced several of his strongest, most celebrated scores, resulting in an Academy Award nomination for POLTERGEIST. I examine the aural connections between these efforts, a bit of the concert classical influences and their place in Goldsmith's overall canon.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I turn my "Listening To..." focus towards the inimitable composer Jerry Goldsmith and specifically, his music for films released in 1982. In that year alone there were five theatrical releases which featured his eloquent accompaniment - POLTERGEIST, NIGHT CROSSING, THE SECRET OF N.I.M.H., THE CHALLENGE and FIRST BLOOD. It was a typically busy year for Goldsmith and he produced several of his strongest, most celebrated scores, resulting in an Academy Award nomination for POLTERGEIST. I examine the aural connections between these efforts, a bit of the concert classical influences and their place in Goldsmith's overall canon.

In this episode, my guest is composer and musician Ben Wise. Ben writes, records and performs both with the indie/folk band TINY Goliath and as a solo artist. In the early 2000's, he began a career scoring commercials (i.e. "jingle writer"), a move which then grew to include web series, animated shorts and short films, including winning awards for the latter. We talk about his musical background, pop music, commercial jingles and film music. Contact Ben on Twitter and Instagram at @benwise and on Facebook at facebook.com/benwisemusic. The folk band TINY Goliath can be found at tinygoliath.bandcamp.com.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I talk about and present examples of the marvelous music of Elmer Bernstein, specifically his jazz-oriented scores, like THE MAN WITH THE GOLDEN ARM, and those in the "Westerns" genre, THE MAGNIFICENT SEVEN for example. Bernstein was part of the unofficial "second generation" of film composers, along with Alex North, Franz Waxman and others, following on from the "godfathers" of Max Steiner, Alfred Newman and Erich Wolfgang Korngold. He tackled pretty much every genre but there were distinct periods of his career when he was considered the "go-to" guy for jazz scores, then Westerns, then comedies, amid others. This is part of my ongoing "Listening To..." series of the show in which I examine various composers, whether presenting attributes of their overall style, focusing on particular genres or even a certain year of their career. This is not a comprehensive biography of Elmer Bernstein or his entire career, but more of a brief introduction for anyone who might be curious to learn about what to listen for.

Connect with the podcast on Facebook and Twitter:

www.facebook.com/ascoretosettle

https://twitter.com/score2settlepod

Email the show at [email protected]

In this episode, I talk about and present examples of the marvelous music of Elmer Bernstein, specifically his jazz-oriented scores and those in the "Westerns" genre. Bernstein was part of the unofficial "second generation" of film composers, along with Alex North, Franz Waxman and others, following on from the "godfathers" of Max Steiner, Alfred Newman and Erich Wolfgang Korngold. He tackled pretty much every genre but there were distinct periods of his career when he was considered the "go-to" guy for jazz scores, then Westerns, then comedies, amid others. This is part of my ongoing "Listening To..." series of the show in which I examine various composers, whether presenting attributes of their overall style, focusing on particular genres or even a certain year of their career. This is not a comprehensive biography of Elmer Bernstein or his entire career, but more of a brief introduction for anyone who might be curious to learn about what to listen for.