Claim OwnershipThe Soundtrack Show
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Description
The Soundtrack Show is a look at film scores and soundtracks for some of the most popular movies, TV Shows, Video Games and Theater pieces of all time.
99 Episodes
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1Our final look at the music of Star Trek puts us in the position of the show's music editors and composers. With so many classic episodes to get through, how did they stretch their music budget to cover an entire season? The music of Sol Kaplan, Joseph Mullendore, Gerald Fried and Fred Steiner is examined, and we also look at a series of clever music edits for tracked scores.
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Music production on a full season of Star Trek begins! Our first two composers get to work, as Alexander Courage and Fred Steiner start writing and recording music at a frantic pace. We'll hear the rest of Courage's work on season one, and listen to Steiner's amazing contributions to Star Trek's musical vocabulary. We also examine the critical role played by the music editors, as they work to establish and shape the music of season one.
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Before making it to air, Star Trek had not one, but two pilots scored by Alexander Courage. Once the first season finally went into production, it took five composers to pull it off. This episode explores the musical, financial and creative realities of 1960s television music production, as we discuss the scores for these two pilots, and the creation of some of the show's musical sound effects. We are also introduced to season one's other four composers.
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The history of television and the origins of Star Trek are explored through the life and career of composer/orchestrator Alexander Courage, television star Lucille Ball, and Desilu music director Wilbur Hatch. The main title melodies for Star Trek are analyzed and discussed, along with their place in the history of 20th Century television music.
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In our final episode on the music of E.T. we listen to the second half of the movie's incredible music, cue by cue. We also discuss the work of film editor Carol Littleton, and vocal sound designer Ben Burtt.
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In Part II we take it from the top, and listen to how the film score for E.T. is constructed in the first half of the movie. We examine multiple themes, and discuss the movie's emotional honesty.
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The film score to E.T. The Extra-Terrestrial is widely considered to be one of the most important film scores of all time. We discuss what makes the music so great as a whole, and we discuss the evolution of the score's most important themes.
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In Part III of our series on Ocarina of Time, we tackle our main quest to save Hyrule by learning more complex melodies, mastering new musical dungeons, and ultimately facing off against our bongo-playing, pipe organ-pounding foes.
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In Part II of our series on The Legend of Zelda: Ocarina of Time, we look at the first act of the game and discuss all of its musical diversity: the dungeons, the distant lands, and the melodic fragments we learn to play on our digital ocarina. The game's over "music" theme is discussed, as well is hidden homages to the Zelda series' musical past.
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The groundbreaking interactive music of The Legend of Zelda: Ocarina of Time is both diegetic and non-diegetic music, as it plays a central role in both the story and gameplay.
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The music to original NES title The Legend of Zelda is discussed. We break down the main overworld theme, talk about its impact, and share memories of the original Zelda experience.
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In part II of our interview with Carlos Rafael Rivera, we discuss how he wrote around diagetic music and sound design. Themes for the main character are discussed, as well as parts of The Queen's Gambit that feel like a sports movie.
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We meet and celebrate Carlos Rafael Rivera, the composer for the hit Netflix series The Queen's Gambit. His musical background and career rise are discussed, as well as his overall approach to working with directors. His love for Randy Newman and film music is also covered, and we begin our in-depth discussion of The Queen's Gambit's wonderful score.
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In part II of our interview with Zach Robinson and Leo Birenberg, we discuss the rock and metal influences in Cobra Kai's score. We also talk about their use of thematic material, musical humor, and the show's return to Okinawa.
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We get a chance to sit down with Cobra Kai composers Zach Robinson and Leo Birenberg, as they discuss their music, their process, and their love of film scoring. The various musical styles of the Karate Kid franchise are discussed, as well as their own unique take on this hit TV series.
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In our second episode on the music of Karate Kid, we take a close look at the music of Mr. Miyagi, the pan flute music of Zamfir, and how it tells the story of Miyagi and Daniel's friendship. More songs are discussed, and we hear restored music in the movie's dramatic finale for the very first time.
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The music in 1984's The Karate Kid is both song score and film score, and composer Bill Conti worked with both. We discover how the songs and underscore are musically related, and discuss how main character themes are woven throughout this musically eclectic movie. The history of "You're The Best" is discussed, as is the movie's dramatic finale.
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We take a close listen to the end of Home Alone, breaking down how the music scores the comedy, and when it holds back. Diagetic songs and song scores are discussed, as is the recording of a large collection of Holiday hits. We hear how Williams uses themes to complete the story, bringing it all home with a feel-good conclusion.
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Let's hear it from the top! We take a close look at various parts of Home Alone to break down the compositions, and we examine a scene with omitted music restored. The use of popular Christmas music is discussed, as is the comedic effect of orchestration.
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In our first look at John Williams' score for Home Alone, we discuss the background of the project, and how it greatly influenced the score. We listen to a few leitmotifs, and discuss how they became songs for the film, and we examine their use in the film. Broad styles of Holiday music are also discussed, as are themes of family, fear, and love.
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we missed you so much!!!
YAY!!! A new episode!!! Thank you!
what happened!!!
Glad to see this podcast make a return and finally hear part 3 of Ocarina of Time.
Great podcast! Somehow you opened my mind and made my view of soundtracks much wider! Will keep listening you!
When are new episodes coming? I need my fix!
Danny Elfman & the Mystic Knights of the Oingo Boingo......... it ALL started on The Gong Show
So glad I came accross this.. A psychoanalytic approach to movie themes which is perfect for the poscast form.. This. Is. BRILLIANT!
I love this show. It has given me a greater appreciation of the music and films I grew up with
Glad to have found this podcast. I love movie scores. I wish he wouldn't talk over the music clips so we can actually hear the cues. Still, glad to have in-depth analysis of film composition. Check out Art of the Score for a similar analysis.
Not a fan of the interview episodes.
When are you coming back?
great podcast so far! would love to hear your take on Zbigniew Preisner's Trois Couleurs trilogy
Making Christmas..... it's ours this time! that's what came to mind with the bars you played on piano. Great cast. Thanks so much!
is the show cancelled? no new episodes for a bit
could the pitch of his voice when he says I need your help Luke be that tune as well
Man, what a good episode.
okay that is totally weird. just this morning I was listening to Vince dicola has two famous tracks from the Rocky 4 soundtrack and got it in my mind to look him up on Wikipedia to see whatever happened to him. and just now I see that there's a new episode I want to hear about him. that is really creepy.
Lq
Ok, i understand the show will not see our comments. Right? Being an app etc. - nonetheless 2 movies that get no attention, but the music is amazing, as are many. Remember, barely talked about. Elliot Goldenthal's - Alien III or Interview / Vampire. However, having the actual score and alternate cues, in full conductor score, Alien 3, is rather AMAZING and filled with orchestrating techniques to maximize effect via score vs sound stage. Finally, Jerry Goldsmith's - Poltergeist. About 5 or 6 tracks NEED talking about, SERIOUSLY