April 8, 2015

  • TV's Short-Lived Flash Gordon Scores Released

     

    Flash Gordon (TV) ***

    MICHAEL PICTON

    Disc One:

    Perseverance Records 069

    30 tracks – 66:17

     

    Disc Two:

    Perseverance Records 074

    29 tracks – 63:57

     

    Disc Three :

    Perseverance Records 074

    39 tracks – 73:36

     

    The classic science fiction serial Flash Gordon has always been a rather elusive property to translate for modern audiences.  It has all the components and tropes that so many later franchises would borrow from that perhaps it seems a bit quaint.  Though for many, the 1980 version is still a campy guilty pleasure with its Queen title song ringing in the ears at the mere mention of the film. The series featured an exciting action title that also added in a bit of rock influence towards the final bars.  Thus it quickly alludes to the atmosphere of the 1980 film’s Queen and Howard Blake integration.

     

    The SyFy Channel attempted to reboot interest in this classic character and entered into an agreement with series developer and director Peter Hume.  An initial 22-episode run was agreed upon and rushed into production.  The latter may have very well insured the short life of the series which debuted in 2007.  The first seven episodes had a lot of unpacking to do to introduce various characters and planetary cultures and the result was a low viewership.  Critics were not overly kind and the show barely flew through its first season though it was obvious that things were improving.  Perseverance Records is releasing music from the series over three volumes available separately (currently) featuring the work of composer Michael Picton.  Picton provided the show’s theme and music for eighteen episodes.  It was his first big “series” scoring opportunity and he has since gone on to provide music for P.O.V. most notably.  The low budget means that the music here will be well-produced samples, electronics, and a host of other tricks at the disposal to lend the series its unique “edge”.

     

    Disc One bookends music from the first seven episodes and features the opening and closing titles for the show.  The pilot episode is the most significant set of cues here (at 7 tracks).  The music blends the standard SyFy channel “orchestra” and musical support.  The ideas are often quite engaging.  The pilot episode features more introspective tracks with a rock-influenced “Race” and an exciting final setup for the next episode in “Through the Rift”.  Episode 2 continues the two-part pilot and introduces us to the planet Mongo and Ming the Merciless (“Ming’s Fury”).  A brief romantic interlude also appears in “Dale’s Theme”.  The appearance of a female vocalise idea first happens in “Execution” and features Kate St. Pierre.  This sounds will become part of the world used for the Omadrians and the selections from this fourth episode certainly feature some fascinating thematic writing.  The world of electronics enters into the score more forcefully in episode five as we enter the musical world of action thriller for cues like “Baylin Disarms the Bomb.”    Things get a bit more seductive in “Aura’s Parlor” from episode 6, “Ascension”.  This episode introduced King Vultan and his Hawkmen.  The music here blends the orchestral sounds with electronics and drumming to create often exciting musical backdrops (“Rescue Attempt”).  Electric guitars and percussion lend a modern sound to places like “Flight”.  A tango-esque moment (“Barfly”) creates the opening atmosphere for the episode “Life Source”.  “Old Joe” finds us back at the dramatic thriller underscore style.  A bit more atmospheric music does close out the final track.

     

    The theme is used to bookend the selections from Disc two as well, though here the last track is billed as a “remix”.  Six episodes are represented here.  The music from Episode 10, “Til Death”, features a bit of comic relief and romanticism as “Champagne” plays out with a gorgeous jazzy-ballad sound creating one of the more beautiful moments of the score.  There is also a chunk of action music for “Duel” which also includes some warm lyric writing.  The music is already gaining a bit more sophistication with drumming layers, choral “sounds”, ethnic instrumental colors, to help add to the intensity of the music.  “So Weak” brings the episode’s selections to an emotional cliffhanger.  For “Conspiracy Theory”, episode 11, we are back in more electronic musical territory with some atmospheric color as well.  More unusual music unfolds for this episode creating interesting tension in places like “Pleasure Garden” or a source-like cue for “Baylin and Genessa”.  The darker cues continue into episode 12 (“Random Acces”) as things gain more of an atmospheric edge with snatches of thematic integration.  There is a significant portion of the disc given over to music from “The Sorrow” (episode 14).  It opens with a touching love theme (“The Player”) and has moodier backdrops with interesting instrumental sounds (“Baylin Wounded”) incorporated.  A real chorale was also brought in to add extra emotional intensity to the music, first heard in “Honor Day Hymn” (certainly one of the score’s highlights) and in a touching finale.  The music for this episode is among some of the best of the series.  “Stand and Deliver”, episode 15, has an interesting Mickey-mousing cue for “Hunting the Celetrophs” which also features some atmospheric music as well.  The latter is on display in the opening “The Prophecy”.

     

    The final episodes bring disc three to a close with an ample amount of music.  After the theme is presented we move into some percussion jungle-like music.  The “Harpist” becomes a significant aspect of the story in episode 16 (“Possession”) and is an interesting cue with bell-like sounds and atmosphere surrounding the theme.  Some of the haunting music that appeared on disc two recurs here as well with plenty of tension-building devices on display and some of the action music with rock influences (“Sister Battle”).  “Thicker Than Water”, episode 17, features some great action music, a touching “A New Son”, some creepier music (“High Hopes”), and more unfolding of Ming’s theme (“Memory Stone”).  More intense music follows the adventure of “Blame” with its high energy music reminiscent of Brian Tyler.  This electronic-influenced style will open “Brini” as we head into Episode 20, “Cold Day in Hell”.  The music for this episode continues the sort of modern C.S.I.-like thriller style combined with a bit of Guy Gross (a la Farscape).  The final episodes of the series were essentially a two-part finale.  Themes are revisited and there is an attempt at “Rescuing Dr. Gordon.”  The “Revolution”, as the episode is titled, may solve some things, but new issues will also arise.  They would not get a chance to be resolved as the series was cancelled, even though there is great hope in the final track, “The Adventure Isn’t Over.”

     

    Each volume provides a different back story to the series development, characters/actors, and music.  The episodes are given thumbnail explanations as well with the music referenced in these pieces as well to connect with the storylines.  Having to come up with 30-40 minutes of music for each episode on an almost weekly basis, Picton has helped shape each album with unique highlights to delight fans.