Fans of British children’s television in the 1960s will be thrilled that La-La Land has brought together two scores from MGM-produced features of the famous Thunderbirds series.  The “supermarionation” spy show spawned by Gerry and Sylvia Anderson was brought to the big screen in 1966 .  For those less familiar with the series, this was a “marionette” action-adventure program with puppets essentially and dialogue  launched in 1965 and focusing on the South Seas-based Tracy families International Rescue organization with exciting vehicles, and systems that allowed the organization to come to the aid of the world.  Set about 100 years in the future, the program’s international appeal was aided by a blend of American accents and the charming, and very British, Lady Penelope and her butler, Parker.

Filming for Thunderbirds Are Go began as the series’ wildly popular first season was underway with a hoped for pickup by the American television market.  The film would aid in that plan, producers hoped, and unlike other TV-to-big screen films, this one would not simply be spliced together and remade scenes from the series, but an original story.  The 1966 film focused on the launch of the space vehicle Zero X on its way to Mars when it is sabotaged and Rescue is called to help.  Having already created some indelible music for the series, Barry Gray turned to a larger orchestral palette to add a larger-than-life feel to his themes and dramatic underpinning of the film.  For the film, Gray would use his familiar march while also adding a new theme for Zero X.  Also, he would write a new fanfare of sorts for the Anderson’s production logo that would be used on subsequent TV productions.   A bit of science fiction sounding scoring appears in “Journey to Mars” (and later in the dramatic “Fall to Earth/Martian Exploration”) that soon shifts into a more romantic interlude for “The Swinging Star” concluding with rich orchestral writing for the main theme.  The two musical sequences, combined into one track here, are one of the many highlights of the score.  Gray’s rich romantic writing, coupled with great action music (especially “Rock Snakes”) make the score a delightful listen.  The final pronouncement “Thunderbirds Are Go” launches us into the march used for the “End Titles” which is at its heart a very British-style march (a nice blend of Walton and Arnold).

Thunderbird 6 followed on the heels of the positively-reviewed film debut, but there was a bit of a shift.  The new film would spend a bit more time focusing on the characters of Rescue.  Gray took a bit lighter approach to the film that is part of the music used for Skyship One.  You hear this as well in the parody of “The Man on the Flying Trapeze” that becomes a source of variation in “Flight of the Tiger Moth”—complete with comedic “wah-wah” brass— and recur throughout the score.  Later phrases of “The Star-Spangled Banner” (“Welcome Aboard/Dumping Bodies”) make a brief appearance.  Some delightful lounge jazz appears as well in “The Ballroom Jazz” and “Dinner Aboard Skyship One.”  Gorgeous romantic orchestral writing is also on beautiful display in the opening of “Skyship Journey” before we move into more dramatic travelogue music that will lead us into “Indian Street Music.”  Later we get some “German” polka music for stop at the Whistle Stop Inn as the Skyship’s journey continues.  While the score itself may seem lighter, the real build up to the exciting conclusion makes this a very thrilling ride that culminates in “Tiger Moth Escape” and the “Crash Landing and Conclusion”.  As is the case, part of the joy in hearing this music is the way Gray incorporates the primary themes into the various underscoring requirements.  Thunderbird 6 did not quite live up to expectations at the box office and its impact would result in their not being a third season of the television series.

The sound for this release is superb.  Great accompanying booklet information will help set up the score well for those less familiar with the series itself.  Hearing Gray’s music on a larger canvas makes for a great listen on its own as it is some wonderful 1960s film scoring that is a welcome addition to disc.  It is equally interesting to hear Barry Gray’s style in comparison to similar scoring approaches he would later apply to series like Space 1999.  This limited edition release is available from La-La Land Records.

After releasing Frederik Wiedmann’s engaging scores for Justice League and The Green Lantern, La-La Land Records brings us this latest score for the recent DC DOV animated adventure, Son of Batman.  The caped crusader discovers that he has a son who was raised by the League of Assassins in this latest chapter of DC Comics hero.  Wiedmann’s score uses a string orchestra, EWI-produced sounds, and a variety of solo winds performed by Peter Gordon.  The score revolves around the use of thematic material for Batman, his son Damian, and for Gotham City itself.

The opening title track features some rhythms and darker sound more closely aligned with Elfman’s Batman musical universe.  One of the most striking elements in the score are the way action sequences are scored providing a great deal of exciting energy (taiko-like drumming styles and metallic hits) with a confident use of syncopation against thematic presentation (“Deathstroke’s Army”, “Man-Bats”).  Interesting ethnic flute sounds provide further interest as they float out of the texture (“Peace and War”).  The thematic ideas are often cast in darkness, but sometimes in tracks such as “Ashes to Ashes”, there are these moments where the music hints at hopefulness shifting through major and minor key areas.  While a somewhat more jazzier percussion style infiltrates the music in “Gotham Crimes” it’s not until the following “Souvenirs d’une Liaison” where a late-night jazz club sound appears with guitar and solo trumpet ideas providing quite a contrast to the surrounding material.  “Damian”’s theme is given its own chance to shine in a track that provides some of the dark and sadder qualities of this character in a very brief brush stroke.  Ambient sounds may appear very briefly (“Off to Scotland”) but are soon faded out in the texture.  Electric guitar ideas are also added for just a slight edge as well, often used as a percussive idea, though certain repeated riffs occur that might set off a parallel pattern in percussion.

Wiedmann’s scores for these DC animated stories continues to be among the best in the business.  Son of Batman features some excellent thematic material, well-written action sequences with exciting syncopation, and just enough variety to make for a great listening experience.  The score is available for download minus two action-tinged tracks that appear on the album: “Ambushed” and“The Spoiled Son.”  Easily recommended for fans of Wiedmann’s earlier superhero outings!  As noted, La La Land is releasing this in a limited run of 1500 copies that will have 2 bonus tracks.  Otherwise one can acquire it via download.