Classic TV Themes: Joe 90
You can write pages on Gerry Anderson's 1968 Supermarionation series Joe 90. There's the morally ambiguous premise of giving an emotionally immature nine-year-old the experiences of an adult. Then the psychological effects of allowing him to kill at will. Then there's the perennial issue of scientists prostituting their skills to the intelligence community. One can also reflect upon the absence of any major female characters in the series and how that may impact upon Joe himself. Finally, when one finally arrives she's a gold-digging bitch who tries to exploit Joe’s Dad, Professor McClaine. Joe 90 is certainly a psychiatrist’s dream subject.
You can write pages on Gerry Anderson's 1968 Supermarionation series Joe 90. There's the morally ambiguous premise of giving an emotionally immature nine-year-old the experiences of an adult. Then the psychological effects of allowing him to kill at will. Then there's the perennial issue of scientists prostituting their skills to the intelligence community. One can also reflect upon the absence of any major female characters in the series and how that may impact upon Joe himself. Finally, when one finally arrives she's a gold-digging bitch who tries to exploit Joe's Dad, Professor McClaine. Joe 90 is certainly a psychiatrist’s dream subject.
However, we won't dignify such pseudo-intellectual analysis here. Joe 90 simply has to be taken in context and viewed on its simple premise that every nine-year-old boy (at the time) wanted to be James Bond. If we apply modern sensibilities to everything made prior to 2000, then we’ll end up writing off everything. However, the most important aspect of Joe 90, that made the show so good was the get down funky theme tune, written by the immensely talented composer Barry Gray. Gerry Anderson wrote in his biography that the Joe 90 theme was a "dizzying piece of psychedelic pop art that could have been produced only in the late Sixties". A statement I whole heartedly concur with.
Curiously, when the series was syndicated internationally, changes were sometimes made. This was most noticeable for the Japanese release, where the catchy original title theme was completely replaced with a language specific song for that market. Now Japanese theme songs and pop music from the sixties is an entire sub-genre of its own, and I will not attempt explore this particular niche here. I will simply present you with both versions of the theme for your edification and entertainment. Feel free to comment.
1.) This is the original TV theme tune and not the commercial re-recording that was subsequently released as a single. This version includes the sound effects for the "BIG RAT" computer that gave Joe his special abilities.
2.) This is the Japanese theme song. If anyone can translate the lyrics, I would be very interested. It's not exactly Barry Gray, but it's kind of groovy in its own right.
Classic Movie Themes: Thunderbird 6
Despite the popularity of the TV show in 1965, the two spinoff Thunderbirds feature films were both box offices failures. This has often been attributed to the indifferently written screenplays that seem to have completely missed the sense of suspense that the fifty-minute episodes achieved. Both feature films feel rather slow and like extended episodes rather than big budget extravaganzas. They fail to do anything different with established characters and apart from showcasing more extensive miniature effects in a widescreen format, don’t really have much more to offer. It’s curious that the winning, character driven formula that worked on television was overlooked for these big screen outings.
Despite the popularity of the TV show in 1965, the two spinoff Thunderbirds feature films were both box offices failures. This has often been attributed to the indifferently written screenplays that seem to have completely missed the sense of suspense that the fifty-minute episodes achieved. Both feature films feel rather slow and like extended episodes rather than big budget extravaganzas. They fail to do anything different with established characters and apart from showcasing more extensive miniature effects in a widescreen format, don’t really have much more to offer. It’s curious that the winning, character driven formula that worked on television was overlooked for these big screen outings.
However, there is one aspect of both film productions that is flawless. Composer Barry Gray’s musical scores. Thunderbird 6 was his favourite of the two, as it afforded him a wider range of musical themes with its globetrotting storyline. Through the use of a 56-piece orchestra he successfully managed to vary many of the classic Thunderbird themes, using them as motifs to reflect either impending danger or regional locations. All of this is done with a generous helping of typically 1960s lounge jazz. The various locations visited throughout the film also provide local ethnic idioms to further embellish the score. As usual there are humorous pastiches to underpin comic moments by Parker or Brains, all of which are interpreted in Barry Gray’s very literal musical style.
It's all very well crafted and ingeniously orchestrated as you would expect from a master composer at the peak of his career. It may lack some of the more urgent style of the TV series, but this is down to the somewhat ponderous narrative that drive the score. Below are two musical cues that are my personal favourites. The first is the main opening theme from Thunderbird 6. It is not the traditional tune associated with the series, but a bespoke track designed to capture the spirit of international travel which was still considered “glamourous” at the time.
The next track was written for when Skyship 1 travels over the Grand Canyon. It is designed to reflect the beauty and awe of this geographical feature. It then segues into a more mysterious piece as the villains’ plot against International Rescue. The cue again embodies the class and flamboyance of Barry Gray’s talent.
Theremin versus Ondes Martenot
A few years ago UK Film Critic Mark Kermode made a short video extolling the virtues of that curious musical instrument the Theremin. However his performance was far from edifying, so to redress the balance, I’ve posted below the main theme from Mars Attacks by Danny Elfman. It highlights the ubiquity of this instrument in the science fiction genre. All of which stems from the wonderfully atmospheric score for the 1951 classic, The Day the Earth Stood by the great Hollywood composer Bernard Herrmann. It was a milestone in the evolution of film soundtracks. Both tracks illustrates the point made by Mr. Kermode perfectly. The Theremin, due to its frequent use in a genre during its most formative years, has virtually become the de facto “sound of space" in popular culture.
A few years ago UK Film Critic Mark Kermode made a short video extolling the virtues of that curious musical instrument the Theremin. However his performance was far from edifying, so to redress the balance, I’ve posted below the main theme from Mars Attacks by Danny Elfman. It highlights the ubiquity of this instrument in the science fiction genre. All of which stems from the wonderfully atmospheric score for the 1951 classic, The Day the Earth Stood by the great Hollywood composer Bernard Herrmann. It was a milestone in the evolution of film soundtracks. Both tracks illustrates the point made by Mr. Kermode perfectly. The Theremin, due to its frequent use in a genre during its most formative years, has virtually become the de facto “sound of space" in popular culture.
Or is it? There is another instrument that vies for the crown of the definitive sound of science fiction; namely the Ondes Martenot. This esoteric French instrument, has been used in many films and TV series, such as The Twilight Zone, Lawrence of Arabia, Billion Dollar Brain and Ghostbusters. The original design was similar in sound to the Theremin. The instrument's eerie wavering notes are produced by varying the frequency of oscillation in vacuum tubes.
Composer Barry Gray often used this instrument to great effect and I would argue that some of his compositions are the equal of those by the Hollywood greats. Here is the classic "Sleeping Astronauts" theme from the 1969 film Doppelgänger AKA Journey to the Far side of the Sun. It remains one of Barry Gray’s finest tracks.
It is often a mistake to make generalisations when it comes to fandom, due to its subjective nature. Genres that are so liberally populated by fanboys will be rife with debate over the most minor and esoteric of points. However I do not think that either instrument trumps the other and I like the eerie ambience of both. These two tracks are outstanding in their own way and I think that pop culture can happily give them equal billing with regard to their contribution to the “sound of space”.