caveinspiredmusic.com

FILM MUSIC

SCIENCE FICTION

_____________________________________ FM-SF1 United Kingdom 1983

DOCTOR WHO –

SUBTERRANEAN CAVES Soundtrack – Instrumental Comp: Malcolm CLARKE Rts: British Broadcasting Corp. Scr. (Film): Eric Saward

Perf: THE BBC RADIOPHONIC WORKSHOP Sound Effects: Dick Mills Dir. (Film): Peter Grimwade Prod. Co. (Film): BBC Television Prod. Co: The BBC Radiophonic Workshop M. CLARKE Rel. Date: (Air Date) Mar. 1982 Time: 2:36 A. British Releases: 1. LP: DOCTOR WHO – THE MUSIC BBC REH 462 (stereo) 12" 33rpm (Sd 2 – Bd 7) 2. Compilation CD: DOCTOR WHO – EARTHSHOCK (1992) Silva Screen FILMCD 709 (Tk 19) B. American 1. LP: DOCTOR WHO – THE MUSIC (1983) BBC 22462 (stereo) 2. Reissue on Compilation CD: THE BEST OF DOCTOR WHO –

VOL. 1 (1993) Silva America SSD 1014 (Tk 7a) C. Australian LP: DOCTOR WHO – THE MUSIC (1983)

BBC 811 933-1 Spec: (Nos. A1, B, & C) 12" 33rpm (Sd 2 – Bd 7) Notes: “As the TARDIS arrives on Earth in its future… the group explores a series of caves, they are caught by Lieutenant Scott and his men who detected their arrival. Scott accuses the group of killing the rest of Professor Kyle's exploration team as they were searching the caves for fossils. The Doctor convinces Scott to let them help and points them to a debris of rock, where they find the bodies of Kyle's team, along with an odd metal hatch. As the Doctor examines the hatch, other men in Scott's force are killed by androids, undetectable by the humans' equipment. The Doctor is able to stop them, but the androids are able to send images back to their masters, the Cybermen, who recognize their foe.” (Anon. 2016) The hatch conceals a bomb powerful enough to destroy the Earth, by the Doctor defuses it. Three cues on side 2, bands 7, 8, and 9 were used in the episode, Earthshock, in March 1982. This cue starts with water drops and goes to resounding tones, synth woofs and whorls then a mix of wavering waves, some sharp squeals followed by haunting keyboard tinkles and more whorls. Ref: Anon. 2016, Doctor Who, Earthshock, The TV Film, Wikipedia BBC Radiophonic Workshop, Doctor Who – The Music LP & CD, Discogs Doctor Who – The Music, Data, Wikipedia

Doctor Who, Subterranean Caves, (2:36), YouTube (◄COMPLETE AUDIO SAMPLE) Malcolm Clarke, BBC Radiophonic Workshop Staff, woodysnet.co.uk Marter, Ian 1983, Doctor Who – Earthshock, Target Book, London, 128p.

_____________________________________ FM-SF2 United Kingdom 1992

DOCTOR WHO –

THE CAVES OF ANDROZANI Soundtrack – Instrumental Comp: Roger LIMB Rts: BBC Enterprises Ltd. Scr. (Film): Robert Holmes

Perf: THE BBC RADIOPHONIC WORKSHOP Dir. (Film): Graeme Harper Prod. Co. (Film): BBC Television R. LIMB Prod. Co: The BBC Radiophonic Workshop Rel. Date: (Air Date) 1984 Liner Notes: Gary Russell Time: 6:04 A. British Releases: 1. Compilation CD: DOCTOR WHO – THE FIVE DOCTORS – VOL. 2 (1992) Silva Screen 710 (Tk 9) 2. Compilation CD: THE WORLDS OF DOCTOR WHO (1994)

Silva Screen FILMCD 715 (Tk 11) B. American Compilation CD: THE BEST OF DOCTOR WHO – VOL. 1 (1993) Silva America SSD 1014 (Tk 14) Notes: “The dangerous desert planet Androzani Minor is the only source for a powerful drug called spectrox created by bats that inhabit the planet's caves…. The TARDIS lands on Androzani Minor, and the Doctor and Peri decide to explore a set of tracks that lead into a nearby cave. As they explore, they are briefly caught in a ball of an unknown sticky substance, but they easily break free

(sic). Further into the caves, they discover a hoard of weapons, but are then captured by General Chellak's forces, believing the two to be working for gunrunners.“ (Anon. 2016) Prepared from deposits left by bat colonies, once treated and refined the spectrox is an extremely costly, highly prized drug that can prolong life. However, in its raw form it is a deadly toxin. When Peri falls into a crevice in the cave she is caught by the sticky filaments of a puff ball. The Doctor helps her up and brushes off some of the filaments. This sticky matter turns out to be the spectrox in its raw form so both of them are contaminated. The only antidote is the milk from a queen bat living in a chasm at great depth.

Doctor Who enters the Caves of Androzani Long cue filled with ominous organ passages, bursts of rapid conga rhythms and strident organ, high bell-like notes, more ominous organ, and ending with a rising wailing sound that crashes. Ref: Anon. 2016, The Caves of Androzani, Plot, Wikipedia Doctor Who, Caves of Androzani, (6:06), YouTube (◄COMPLETE AUDIO SAMPLE) Doctor Who – The Five Doctors – Vol. 2, Allmusic Holmes, Robert 1984 (1985), The Caves of Androzani, Target Book, London, 135p. Roger Limb, BBC Radiophonic Workshop Staff, woodysnet.co.uk Roger Limb, Bio, Wikipedia The Worlds of Doctor Who CD, Discogs

_____________________________________ FM-SF3 United States 2001

EVOLUTION –

THE CAVE WALTZ Soundtrack – Orchestral – Instrumental Comp: John POWELL Scr. (Film): Don Jakoby, David Diamond, & David Weissman Perf: (Studio orchestra)

Cond: Gavin GREENAWAY Dir. (Film): Ivan Reitman, 2001 J. POWELL Prod. (Disc): John Powell Prod. Co. (Film): The Montecito Picture Co. Time: 1:01 A. American CD: EVOLUTION

Varèse Sarabande VSD 302 066 256-2 (Tk 10) B. German Releases: 1. CD: EVOLUTION Varèse Sarabande VSD 6256 2. CD: EVOLUTION

Colosseum CVS 6256 (Tk 10) Notes: A science fiction comedy film where a meteor, carrying alien organisms, crashes into the Arizona desert and lands in an underground cavern. “Ira and Harry [college professors] theorize the aliens are spreading through the caves connected to the main cavern, but can't breathe oxygen. One of the dying creatures spits out a pod containing a newborn, which then hatches into an oxygen-tolerant alien…. [Later] the team arrives at the cave and prepare to fire the shampoo [from a firetruck] [General] Woodman's napalm strike causes the aliens to merge into an enormous amoeba-like creature, which reabsorbs the aliens in the cave. As it prepares to divide, the team drives under the organism and Harry pumps a firehose of shampoo into the beast, causing it to explode.” (Anon. 2016) The cue has rather bland singing strings that try to sound menacing. Ref: Anon. 2016, Evolution (2001 film), Plot, Wikipedia Evolution, Film Credits, imdb Evolution, Sound Track, soundtrackcollector John Powell, The Cave Waltz, (1:02), YouTube (◄COMPLETE AUDIO SAMPLE) John Powell (film composer), Bio, Wikipedia John Powell, Evolution CD, Discogs

_____________________________________ FM-SF4 United States 1980

FIRST MEN IN THE MOON –

MOONSCAPE AND DESCENT THE SELENITES (CD) LENS PIT/ SHADOWS Soundtrack – Orchestral – Instrumental Comp: Laurie JOHNSON Rts: O'Quinn Studios & Varèse Sarabande Records Scr. (Film): Nigel Kneale & Jan Read

(Based on novel by H.G. Wells) Perf: LONDON STUDIO SYMPHONY ORCHESTRA

Cond: Laurie JOHNSON Dir. (Film): Nathan Juran, 1964 Prod. Co. (Film): Ameron Films

& Columbia Pictures Corp. L. JOHNSON Prod. (Disc): (UK) Laurie Johnson; (US) Kerry O'Quinn (Starlog)Tom Null & Chris Kuchier (Varèse) Prod. Co: Starlog Records; New York, NY

& Varèse Sarabande; N. Hollywood, CA Rec. Loc: Watford Town Hall; London Rec. Date: Nov. 21, 1979 Liner Notes: Christopher Palmer Time: (LP) (Bd 2) 1:52; (Bd 3) 2:04 & (CD) (Tk 11) 1:56 A. American Releases: 1. LP: FIRST MEN IN THE MOON, etc. Starlog / Varèse Sarabande SV-95002 12" 33rpm (Sd 1 – Bds 2 & 3) 2. Reissue on Compilation CD: AVENGERS, etc. (1982) Varèse Sarabande VCD 47270 (Tks 10 & 11) B. British Releases: 1. LP: LP: FIRST MEN IN THE MOON, etc. (1981) Unicorn-Kanchana DKP 9001 12" 33rpm (Sd 1 – Bds 2 & 3) 2. Reissue on CD: FIRST MEN IN THE MOON (1991) Cloud Nine ACN 7015 (Lens Pit/ Shadows – Tk 11) Notes: Whilst exploring the Moon, Joseph Cavor and Arnold Bedford fall down a vertical shaft and discover to their amazement an insectoid population, the Selenites, living beneath the surface. After escaping from the Selenites back to the surface, they discover that their ship, still containing Kate (who stayed behind because Cavor had brought only two spacesuits), has been dragged into their underground city. Most of the action takes place in the underground city of the Selenites; The British release has slightly different titles for these two cues: “Moonscape and Descent into the Moon” and “Encounter With The Selenites.” The CD includes additional cues, in particular, "Lens Pit/ Shadows." The audio sample of this cue had strident orchestral phrase repeated insistently. Three other cues on the original soundtrack LP were used for scenes taking place in the underground city: “Trek to the Giant Doors,” “Monster Caterpillar,” and “Eclipse and Staircase,” but these are not considered cave cues.

Selenites examine the sphere – Cave entrance on left The Pit Shaft inside the Moon MOONSCAPE AND DESCENT – The second part of this cue (at 0:43) is relevant here. The strings perform vigorous descending chords and then fade to sober passages. THE SELENITES – Menacing, strident screaks and slashes followed by a pounding ensemble, a series of strident slashes. A fierce roar, heavy pounding, and all ending with hard thudding beats. Raynes writes – "The score, as represented here, does not contain a dull moment and resembles in many ways Herrmann's score for JOURNEY TO THE CENTER OF THE EARTH." Ref: Erickson, Glenn 2015, First Men in the Moon, Blu-ray Review, dvdtalk First Men in the Moon (1964 film), Plot, Wikipedia First Men in the Moon CD, Allmusic (◄AUDIO SAMPLE) First Men in the Moon, LPs & CDs, soundtrackcollector Laurie Johnson, Bio, Wikipedia Laurie Johnson, First Men in the Moon LP, Discogs Laurie Johnson, Moonscape and Descent, (1:50), YouTube (◄COMPLETE AUDIO SAMPLE) Laurie Johnson, The Selenites, (2:04), YouTube (◄COMPLETE AUDIO SAMPLE) Raynes, Doug 1981, LP Reviews, Soundtrack, n. 25, Spring 1981, p. 8-9

_____________________________________________________

VARIOUS VERSIONS OF

JOURNEY TO THE CENTER OF THE EARTH

FM-SF5 United Kingdom 1974

JOURNEY TO THE CENTER OF THE EARTH Soundtrack – Orchestral – Instrumental

Selections: Side One – 1. MOUNTAIN TOP AND SUNRISE/ 2. PRELUDE/ 3. THE GROTTO/ 4. SALT SLIDES/ 5. ATLANTIS/ 6. THE GIANT CHAMELEON AND THE FIGHT/ 7. THE SHAFT AND FINALE

Comp: Bernard HERRMANN Rts: (ASCAP) Scr. (Film): Walter Reisch & C. Brackett (Based on book by Jules Verne)

Perf: NATIONAL PHILHARMONIC ORCHESTRA

Cond: Bernard HERRMANN

Dir. (Film): Henry Levin, 1959 Prod. Co. (Film): 20th Century Fox Prod. (Disc): Raymond Few Prod. Co: London Records Liner Notes: Bernard Herrmann Time: (Total) 15:03 A. British Releases: 1. LP: THE FANTASY FILM WORLD OF BERNARD HERRMANN

a. Decca Phase 4 PFS 4309 (stereo) b. Decca SP 44207

2. Reissue on Compilation CD: GREAT FILM MUSIC Decca 443 899-2 (Tk 1 – Parts 1 to 7)

3. Reissue on Compilation CD: FANTASY FILM (1989) B. HERRMANN Decca 421 266-2 (Tk 1 – Parts 1 to 7)

B. American Releases: 1. LP: THE FANTASY FILM WORLD OF …. London (Phase 4) SP 44207 (stereo) 2. Reissue on LP: GREAT SCIENCE FICTION FILM MUSIC London (Phase 4) CSL 1001 (stereo) 3. Reissue on CD: FILM FANTASY (1989) London 421 266-2 (Tk 1 – Parts 1 to 7) 4. Reissue in Boxed Set CD: THE CONCERT SUITES (1989) Masters Film Music SRS 2005/ 8 4XCDs

(Disc 2 – Tk 2 – Parts 1 to 7) 5. Reissue on LP: THE FANTASY FILM WORLD OF …. (1995) Mobile Fidelity Sound Lab MFSL 1-240 6. Reissue on CD: THE FANTASY FILM WORLD OF …. London/ Mobile Fidelity Sound Lab UDCD 656 C. French Releases: 1. LP: THE FANTASY FILM … Barclay Decca 414 296 1 2. Reissue in Boxed Set LP: LESS MUSIQUES DE FILM DE BERNARD HERRMANN Decca 414 296-1

12” 33rpm 3XLPs (Disc 2 – Bd 1 – Parts 1 to 7) D. German Releases: 1. Reissue on CD: FILM FANTASY (1989) Decca (Cinema Gala) 421 266-2 (Tk 1 – Parts 1 to 7) 2. Reissue on CD: GREAT FILM MUSIC (1996) Decca/ London 443 899-2 LPF (Tk 1 – Parts 1 to 7 ) E. Dutch CD: GREAT FILM MUSIC (1996) London 443899-2 (Tk 1 – Parts 1 to 7 ) Spec: (Nos.A1a & b, B1 & B5, & C1) 12" 33rpm (Sd 1 – Bd 1 – Parts & to 7)

Notes: Bernard Herrmann is without a doubt one of the greatest film composers of all time and here we have the privilege of hearing some of his music for the best film adaptation of the classic Jules Verne novel celebrated among cavers the world over. These cues are performed as a 7-part suite. Virtually the whole film is cave-related, except for the inane scenes where Pat Boone has to sing (a condition of his contract), and no attempt will be made here to retell the story. For those who don’t know the story (as presented in the film) go to Wikipedia or classicfilmfreak. Several cave scenes were shot in Carlsbad Caverns, New Mexico and later scenes on the beach of the Central Sea were shot at the Leo Carrillo State Park in Malibu, California. Bernard Herrmann wrote in the LP liner notes – “I decided to evoke the mood and feeling of inner Earth by using only instruments played in low registers. Eliminating all strings, I utilized an orchestra of woodwinds and brass, with a large percussion section and many harps. But the truly unique feature of this score is the inclusion of five organs, one large cathedral and four electronic. These organs were used in many adroit ways to suggest ascent and descent [most spectacularly in the altar stone ascent], as well as the mystery of Atlantis. “For the scene involving the dangerous serpent [the giant chameleon], I resurrected an obsolete medieval instrument called a serpent [see photo], which has been dropped from contemporary orchestras.” (Herrmann 1974) A critic, Greg Orypeck, comments on some of the music – THE MOUNTAIN TOP AND SUNRISE – “begins with a forte trumpet motif, a call from on high, then the quiet strumming of harps against ascending woodwinds—louder and louder—which are joined by ascending brass. Added is the eruption of the organs, including the cathedral organ. Quiet returns with the strumming of the harps. Some listeners may hear in all this something of Richard Strauss’ tone poem An Alpine Symphony, which, coincidentally, begins with a sunrise.

P. Ronson, P. Boone, A. Dahl, J. Mason in Carlsbad Pat Boone showers in the Crystal Grotto

SALT SLIDES – “when McKuen [Boone] falls through a crevice into a salt cavern, is a series of frantic trills and flutter-tonguing in the woodwinds and brass, with harp glissandos. Blotches of large chords interrupt the proceedings. This is a very short sequence, as are many of the episodes; as is the nature of adventure films, one scene moves quickly to another and the requirements of a composer’s tonal palette change.

Pat Boone falls down Salt Shaft Four survivors in altar bowl attacked by Tegu lizard

THE SHAFT AND FINALE – “is a reversal of the opening main title where the sense had been of an enormous orchestral descent. Here the effect is of a tremendous ascent. For the longest time it seems, the registers of all the instruments rise through the scale, sustained by organ pedal points, themselves all the

while ascending in blocks. The screen is alternating between full shots of obviously stiff, unmoving dummies in a little saucer and closeups (sic) of the actual actors rotating in their asbestos dish, while at the same time being forced upward through the shaft. The moment the travelers are spewed from the volcano becomes a palatable release of tension, both for the viewer and in Herrmann’s orchestra. (Orypeck 2013) The stills from the film used in the YouTube audio-video sample hardly ever correspond to the musical cues they

are meant to accompany and towards the end they get completely out of sequence. Unfortunately this LP only has seven of Herrmann’s cue for this film. For a much fuller recording of the score see the Varèse Sarabande CD below. Ref: Bernard Herrmann, Bio, Wikipedia Bernard Herrmann, The Concert Suites CD, uib.no Bernard Herrmann, Journey to the Center of the Earth Suite, (15:03), YouTube (◄COMPLETE AUDIO SAMPLE) Bohn, Ron & Van de Ven, Luc 1980, Filmography/ Discography: Bernard Herrmann, in Motion Picture Music, 1980, Mechelen, Belgium, p.24 Bohn, Ronald L.; Doherty, Jim; & Van de Venn, Luc 1986, Filmography/Discography:Bernard Herrmann, Soundtrack, v. 5, n. 18, Jun. 1986, p. 11 The Fantasy Film World of Bernard Herrmann LP, Discogs The Fantasy Film World of Bernard Herrmann LP, soundtrackcollector & soundtrackcollector Journey to the Center of the Earth, Film Credits, Internet Movie Database, imdb Journey to the Center of the Earth (1959 film), Film stills & lobby cards, google;fr Journey to the Center of the Earth (1959 film), Plot, Wikipedia Orypeck, Greg 2013, Journey to the Center of the Earth (1959), classicfilmfreak

_____________________________________ FM-SF6 United Kingdom 1976

JOURNEY TO THE CENTER OF THE EARTH –

ATLANTIS Soundtrack – Orchestral – Instrumental

Comp: Bernard HERRMANN Rts: (ASCAP)

Perf: NATIONAL PHILHARMONIC ORCHESTRA

Cond: Bernard HERRMANN

Prod. Co: Decca Record Company Ltd.; London Time: 2:52 A. British LP: BERNARD HERRMANN CONDUCTS PSYCHO

& OTHER FILM SCORES Decca Phase 4 PFS 4365

12” 33rpm (Sd 2 – Bd 3) B. American & Canadian LP: BERNARD HERRMANN CONDUCTS PSYCHO & OTHER FILM SCORES London SPC 21151

12” 33rpm (Sd 2 – Bd 3) Notes: Herrmann rerecorded this cue entitled, “Atlantis,” because he was unsatisfied with the earlier version. Ref: Bernard Herrmann, Bio, Wikipedia Bernard Herrmann Conducts Psycho & Other Film Scores LP, Discogs Bohn, Ronald L.; Doherty, Jim; & Van de Venn, Luc 1986, Filmography/Discography:Bernard Herrmann, Soundtrack, v. 5, n. 18, Jun. 1986, p. 11

_____________________________________ FM-SF7 United States 1997

JOURNEY TO THE CENTER OF THE EARTH (Remix) * Soundtrack – Orchestral – Instrumental – Cave Pic Cover Selections: 1. Twentieth Century Fox Fanfare – 0:14/ 2. PRELUDE – 1:51/ 3. EXPLOSIONS / THE MESSAGE – 1:33/ 4. The Faithful Heart / My Love Is Like a Red, Red Rose (Pat Boone – vocal) – 3:45/ 5. THE MOUNTAIN / THE CRATER – 1:43/ 6. ABDUCTION / THE COUNT AND GROOM – 2:03/ 7. MOUNTAIN TOP / SUNRISE / ROPE / TORCH / MARCH – 3:11/ 8. SIGN / SLEEP / FALSE ARROWS / FALL / GROTTO –

5:09/ 9. Twice As Tall (Pat Boone) – 2:33/ 10. LOST / BRIDGE / GAS CAVE / VINES – 4:42/ 11. SALT SLIDES / THE POOL / DEAD GROOM / THE GUN – 5:08/ 12. THE CANYON / CAVE GLOW / MUSHROOM FOREST – 4:10/ 13. UNDERWORLD OCEAN / THE DIMETRODEN’S ATTACK – 5:23/ 14. The Faithful Heart (Pat Boone) – 4:31/ 15. MAGNETIC STORM / WHIRLPOOL / THE BEACH – 2:55/ 16. THE DUCK / THE COUNT’S DEATH – 3:42/ 17. THE LOST CITY / ATLANTIS – 3:47/ 18. GIANT CHAMELEON / THE FIGHT – 1:47/ 19. EARTHQUAKE / THE SHAFT – 2:16/ 20. FINALE – 0:30 Comp: Bernard HERRMANN (1911-1975) Add. Mus. Comp: (No.1) Alfred Newman; (Nos.4, 7-5, 9,

& 14) James Van Heusen Lyr: (No. 4, 9, &14) Sammy Cahn Rts: (ASCAP) Scr. (Film): Walter Reisch & C. Brackett (Based on

book by Jules Verne)

Perf: NATIONAL PHILHARMONIC ORCHESTRA

Cond: Bernard HERRMANN

Dir. (Film): Henry Levin, 1959 Prod. Co. (Film): 20th Century Fox Prod. (Disc): Nick Redman Prod. Co (Disc): Varèse Sarabande Records Inc.; Studio City, CA Liner Notes:(12-page booklet) Steven C. Smith Time: (See above) CD: JOURNEY TO THE CENTER OF THE EARTH (PC-IM) Varèse Sarabande VSD-5849

Notes: This CD includes selections from the previous LP album plus the Pat Boone EP plus several cues that were recorded for the film but have never been released; all remixed from the original 35mm film elements at the Twentieth Century Fox Studios. Two of the songs here were not used in the film (Nos. 9 & 14) and the finale was not used either. Much as we could have done without Pat Boone singing in the film, so we could do without his songs on this album. It's not enough that they include three songs here but they have to include one twice. One critic wrote – “Herrmann’s music is characterized by huge masses of sound, outsized brass sections rising up like glaciers, sinister organ cadenzas booming like a churchgoer's worst nightmare, and delicate parts for massed (or solo) harp. As with most of Herrmann’s scores, the music has a life of its own separate from the film, although it did make the movie -- a surprisingly cold and bloodless work apart from James Mason's performance -- seem bigger than life; bigger and more imposing, in fact, than any movie audiences had ever seen.” (Eder 2016)

No effort will be made here to describe each cue from this magnificent score. It is not known exactly which cues were used for the scenes filmed in Carlsbad Caverns, New Mexico. The movie still here (on lt.) is from the scene where they descend the columnar basalt crater pit, created in a studio set. For info concerning the Pat Boone EP see under Popular Music – United States – G to Z – To the Center of the Earth. Ref: Bernard Herrmann, Bio, Wikipedia Bernard Herrmann, Journey to the Center of the Earth CD, Discogs Eder, Bruce 2016, Bernard Herrmann, Journey to the Center of the Earth CD, Review, Allmusic Journey to the Center of the Earth CD, CDUniverse (◄AUDIO SAMPLES) Journey to the Center of the Earth CD, soundtrackcollector Journey to the Center of the Earth, Film Credits, Internet Movie Database, imdb Journey to the Center of the Earth (1959 film), Film stills & lobby cards, google;fr Journey to the Center of the Earth (1959 film), Plot, Wikipedia

_____________________________________________________ FM-SF8 United States 1999

JOURNEY TO THE CENTER OF THE EARTH (Miniseries) –

Television Series – Orchestral – Instrumental

Selections: 1. MAIN TITLES – 1:10/ 2. Tauranga – 1:04/ 3. The Journey Begins – 4:09/ 4. Troopers – 0:55/ 5. Maori Long Boat – 2:21/ 6. Chief’s Game – 1:38/ 7. THE DESCENT – 3:20/ 8. SCORPIONS – 1:24/ 9. THE BEACH – 1:42/ 10. BITTEN – 0:42/ 11. THE SKULL – 1:29/ 12. PTERODACTYL ATTACK – 1:24/ 13. RAPTOSAUR TAIL – 1:13/ 14. THE KISS – 1:31/ 15. DINOSAUR PRINT – 0:24/ 16. DINOSAUR LANGUAGE – 1:10/ 17. SAURIODS – 1:51/ 18. TO THE VILLAGE – 1:53/ 19. Native Dance – 1:59/ 20. Raina – 2:12/ 21. Love Making Dance – 1:25/ 22. Dance – 1:02/ 23. Sad Ralna – 0:17/ 24. Troubled – 1:15/ 25. Thinking of Alice – 1:17/ 26. EXILE VILLAGE – 1:58/ 27. SAURIOD JAIL – 3:31/ 28. EXPLANATION – 2:57/ 29. JHOTAN – 3:51/ 30. STONED – 2:17/ 31. Both in Love – 2:04/ 32. ESCAPE – 2:31/ 33. STILL 4 – 0:55/ 34. PARTING – 1:45/ 35. MAORI FAREWELL – 2:37/ 36. Who’s Ralna – 1:46/ 37. JONAS RETURN/ END CREDITS – 1:37

Comp: Bruce ROWLAND Scr.(Film): Thomas Baum (Based on book by Jules Verne)

Perf: AUSTRALIAN PHILHARMONIC ORCHESTRA Dir. (Film): George Miller, 1999 Prod. Co. (Film): Hallmark Entertainment & USA Network Prod. Co (Disc): Varèse Sarabande Records Inc.; Studio City, CA Time: Total Time – 68:18 or 66:36 CD: JOURNEY TO THE CENTER OF THE EARTH B. ROWLAND Varèse Sarabande VSD-6069 (37 Tracks) Notes: This album of music for the U.S. television miniseries, only vaguely based on Jules Verne’s novel. “The Lyttons [Theodore & Jonas], McNiff, and Alice Hastings find their way miles underneath the earth and reach an underground sea lit by a gaseous anomaly that provides light and life to this underground world. After traveling across the sea, the travelers encounter dinosaurs, 2 human settlements, and a humanoid reptilian species, the Solaroids, that may have evolved from dinosaurs.” (Anon. 2016) What follows is much intrigue with the natives, which has absolutely nothing to do with the Verne tale. “The group of travelers, now joined by Ralna, a native tribeswoman for whom Jonas develops strong feelings, begin their journey to the surface… The 4 travelers sail across the sea and begin to head back the way they came to the surface. Ralna, sensing danger, leaves in panic and is separated from Jonas. The Lyttons and Alice reach the surface through an underground vortex that feeds water to a lake on the surface.” (Anon. 2016) Regarding the music, one critic wrote – “The CD contains a great diversity of music, with 37 tracks spread over 68 minutes. Rowland employs both orchestra and electronics, and the first thing to note is that he has wisely avoided any direct comparison with Bernard Herrmann's great score for the 1959 MGM film version of the story, taking a totally different musical direction… The blend of orchestra, electronics [synthesizer] and New Age sensibility is unusual for such a subject, and the score is surprisingly understated for such a tale of high adventure. There are only a few moments where the music comes fully to life in the expected manner, and in these passages the orchestra never attacks with great intensity. It may simply be that this is music for a more melancholy, mystical version of Verne than we have seen before, and while synthesized (sic) strings are no substitute for the real thing, there is a considerable amount of attractive, if not exceptional music on this disc.” (Dalkin 1999) Another listener paned it – “Rarely will you find a more generic, synth and orchestra score of such little interest that even a second listening fills you with indifference.” (Retzer 2007) Many of the cues on the album appear to have no relation to cave scenes (listed above in lower case) and, without having seen this miniseries, it is not known which cues actually cover cave scenes. Those titles among the selections which are capitalized are thought to relate directly to the journey underground or to creatures encountered during that journey. No attempt will be made here to describe these pertinent selections. Ref: Anon. 2016, Journey to the Center of the Earth (miniseries), Plot, Wikipedia Bruce Rowland, Bio, Official Website, brucerowland

Bruce Rowland, Bio, Wikipedia Bruce Rowland, Journey to the Center of the Earth CD, Discogs Dalkin, Gary S. 1999, Bruce Rowland, Journey to the Center of the Earth CD, Review, musicweb-international Journey to the Center of the Earth CD, Allmusic Journey to the Center of the Earth CD, amazon.co.jp (◄AUDIO SAMPLES) Journey to the Center of the Earth CD, soundtrackcollector Journey to the Center of the Earth (miniseries), Film Credits, imdb Retzer, J.A. 2007, Journey to the Center of the Earth, Television Soundtrack, Amazon

________________________________ FM-SF9 United States 1998

KRULL –

THE WALK TO THE SEER’S CAVE FM – Orchestral Comp: James HORNER Scr. (Film): Stanford Sherman Perf: LONDON SYMPHONY ORCHESTRA & THE AMBROSIAN SINGERS

Cond: James HORNER J. HORNER Dir. (Film): Peter Yates, 1983 Prod. Co. (Film): Columbia Pictures Corp. Prod. (Disc): Ford A.Thaxton Prod. Co. (Disc): Super Tracks Music Group; Garden Grove, CA Time: 4:11 CD: KRULL SuperTracks MGI STCE-01/02 (2CDs) (Disc 1 –Tk 6) Notes: Just one cue from a powerful score for a mediocre film. The film is an epic sci-fi/ fantasy in the tradition of the Arthurian quest for honor and justice on a distant planet, Krull. Prince Colwyn swears to win back his lady and sets out for the cave of the old blind seer, Ynyr, who has extra lucid gifts. Ynyr can tell him how to find the black fortress, which disappears each dawn and tele-transports to another region on the planet. (Billard n.d.)

Prince Colwyn climbs a mountain and fishes out a spinning,

spectral weapon (the "Glaive", an ancient, magical, five-pointed throwing weapon) from a pool of lava in a secret cave. (McEneany 2011) Colwyn retrieves the Glaive from a high mountain cave before setting out to track down the Black Fortress, which teleports to a new location every day at sunrise. (Anon. 2016) The

cue for this scene is track 3, Quest for the Glaive. Later Prince Colwyn's group travels to the home of the Emerald Seer, and his apprentice Titch. The Emerald Seer uses his crystal to view where the Black Fortress will rise, but the Beast's hand magically appears and crushes the crystal. (Anon. 2016) Presumably the cue here is, The Walk to the Seer's Cave, where we hear “harp and electric piano gleam in gorgeous magical cadence.” (McEneany 2011) Still later there is another cave scene where “…we venture into the cave that houses Ynyr's old flame, the Widow of the Web. We know that something extremely nasty is lurking in here, too, because of Horner's spectacularly ominous and skin-crawling music. We can hear the spooky sound of wind whistling through the cave, created by the soft moaning and wailing of the choir. Their voices waft and undulate, a genuine feeling of cold, dead space and imposing, rustling shadows created. The harp is plucked almost as gently as the gossamer-thin strands a real web, as Ynyr penetrates the domain protected by the great crystal spider, the captor of the Widow. Horner has the mandolin and the dulcimer provide gleaming, feather-light textures that seem to brush against the inner-ear, caressing the listener with an embrace that is anything but comfortable.” (McEneany 2011) The cue for this scene is, “The Widow’s Web,” (track 2 on disc 2), but the title here does not mention the cave. The French critic tells about the same story – “'The Widow's Web' évoque ainsi la séquence où Ynyr traverse la caverne de la veuve aux milles fils en passant à travers l'immense toile d'araignée. Horner installe ici une ambiance sombre particulièrement glauque, quasi-surréaliste. Pour se faire, Horner utilise un souffle de choeurs et de cordes évoquant le son mystérieux du vent dans une caverne, un sifflement pesant qui renforce le côté glauque du morceau. À cela se rajoute des clusters de cuivres particulièrement

agressifs, surtout dans la scène où apparaît l'araignée blanche. Horner a réussi à créer ici en l'espace de 6 minutes une atmosphère pesante et angoissante qui donne un effet très prenant à l'écran.” (Billard n.d.) [“The Widow’s Web” evokes the scene where Ynyr traverses the cave of the widow of a thousand strands by passing through a huge spider web. Horner creates a somber atmosphere here particularly creepy, surreal. To do so, Horner uses a blast of vocals and strings evoking the mysterious sound of the wind in a cave, a heavy hissing reinforces the murky side of the piece. To this is added clusters of brass particularly aggressive, especially for the scene where the white spider appears. Horner has managed to create here in just six minutes a heavy and distressing atmosphere, which provides a very fascinating effect on the screen.] An enhanced release of this complete soundtrack album in 2010 included a bonus track, The Walk to the Seer’s Cave (Album Edit) – time 2:16 James Horner also wrote the score for “Humanoids from the Deep” (1980) (see under Film Music – Horror). Ref: Anon. 2016, Krull (film), Plot, Wikipedia Billard, Quentin n.d., Krull, Goldenscore James Horner, Bio, Wikipedia James Horner, The Walk to the Seer’s Cave, (4:15), YouTube (◄COMPLETE AUDIO SAMPLE) Krull (Complete Original Motion Picture Soundtrack), Discogs Krull 1983, Film Credits, imdb McEneany, Chris 2011, Krull, Complete Original Motion Picture Soundtrack Review, avforums

_____________________________________ FM-SF10 United States 1999

LOST IN SPACE –

PENNY’S CAVE TO THE CAVE Television Series – Orchestral – Instrumental

Comp: John WILLIAMS Scr. (Film): Jackson Gillis Perf: (Studio Orchestra) Dir. (Film): Paul Stanley, 1965 Prod. Co. (Film): New Line Cinema, Irwin Allen Productions,

& Prelude Pictures Prod. Co. (Disc): GNP Crescendo; Los Angeles, CA Time: (Medley - Total) 5:44; (Part 1) 1:15 & (Part 2) 0:45 CD: LOST IN SPACE – VOL. 3

GNP Crescendo GNPD 8062 (Tk 14 – Parts 1 & 2) Notes: Lost in Space is an American science fiction television series following the adventures of a family of pioneering space colonists who struggle to survive in a strange and often hostile universe after their ship was sabotaged and thrown off course. These cues were used for episode 7, “Mr. Friend Mr. Nobody,” air date, October 27, 1965. “In ‘My Friend, Mr. Nobody,’ Penny (Angela Cartwright) unexpectedly makes an alien friend in a cave. This cave manifests, at first, as just as a voice, but soon is able to demonstrate strange and fearsome powers. Penny attempts to convince her family that Mr. Nobody is real, and a million-year-old life-form, as he claims, but she is ignored and disbelieved by the other Robinsons, who are busy improving their settlement. When Dr. Smith (Jonathan Harris) learns that there are diamonds in Mr. Nobody’s cave, he becomes determined to drill there, with no worry whatsoever about the well-being of Penny’s friend…

“So Penny must spend her days alone, without attention, feeling unloved and unimportant. But before long, she encounters this “friend” in the dark cave, a friend who values her, and talks to her about things that matter…. And [they] become fast-friends, dedicated to each other’s well-being. Penny realizes, through her conversations with Mr. Nobody that her thoughts and words matter; that they make a difference.” (Muir 2015) “Undeterred, Smith tricks Don into blasting over the cave in order to find some clay-bearing soil, apparently something which the Robinsons need. Heedless of Don's warning, Smith uses too much explosive, unaware that Penny has returned to the cave below to look for her friend. Penny is knocked unconscious in the catastrophic explosion, and when her friend fails to rouse her, it goes on a rampage, manifested in tremors, violent winds and lightning. “The Robinsons are defenceless (sic) in the face of the oncoming disaster. Only when Penny regains consciousness and struggles back to camp to beg for their lives does the creature's rage quieten. At that point something strange happens; having left its cave, the creature has begun some process of metamorphosis and begins to move out into outer space as it says good-bye to Penny.” (Anon. n.d.) These two short cues were recorded as the first part of a four-part medley of cues – “Penny’s Cave/To the Cave/Gathering Wild Flowers/Moving Rocks.” Somber strings introduce a high flute melody. John Williams also composed music for the Star Wars series (see below Star Wars – The Empire Strikes Back). Ref: Anon. n.d., Lost in Space, My Friend, Mr. Nobody, Plot Summary, Wikia John Williams, Bio, Wikipedia John Williams, Penny’s Cave, (1:15), YouTube (◄COMPLETE AUDIO SAMPLE) John Williams, To the Cave, (0:45), YouTube (◄COMPLETE AUDIO SAMPLE) Lost in Space, Television Series, Wikipedia Lost in Space – Vol. 3, Allmusic (◄AUDIO SAMPLE) Lost in Space – Vol. 3, Discogs My Friend, Mr. Nobody, Film Credits, imdb Muir, John K. 2015, Lost in Space, My Friend, Mr. Nobody, reflectionsonfilmandtelevision.blogspot.fr

_____________________________________ FM-SF11 United States 1968

PLANET OF THE APES –

THE CAVE Soundtrack – Orchestral – Instrumental

Comp: Jerry GOLDSMITH Rts: Fox Continental Music Co. (BMI) Scr. (Film): Michael Wilson & Rod Serling

(Based on book by Pierre Boulle)

Perf: (Studio Orchestra)

Cond: Jerry GOLDSMITH Dir. (Film): Franklin J. Schaffner, 1968 Prod. Co. (Film): APJAC-Arthur P. Jacobs Prod. Co (Disc): The Total Sound Inc.; New York, NY Liner Notes: Charlton Heston Time: (LP) 1:17 & (CD) 1:20 A. American Releases: J. GOLDSMITH 1. LP: PLANET OF THE APES Project 3 PR 5023 SD (stereo) (Gatefold Caver) 12" 33rpm (Sd 2 – Bd 2) 2. Reissue on CD: PLANET OF THE APES Project 3 PRD 5023 (Tk 7) 3. Reissue on CD: PLANET OF THE APES (1997) Varèse Sarabande VSD 5848 (Tk 16) 4. Reissue on CD: PLANET OF THE APES (2001) Masters 1249 (Tk 11) B. Brazilian CD: PLANET OF THE APES Project 3 CDP 0073 (Tk 7) B. Australian LP: PLANET OF THE APES

Project 3 SPJL 932942 (stereo) (1968) 12" 33rpm (Sd 2 – Bd 2) Notes: This music (off the original soundtrack) was used to illustrate the scene in the cave by the ocean in the Forbidden Land. Guided by the apes, Cornelius and Zira, the escaped astronaut investigates the archeological dig inside the cave. He finds a talking doll, false teeth, eye glasses, and a heart valve. All indicate the former presence of 20th century earthmen. Dr. Zaius, the ape's chief minister of science, refuses to accept this interpretation. Another summary of this scene – “Cornelius led an expedition into the Forbidden Zone that found a cave containing artifacts of an earlier non-simian, and believed to be human, civilization. The group sets out for the cave to answer questions Taylor has about the evolution of the ape world and to prove he is not of that world. Arriving at the cave, Cornelius is intercepted by Dr. Zaius and his soldiers. However Taylor holds them off, threatening to shoot them if he has to. Zaius agrees to enter the cave to disprove their theories and to avoid physical harm to Cornelius and Zira. Inside, Cornelius displays the remnants of a technologically advanced human society pre-dating simian history. Taylor identifies artifacts such as dentures, eyeglasses, a heart valve and, to the apes' astonishment, a talking children's doll.” (Anon. 2016)

Cave entrance Discovery of heart valve

For the music a Polynesian instrument called Ung-lungs were used here. As one critic put it, even though, "this bristling music can be nerve-wracking to sit down and listen to, it was an ingenious accompaniment to the film." (Squires & Houston 1976) Gerry Goldsmith also did the scores for “The 13th Warrior” (see under Film Music – Adventure) and “Rambo III” (see under Film Music – War). Ref: Anon. 2016, Planet of the Apes (1968 film), Plot, Wikipedia Bohn, Ron; Bryce, Allan; MacMillan, James; & Van de Ven, Luc, Filmography/Discography: Jerry Goldsmith, Soundtrack, v. 1, n. 2, Jun. 1982, Mechelen, Belgium, p. 7 Gerry Goldsmith, Bio, jerrygoldsmithonline Gerry Goldsmith, Bio, Wikipedia Planet of the Apes, Cave in the Forbidden Zone, (1:25), YouTube (◄VIDEO SAMPLE) Planet of the Apes CD, 2001, Allmusic (◄AUDIO SAMPLE) Planet of the Apes CD, 2001, Amazon (◄AUDIO SAMPLE) Planet of the Apes LP, Discogs Planet of the Apes, Film Credits, imdb Planet of the Apes, Soundtrack, jerrygoldsmithonline Boulle, Pierre 1963 (1968), Planet of the Apes, Signet Books, New York Squires, Frank & Houston, David, The Music of the Spheres, Starlog, v. 1, n. 2, Nov. 1976, p. 65 Winogura, Dale & Goldsmith, Jerry, Cine-Fantastique, v. 2, n. 2, Summer 1972, p. 37

_____________________________________ FM-SF12 United States 1986

STAR TREK: THE EMPATH –

CAVE EXIT Film Music – Orchestral – Instrumental

Comp: George DUNING Rts: Addax Music Co. Inc. (ASCAP) Scr. (Film): Joyce Muskat Perf: THE ROYAL PHILHARMONIC ORCHESTRA

Cond: Fred STEINER Dir. (Film): John Erman, 1968

Prod. Co. (Film): Paramount Television & Norway Corp. Prod. (Disc): George Korngold Prod. Co: Varèse Sarabande Records; North Hollywood, CA Rec. Co: EMI Abbey Road Studio; London Liner Notes: Fred Steiner & BJO Trimble Time: (Medley – Total) 3:37; (Part 3) 0:26 A. American Releases: 1. LP: STAR TREK – VOL. 2 Varèse Sarabande 704.300 12” 33rpm (Sd 2 – Bd 1 – Part 5) 2. Reissue on CD: STAR TREK – VOL. 2 (1990) Varèse Sarabande VCD-47240 (Tk 8 – Part 3) B. German Reissue CD: STAR TREK – VOL. 2 (1990) Varèse Sarabande VSD-47240 (Tk 8 – Part 3) C. Brazilian LP: STAR TREK – VOL. 2 (1986) SBK 320.049 (Tk 8 – Part 3) 12” 33rpm (Sd 2 – Bd 1 – Part 5) Notes: On the original LP album this is the fifth cue in a tight medley of six cues, Enter Gem; Kirk Healed; Vian Lab; The Subjects; Cave Exit; Star Trek Chase. However on the CD reissue this is the third cue in a tight medley of four cues. In both cases it is very difficult to decide where one cue ends and the next begins. "Cave Exit" is probably the pounding kettledrum section. This sequence starts where the aliens, the Vians, "state that they must test Gem (a beautiful mute alien) by torturing the Enterprise people, who are taken to the 'Vian Lab' (first cue) to become 'The Subjects' (second cue). Spock and Doctor McCoy attempt to escape [through a cave] ('Cave Exit') but find that they cannot contact the Enterprise ('Star Trek Chase')." (Trimble, Liner Notes, 1986) Another plot summary – “The away team is suddenly transported into an underground chamber and encounter a beautiful, mute woman McCoy names "Gem" who is trapped with them. The away team are attacked by aliens known as the Vians, who injure Kirk. Gem proves she is an empath by absorbing Kirk's injuries, briefly taking them on herself before they are healed. They search the nearby chambers and find machinery and computer systems, along with glass cylinders, some containing the missing research personnel in grotesque poses, and three empty ones labeled with the away team's names. A Vian arrives, but Spock stuns him with a Vulcan nerve pinch and allows the group to escape to the surface.” (Anon. 2016) Other details of the plot – “Kirk, Spock, and McCoy beam down to Minara II, which orbits a sun that is going nova…. They play the most recent record tape, which is three months old. It shows the two scientists studying the nova, Doctors Ozaba and Linke, who suddenly hear a strange noise and then disappear one at a time. As soon as the landing party stops watching, the noise sounds around them, and they all also disappear one at a time. They awaken in a cavern, which Spock’s tricorder says is more than 120 meters below the surface, and they were taken there by a type of transporter.” Later “the Vians transport Spock, McCoy, and Gem away without telling Kirk where they’ve gone. They bring him back to the cavern, where Gem has reappeared… [Even later] After the storm passes, the Enterprise is back in orbit. How they got the landing party out of the 120-meter-deep cave is left as an exercise for the viewer. (DeCandido 2016) Ref: Anon. 2016, Star Trek – Empath, Plot, Wikipedia Burlinggame, Jon 2008, George Duning, Composer, filmmusicsociety DeCandido, Keith 2016, Star Trek The Original Series: Empath, tor George Duning, Bio, Wikipedia Larson, Randall D., Star Trek – George Dunning – Interview, Soundtrack, v. 9, n. 35, Sept. 1990, p.49 Star Trek – Empath, Credits, imdb Star Trek – Vol. 2 CD, Allmusic Star Trek – Vol. 2 LP & CD, Discogs

_____________________________________ FM-SF13 United States 1988

STAR TREK: THE NEXT GENERATION: ENCOUNTER AT FARPOINT –

CAVERNS Film Music – Orchestral – Instrumental

Comp: Dennis McCARTHY Rts: Paramount Pictures Corp. Scr. (Film): D.C. Fontana & Gene Roddenberry Perf: (Studio Orchestra)

Cond: Dennis McCARTHY Dir. (Film): Corey Allen, 1987 D. McCARTHY Prod. Co. (Film): Paramount Pictures Corp. Prod. (Disc): Dennis McCarthy Prod. Co. (Disc): GNP Crescendo Record Co. Inc.; Los Angeles, CA Liner Notes: Ford A. Thaxton Time: 1:25 A. American Releases: 1. LP: STAR TREK – THE NEXT GENERATION GNP Crescendo GNPS 8012

12” 33rpm (Sd 2 – Bd 3) 2. CD: STAR TREK – THE NEXT GENERATION GNP Crescendo GNPD 8012 (Tk 10) B. West German CD: STAR TREK – THE NEXT GENERATION (1988) GNP Crescendo CD2 ZYX 7704-2 (Tk 18) Notes: The string and brass, then oboe and bassoon supplemented by synthesizer create a threatening atmosphere. The short coda on trombones uses the "Theme from the Star Trek TV Series" composed by Alexander Courage. McCarthy says that he uses synthesizers to "beef up the strings or the lower brass to make it try to sound like a larger orchestra." Nothing is known about this scene in the "caverns." Without having seen the film, the best I can figure is that the plot is as follows – “As the Enterprise arrives, the awaiting crew members explore the offerings of Farpoint Station…. and the crew discover a strange labyrinth beneath the station.” (Anon. 2016) That labyrinth is the “caverns.” However, concerning the cave set for this episode, the art director, Herman Zimmerman, tells that – “… construction of TNG’s sets got underway in 1987. ‘We needed a ravine for “Encounter at Farpoint,” Hermann Zimmerman recalls; ‘There was an old swimming pool from a previous movie under the floor of Stage 16, so I cut a big hole over that area. At the time, we couldn’t afford to use fiberglass, so we used tinfoil to line the pool.’ Zimmerman later expanded this ‘cave set,’ by continuing the ‘rock’ walls upward from the stage floor level. ‘We cobbled the walls together with every grip platform we could find, and sheathed it with lathe and plaster,’ he says.” (Block & Erdmann 2012) Ref: Anon. 2016, Star Trek – The Next Generation: Encounter at Farpoint, Plot, Wikipedia Block, Paula M. & Erdmann Terry J. 2012, Star Trek: The Next Generation 365, Abrams, google.fr Dennis McCarthy (composer), Bio, Wikipedia Larson, Randall D., Star Trek: The Next Generation – Dennis McCarthy – Interview, Soundtrack, v. 9, n. 35, Sept. 1990, p. 54-55 Star Trek – The Next Generation: Encounter at Farpoint, Credits, imdb Star Trek – The Next Generation CD, Allmusic (◄AUDIO SAMPLE) Star Trek – The Next Generation LP & CD, Discogs

_____________________________________ FM-SF14 United States 1997

STAR WARS (Episode V): THE EMPIRE STRIKES BACK –

MYNOCK CAVE Film Music – Orchestral – Instrumental

Comp: John WILLIAMS Scr. (Film): Leigh Brackett & Lawrence Kasdan

(From story by George Lucas) Perf: THE LONDON SYMPHONY ORCHESTRA

Cond: John WILLIAMS Dir. (Film): Irvin Kershner, 1980

Prod. Co. (Film): Lucasfilm Prod. (Disc): RCA Victor Time: (Tk 10 – Total) 5:43 A. American CD: STAR WARS – THE EMPIRE STRIKES BACK RCA Victor 09026 687732 (2XCDs) (Disc 1 – Tk 10 – Part 2) B. French CD: STAR WARS – THE EMPIRE STRIKES BACK (2004) Sony Classical S2K 92951 (2XCDs) (Disc 1 – Tk 10 – Part 2) Notes: This track combines two separate cues – “Jedi Master Revealed/ Mynock Cave.”

“The Millennium Falcon [spaceship] was in an asteroid cave. After exiting their ship to shoo off the power sucking Mynocks (shown on left), Han Solo becomes suspicious of the moisture in the air and squishiness of the ground in their hideaway. A short blaster shot to his feet leads to a quick departure and a narrow escape through the jaws of the giant worm-like creature who lives inside asteroids. “Mynocks are one of the few Star Wars creatures that can be described as nuisances. These flying bat-like creatures are also a bit like a leech. They attach themselves on unsuspecting ships and suck out their power by chewing on the power cables. Mynocks are one of the few Star Wars creatures that can survive in the vacuum of space so they can be found almost anywhere. “When Han, Leia, and Chewie are hiding out from the Imperials in what they think is a cave (see above), they soon learn that they have attracted a flock of mynocks. While mynocks are not dangerous to humans, they can cause a lot of damage to ships and can’t be ignored.” (Richau 2015)

The video of this scene shows the attack of a Mynock in the spaceship’s structure and then a flock of them flying around in the “cave” outside. They are not in a cave but inside an Exogorth (a space slug, shown on left) and they fly the ship out of its mouth. The photo above of John Williams with Darth Vader and Chewbacca is dated July 1997. The 1980 LP release of this film music on the RSO label did not included this cue. John Williams also composed music for the Lost in Space series (see above Lost in Space – Penny’s Cave).

Ref: John Williams, Bio, Wikipedia Richau, Amy 2015, Star Wars Creatures from The Empire Strikes Back, thecantinacast Star Wars – The Empire Strikes Back CD, Allmusic Star Wars – The Empire Strikes Back CDs, Discogs Star Wars – The Empire Strikes Back, Credits, imdb Star Wars – The Empire Strikes Back, Plot, Wikipedia Star Wars – The Empire Strikes Back, Mynock Cave & Space Worm, (3:18), YouTube (◄VIDEO SAMPLE)

_____________________________________ FM-SF15 United States 1998

X-FILES – FIGHT THE FUTURE

CAVE BASE Film Music – Orchestral – Instrumental

Comp: Mark SNOW Scr. (Film): Chris Carter (from story by C. Carter & Frank Spotnitz) Perf: (Studio Orchestra)

Cond: (?) Dir. (Film): Rob Bowman, 1998 Prod. Co. (Film): 20th Century Fox M. SNOW Prod. (Disc): Mark Snow Prod. Co. (Disc): Electra Entertainment Group; Beverley Hills, CA

Liner Notes: David Was Time: 1:32 A. American CD: X-FILES Electra 62217-2 (Tk 6) B. Canadian CD: X-FILES Electra CD 62217 (Tk 6) C. German CD: X-FILES (1998) Electra 7559-62217-2 (Tk 6) D. Japanese CD: X-FILES (1998) EastWest Japan AMCY-2942 (Tk 6) E. Brazilian CD: X-FILES (1998) Electra 7559 62217-2 (Tk 6) Notes: This is a short cue from the science-fiction thriller where the full orchestra surges and fades with the theme. Presumably this cue was used for the opening scene of the Neanderthal man or for the one of the boy in the cave that follows. “The film opens in prehistoric times in a wordless sequence. A Neanderthal man stumbles upon what appears to be a large, primal, vicious alien in a cave. The two fight, and the caveman wins, stabbing the alien to death… black oil… bleeds from the alien's wounds and soaks into the Neanderthal. After a fade to modern-day small-town Texas, a little boy falls down a hole in his back yard, and finds a human skull. As he picks it up, black oil seeps out from the ground beneath his feet, and black slivers move up his legs until they reach his head - his eyes go black. Shortly afterward, a team of firemen descend to rescue him. They are presumably lost to the same fate as the boy.” (Anon. 2016) A more detailed summary of the action – “North Texas – 35,000 years B.C. – As the wind howls around them, two cavemen follow a set of strange tracks across a vast snowy plain in prehistoric North Texas. Entering a cave, they are attacked by the long-clawed alien that left the tracks. Although one of the men is killed, the other manages to injure the creature with a bone weapon. A thick, black substance pours out of the alien as it lies dormant on a rock. The remaining man touches the substance with a wooden torch and soon discovers that he is covered in it. As the substance begins to move over him, he grunts and roars in intense agony.

A long-clawed alien in 35,000 B.C. Stevie Richardson explores the cave

“North Texas – Present day – Thousands of years later, a boy named Steve Richardson who is digging holes with his friends, falls into the same underground cave. His three friends gather round the pit, gazing down at Stevie with concern. The boy is soon back on his feet exploring the cave where he finds human bones, including a skull with a hole at the back. A puddle of the black substance that killed the caveman crawls up from under his feet and infects Stevie in the same manner. In an attempt to find help, Stevie's friends run to the nearby residential area. “Later that day, two fire engines arrive at the scene. The Fire Captain Cooles sends two firefighters into the pit and reports the location [cave base] of the rescue situation to officers in Dallas. After the Captain loses contact with his two dispatched firefighters, however, he orders two other officers to enter the cave. “Later, a helicopter from Dallas arrives at the scene and HAZMAT suited men in white exit the aircraft, carrying a bubble litter… Cooles informs [the newly arrived] Doctor Bronschweig of the situation as they walk towards the cave. They watch while the HAZMAT team carries Stevie to the helicopter inside the bubble litter. Bronschweig seems extremely concerned, as the boy's paralyzed body passes him, but Cooles' only concern is for his officers in the pit… The doctor phones his employer and tells him that an impossible scenario, the like of which they have never planned for, is imminent.” (Anon. ca. 2014) Ref: Anon. ca. 2014, X-Files, Summary, Wikia Anon. 2016, X-Files, Synopsis, Internet Movie Database, imdb Mark Snow, Bio, Wikipedia X-Files – Fight the Future CD, Allmusic (◄AUDIO SAMPLE)

X-Files – Fight the Future CDs, Discogs X-Files – Fight the Future, imdb X-Files – Fight the Future, Plot, Wikipedia

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