Bruce Broughton's dynamic action-filled soundtrack for Stephen Hopkin's big-screen treatment of classic Irwin Allen 60's TV series gets deluxe expanded 2-CD release!
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Doug's Tech Talk
Bruce Broughton's dynamic action-filled soundtrack for Stephen Hopkin's big-screen treatment of classic Irwin Allen 60's TV series gets deluxe expanded 2-CD release! Famed space family Robinson comes vividly alive courtesy William Hurt as John, Mimi Rogers as Maureen, Heather Graham as Judy, Jack Johnson as Will, Matt LeBlanc as Don, Gary Oldman as Dr. Smith. Involved, darker and more serious story than TV series offered inspired Broughton to create massive, full-blooded symphonic score with one foot in robust action mode, one foot in intense drama mode. Main theme, heard nobly on solo horn at outset of "Main Title", takes off in full throttle fashion for initial launch of Jupiter II. Sinister motif for Dr. Smith, heroic ideas for John, swashbuckling action music for Don - all soon have their say. Powerful and complex "Boarding The Proteus", incredibly ferocious and lengthy "Spiders Attack" (both heard complete for the first time on this release) are just two of many highlights. Broughton had less than three weeks to prepare his massive score. Changes were being made even as Broughton was completing his score, causing numerous revisions to become necessary. Many cues were heavily edited in finished film, still others repeated in scenes not originally planned. Intrada restoration features everything in sequence Broughton originally intended. Both full-length original versions and revised versions are included, allowing listener to enjoy everything as is or select just those versions preferred. Sometimes the changes are nominal, reflecting brief editorial changes in the film. At other times the changes are significant, reflecting major revisions to the final footage. Final portion of film actually saw multiple editorial decisions being made - Broughton responded in kind with three different takes on his climactic cues "The Portal", "Through The Planet". All three versions are present on this release as well. Both discs mastered from the original two-track digital session mixes made by John Timperley at famed Abbey Road & AIR Lyndhurst Studios and Mike Ross-Trevor at Whitfield Studios, all in London. Entire album production courtesy Warner Bros. Detailed notes by Tim Greiving, flipper-style cover design by Joe Sikoryak. Bruce Broughton conducts Sinfonia Of London. Intrada Special Collection 2-CD release available while supplies and interest remain!
01. Prologue (0:58)
02. Main Title/Major Mayhem (4:07)
03. Hologram Gags/You’ll Do (Alternate) (1:05)
04. Meet Dr. Smith (1:40)
05. Dog Tags, No. 1 (0:38)
06. Reprogram The Robot/The Launch (6:25)
07. Bad Dream/The Robot Attack (3:22)
08. Where’s Judy?/Judy Is Dying (Remix) (6:23)
09. Can’t Kill The Man (Revised) (0:49)
10. We’re Lost (0:23)
11. The Proteus (Alternate) (2:23)
12. Boarding The Proteus, Pt. 1/BoardingThe Proteus, Pt. 2 (7:01)
13. Spiders And Static/Spiders Attack (Revised) (7:54)
14. Jupiter Crash (1:11)
15. A Strange New Place/Spider Scratch (1:29)
16. Matt And Judy (1:40)
17. Goodnights (0:38)
18. Energy Bubbles/Dog Tags, No. 2/John And West Set Out (2:23)
19. Will’s Walk/Smith Persuades Will (1:56)
20. Will And Smith Set Out (1:59)
21. Decades Old/I’m Your Son (Revised)/Time Machine (4:27)
CD1 Time: 59:29
The Extras – Alternates
09. Hologram Gags/You’ll Do (Original) (1:04)
10. Can’t Kill The Man (Original) (0:49)
11. The Proteus (Original) (2:24)
12. Spiders And Static/Spiders Attack (Original) (7:54)
13. Decades Old/I’m Your Son (Original)/Time Machine (4:32)
14. Friendship/We Have A Plan/Kill The Monster (Original) (8:50)
15. Let’s Go Major (Alternate) (1:24)
16. The Portal (Original) (2:42)
17. The Portal (Revised) (2:43)
18. Through The Planet (Original) (3:13)
19. Through The Planet (Revised) (2:41)
20. Nice Work Fly Boy (Original) (1:48)
Total Extras Time: 40:29
CD2 Time: 64:43
Tech Talk From The Producer…
Bruce Broughton wrote a significant amount of music for Lost in Space in short order, but soon found himself up against an even bigger challenge. The picture underwent numerous changes even as Broughton was attempting to finalize his score and record it with the Sinfonia of London. The composer not only had to write and record in haste but also had to revise and re-score numerous sequences right up until the last minute. Sessions had to be scheduled at three major London venues: the studios at Abbey Road, Air Lyndhurst and Whitfield. It is a testament to Broughton that the resulting score was remarkably coherent, strongly melodic in its thematic elements, powerful in its majestic moments, ferocious in its action sequences.
To present this expanded soundtrack release, Intrada went back to the complete session masters, recorded digitally during February and March 1998. The assembly follows Broughton’s initial plan, with full cues playing in their originally intended sequence. The subsequent postproduction editing of the picture truncated many cues, moved others around and in many cases simply repeated portions and tracked them into various scenes as needed. As such, the chronology of our 2-CD set does not follow the finished picture but follows the roadmap laid out during the initial spotting process. The exception to this is the purely musical choice to place “Fanfare For Will” (CD 2, track 7) just before the final medley, “Lost In Space,” instead of where it was used in the film (as an almost inaudible background to the onscreen “S.G.I. Commercial” appearing during the first reel).
Following the score proper, we offer all of the recorded alternate versions. To enhance your listening experience, we have included not only those rescored sequences but also the larger assemblies of which the individual revised cues are a part— instead of just presenting the revised portions themselves. As such, you can listen to everything as is or make your own playlists while retaining the composer’s intended assemblies no matter whether you choose the original takes or their revised counterparts. The revisions range from subtle differences in tempo or orchestral color all the way to dramatically re-composed sequences, with some involving only a single bar and others amounting to complete rewrites of entire cues.
Now you can “get lost” in two hours of dynamic music by one of the film industry’s finest composers.