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the Music of Irwin Allen's sci fi fantasy tv shows
THE MUSICAL WORLDS OF IRWIN ALLEN
AUTHOR'S NOTE: I PLAN TO UPDATE THIS LIST BY VIEWING ALL THE CREDITS TO LOST IN SPACE, TIME TUNNEL, AND VOYAGE TO THE BOTTOM OF THE SEA WHEN POSSIBLE
With the recent news of a 6 set CD packet of Irwin Allen's shows' music, I am prompted and inspired to write about the music of each series. Frankly, I feel that six CDs, even if they are two hours each, cannot do a full justice to the shows. More like 20 or 30! Each series has its own standard music which we become familiar with over the course of the shows and the various seasons; however, there are other episodes of all four series that vary these themes and surprise us with the differences in the music.
I will start off with LOST AND SPACE and LAND OF THE GIANTS since I know those better and enjoy them more. LOST IN SPACE reused music over and over--but this is not a fault--it gave the series its identity and it is very good music. John Williams wrote most of the musical cues that were used in the first season--certainly many in THE RELUCTANT STOWAWAY through to ISLAND IN THE SKY. The Smith Trapped in the Ship is a pulse pounding beat which is reused many times most remembered in WISH UPON A STAR as Smith is chased by the rubberoid monster and THE CONDEMNED OF SPACE as John is suiting up to spacewalk and when Don and John first theorize about giants just before the cyclops shows up in THERE WERE GIANTS IN THE EARTH.
The next vital piece of music is the meteor storm and the release of Don in THE RELUCTANT STOWAWAY. This bit is actually part of a much longer version of music as evidenced by the beginning of the attack of the cyclops on John and Don in THERE WERE GIANTS IN THE EARTH. The music here is much the same leading into a commercial break but as it returns to the action the music builds to the same type of theme and expands into one of the most fast paced, suspenseful bits of action music ever used. This continues as we also see Will climbing the rocks and only slows when he shoots the cyclops. The mix here is also containing parts of the excellent robot attack music from THE RELUCTANT STOWAWAY which starts off slow but builds into a full scale bouncing theme which sounds just like the picture of the Jupiter going out of control. Bits of this action theme occur all over LOST IN SPACE including but limited to: Radion's final attack in THE DREAM MONSTER, the first fight scenes in THE ANTI MATTER MAN inside the cage areas leading to Smith chasing the Robot into the area (and here is it almost heard in its entirety), as Smith, Don, and John get out of the giant Robot in TRIP THROUGH THE ROBOT, as John makes his way back toward the Jupiter from space as the Robot drifts off in THE CONDEMNED OF SPACE, during John's physical fight with Chronos and his monster in TIME MERCHANT, the beginning and middle of the attack of the killer robots in PRINCESS OF SPACE, and at the beginning of John's journey into the volcano in SPACE PRIMEVALS. Another, less action oriented theme is heard when Don is freeing the Robinsons from their freezing tubes--it is slower but again, as most LOST IN SPACE musics do--it builds into a tension giving theme as Maureen passes out and seems almost dead--leading to a commerical break. This music is sometimes used as background music but it also fits as the foreground music and is used in LOST IN SPACE over and over including: THE DEADLY GAMES OF GAMMA SIX during parts of Myko's discussion with his alien leader, as Smith leads John, Will, and the Robot into the cave to find Don in THE FLAMING PLANET, when Lemnoc revives any of the duplicates in the PHANTOM FAMILY, when the ship explores the space station in CONDEMNED OF SPACE, and when any of the crew step into a matter beam in THE PRISONERS OF SPACE.
To get back to the action music, LOST IN SPACE used a theme sometimes combined with some of the above music. This theme can be heard almost in full in ISLAND IN THE SKY as John's loss of control over the parajets reaches a climax and he is lost AND during the sequence just after Don locks Smith in the freezing tube and the ship heads at the planet, coming to an end when Maureen reaches the lower deck. This starts out slow and builds to a full screech but a screech in a good sense. This music was shortened and used in the majority of the third season's scences from next week. It also be heard in bits and pieces in WISH UPON A STAR when Don throws the exploding power cell up into the air and falls down--and Will runs at him, during the last part of the volcano sequence when John runs back down to Will, and almost fully in HUNTER'S MOON just after Megazor makes the waterfall vanish while John is running--and as he falls into quicksand. This was also used in LAND OF THE GIANT'S THE TRAP teaser as Steve and Dan flee two giants. SPACE PRIMEVALS uses it a lot in their teaser and just after. Another edited version of this, very similar, is the music heard when Will explains about his idea about the baby princess as tape being hidden in the robot--the perfect place to hide the tape. At times, mostly during the next week scences in season three, the music was heard with some of the clicking beat missing. It is also heard in combination with much of the above mentioned action themes in the excellent missile sequence from the end of THE GHOST PLANET and the beginning of FORBIDDEN WORLD and in part of DEADLIEST OF THE SPECIES as Will is chased from the cave by the two robots. A tense use of it is in TRIP THROUGH THE ROBOT when John realizes Will is still in the giant robot and he cannot get back in to get his son out and he and Don use a tree to hold open the door---and it then turns into different music.
The music it turns into is also one of LOST IN SPACE'S most used themes. Another action piece, it is heard in most notably for one of the first times in THE HUNGRY SEA when the earthquake hits leading to the series opening credits and opening theme song. This is a pulse pounder also and can be heard building to some sort of climax in many LOST IN SPACEs. Most noted: an extra long version as John fights all the cyborgs in THE SPACE DESTRUCTORS at the end of act four; as the Jupiter crashes on the HUNTER'S MOON; during most of the Mr. Nobody attack at the end of MY FRIEND, MR. NOBODY; during the first part of the sword fight between John and the Ruler in THE CHALLENGE; after and during Will's pleas to the caveman leader and while John, Don, and Smith run from the cave in SPACE PRIMEVALS; as John first grapples with the Cosmic Monster in SPACE CIRCUS; during the second half of John's spacewalk back inside the Jupiter in CONDEMNED OF SPACE, and when John and Don fight Lemnoc to try to free Smith in THE PHANTOM FAMILY. It can also be heard in LAND OF THE GIANTS during Steve's run just before the end of Act Four in SEVEN LITTLE INDIANS.
There were dozens of more cues in the first five episodes, many comprising John's spacewalks in THE RELUCTANT STOWAWAY, THE DERELICT (both with Maureen featured also), and ISLAND IN THE SKY. These etherel sounds are mostly never heard again in LOST IN SPACE in their fullness and add to the space walk effects, giving them all granduer and weirdness. In the first, Maureen's near rescue of John builds into the theme used for almost all cliffhangers in the first season as John reaches for the rope that his wife has shot him and cannot get it---until the second episode which uses a variation of music, sounding like Richard LaSalle music used later in LAND OF THE GIANTS and earlier in many theaterical features. It ends with John getting the rope and this light hearted, beautiful piece stirs us into hope and can be heard at the end of the Don-John fight with the aliens in TWO WEEKS IN SPACE and when THE RAFT is finally finished and seen in front of the spaceship.
Then there is the music used when John's line first snaps off. It is repeated in THE DERELICT (when Penny finds Will missing) and very briefly in THE GOLDEN MAN when Judy spots a falling star which Maureen realizes is spaceship. Some of it is used when the missile is first spotted in THE GHOST PLANET.
All of the music in THE DERELICT is very unlike a lot of LOST IN SPACE music that follows and Herman Stein is credited as the composer. Some of it is used again over and over but much of it is never heard again on LOST IN SPACE (notable exceptions include KIDNAPPED IN SPACE, the food finding sequence in THE OASIS and the first transformation into human looking figures by the aliens in their space station as well as after the fight sequence in TWO WEEKS IN SPACE). Another noticeable time it was used was when Smith and Don read the Sobram history book and when Don tried to destroy the Sobram missile cylo in THE FLAMING PLANET. Versions turned up in LAND OF THE GIANTS in THE SECRET CITY OF LIMBO just as Steve and Mark reach Betty on the tabletop in the miners' shack. THE DERELICT used some clever tracks: when John and Don hear Will yelling and run off into the ship to find him; when Maureen and John are trapped outside the ship (probably the most used music is when they fall and we hear this music again in THE TOYMAKER, THE ANTI MATTER MAN when John is seen by Will who has just been caught by the anti matter John and Don; and THE HUNGRY SEA for the ending parts of the sun passing overhead). The music during the comet getting closer sequence, mostly during the parts when Don is in the airlock and then when Will says, "Feel this heat, the comet is getting closer," are also heard in a few westerns from the late 50's and 60's. Probably the same composer. Just before Will makes that comment is a very brief bit which sounds a lot like the music Richard LaSalle would use extensively in LAND OF THE GIANTS' second season (in THE UNSUSPECTED, OUR MAN O' REILLY, THE MECHANICAL MAN, and many others). The best action music in DERELICT is the second part as John is shooting the hole just after Don tells him that he isn't sure how long the forcefield will hold the aliens and then John jumps aboard, grabs Maureen and yells lift off, the music ending in an unfamilar version of a much heard LIS theme--the grand theme-this being heard as Will, John, and Don find Smith's tape message in THE OASIS, during the just after teaser and theme song credits as John meets Myko in DEADLY GAMES OF GAMMA SIX, during John and Don's futile search for Will in RETURN FROM OUTER SPACE, and after Don's proclamation that they are galactic castaways forever in THE RAFT. This music sounds large and grand and gives one a feeling of being in space, indeed it is used the first time we see the space ark in PRINCESS OF SPACE.
One long musical sequence from DERELICT is the often heard music as the blobs chase the crew back to the ship--it is a slow, lumbering theme, fitting for the blobs that stumble after them, just having woken up. This is also fitting for the stumbling toy monster of THE TOYMAN and the cyborgs in SPACE DESTRUCTORS. It is used in other episodes.
The music heard as the Jupiter is pulled into THE DERELICT is used again when Bart, in frustration begins his confession of the truth to Penny and Will--that he can never grow old in THE PROMISED PLANET. It is also heard just before the fight between John and The Ruler with swords in THE CHALLENGE.
Smith's foolishness music---this can be heard as he examines Will's tongue in RELUCTANT STOWAWAY, at his first major getting out of work early on in THERE WERE GIANTS IN THE EARTH and this leads into a brilliant trumpeting of music which is heard in full only in this episode as Smith avoids work from everyone! This music is heard over and over as well and some of the Debbie the Bloop music is also silly and irreverant and is in ISLAND IN THE SKY and is used for Smith comedy in future episodes--witness the end of HUNTER'S MOON as he chases the Robot. It is also some of the only John Williams-ish music heard in BLAST OFF INTO SPACE, as John passes Debbie's cabin compartment.
Chariot music: some of my favorite music from the show. The third, fourth, and fifth episodes used these cues to great effect as the Chariot journied across the planet. The first, used in the Charoit's first appearance is a bit slow but interesting and gives the feel of a careening land vehicle. It is just as effective for the Jupiter in space, exploring the large spaceship of KIDNAPPED IN SPACE and also as Will sneaks out of the Jupiter II to go to the cave to find Smith in SPACE DESTRUCTORS. This music leads into some great exploring music as Don looks for John after the Chariot stops. This breaks into Don finding Debbie, the cornball music offset by the tense and mysterious theme which follows--and we see John in the pit and then the music rises into a trumpeting theme toward a commercial break. Other Charoit music: the long, also slow but forbidding exploratory music used in the end of THE HUNGRY SEA just after Don warns John they may not make it and we then see the Charoit moving toward the Inland Sea and some of the music continues through the first and calmest part of the sea trip. This is also used in KIDNAPPED IN SPACE. After the sea trip there is a theme which accompanies the Robinson's stop to pray and give thanks--this is a building theme which stops and becomes mellow and restful---then rises again into a chanting version of the Charoit theme--absultuely amazing. Bits and pieces of all the Charoit music appear from time to time in the future but not as much as in the first five shows (whenever the Charoit is used--THE LOST CIVILIZATION, ONE OF OUR DOGS IS MISSING, GHOST IN SPACE, ALL THAT GLITTERS; also as transitions--after Verda agrees to return with Zumdish and he, Verda, and the guard leave John, Don, and Penny to talk about Smith's punishment--actually just John and Don discuss it; and in other spots).
Another Charoit theme is the faster paced one which ends with the sound of a machine bleeping over and over. Rather than being annoying, this really fits with the Charoit and is used again in THE DREAM MONSTER. Later, it is used for the ship flying in outer space and it is just as effective (THE FLAMING PLANET, HUNTER'S MOON) and it is also used when the Robinsons, Don, and Smith run from the PROMISED PLANET back to the Jupiter.
More Charoit music is used in THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA as the family crosses the sea of ice, before and after. Much of it is used as transition between the Charoit faring Robinsons and Smith and the Robot back at the Jupiter Two. One version is quick paced and is heard as the camera careens across the sleeping children to the front of the Charoit. This is used when John and Don rush back to the PROMISED PLANET in the Jupiter to run out of the ship and save Penny and Will. Another section is used when Smith and the Robot follow Penny in MY FRIEND MR. NOBODY.
Another action theme which must be mentioned is the theme used when the spaceship crashes on the planet in ISLAND IN THE SKY--the build up uses many musical cues--a fast paced repetitive bit as Maureen struggles to close the viewports on the lower deck, leading into the outside shot of the ship flying at the planet and Don struggling to put himself into the freezing tube (all of this music is used often in LOST IN SPACE--the music where Don does this is used in CONDEMNED OF SPACE as John opens the hatch to find out who or what is out there--it is the Robot he finds and it is used in many "warning" scences---usually Smith running back to the ship to warn someone of some danger to one of the others--as in ALL THAT GLITTERS when he returns to warn Judy and Maureen that Penny was grabbed by Ohan). This warning music is also used when Maureen spots Smith eating the fruit in THE OASIS and she runs out to knock it from his hand.
The whole second half of the ship crashing sequence uses bell sounding music with repititive sounds. This is used more extensively in ONE OF OUR DOGS IS MISSING as Judy fights off the dog monster along with John and Don. It is also used when Don and John are chased by the giant lizard and when the spider monster attacks the Chaorit in THE KEEPER. In addition, it is used in LOST IN SPACE probably more than any other music. It was part of the GHOST PLANET chase and missile attack (very effectively as the planet looms up at the family through the viewport), the fight in TWO WEEKS IN SPACE, Smith running from the monster in WISH UPON A STAR (minus the bell ringing sound--a nice variation), and the early fight scences with THE SPACE DESTRUCTORS, the fight with the android eating machine in REVOLT OF THE ANDROIDS, Also the first part of the Robot attack must be mentioned--it is used to great effect in A CHANGE OF SPACE as the alien looks over all the others in the family and pulls Smith away and a bit later when Will pleads with the alien not to take Smith but the alien leaves with him anyway; and also in CONDEMNED OF SPACE as the others realize John's rope line is about to break. It can also be heard in the unaired LAND OF THE GIANTS pilot when the giant puts his hand into the drainpipe at the climax. An even better use was in FLIGHT INTO THE FUTURE as John and Don push toward Will, Smith, and the Robot while Will pushes on toward the source of all the illusions. Here, it is interspersed with some of the many LOST IN SPACE "shock" music cues (such as the quick and surprising appearance of some monster). Some of the shock music was originally used as Jupiter flying scences--check out the teaser in ISLAND IN THE SKY as the ship flys over the planet just as John is suiting up. THE HUNGRY SEA uses light end music when Will talks to Don about his dad being wrong and all is well again between them all. This jaunty music is good to the ears and is reused a few more times--the end to THE SKY IS FALLING and HUNTER'S MOON for two.
THE LOST CIVILIZATION used a piece of music used only once on this show but used a great deal in VOYAGE TO THE BOTTOM OF THE SEA. On LOST, it occurs when the alien leader Major Domo is telling the others his plans and showing them his army on the scanner screen. This is from an old 20th Century Fox film but is used in Voyage's THE MUMMY, the second THE CREATURE (from VOYAGE'S third season), DEATH WATCH (as Crane battles Nelson) and a few other times. It is an exciting theme.
Also used is other strange music from the VOYAGE episode THE MUMMY and it was used in VOYAGE'S TERRIBLE TOYS and DEATH WATCH among others. This is used when Will first calls up for help from the hole he has fallen into and it is also used in another Will-lost episode--THE ASTRAL TRAVELLER when Will looks out the window and sees the ocean. The music sounds foreign, almost Egyptian and is from a 1950's spy thriller movie with James Mason, the title of which eludes me. This odd music is also best heard when Turner first unleashes Adam on Nelson in the Flying Sub at the volcano, explaining to him what Adam is. It is also sometimes on THE TIME TUNNEL (memorably in THE GHOST OF NERO, MERLIN THE MAGICIAN, and REVENGE OF ROBIN HOOD).
All of the music used when Will escapes, builds an explosive replica of Smith's art, and returns to hide it on the arch of THE COLONISTS is music that spans all of LOST IN SPACE. It is first heard in part, I think, when Don and Judy rescue John from the pit in ISLAND IN THE SKY.
There is plenty of weird, horror filled music in LOST IN SPACE and VOYAGE. The music used when the Robinsons search the dead city ruins in THERE WERE GIANTS IN THE EARTH and HUNGRY SEA was lifted from the film THE DAY THE EARTH STOOD STILL. This was used in the unaired pilot and left in, in a newly edited version and was used a lot in the future of both VOYAGE and SPACE. However, following its lead, SPACE created new odd music. While some of the Saticon music in THE GALAXY GIFT and WRECK OF THE ROBOT is from the same film, there is new odd and original music--music which is heard when the Saticons search the Jupiter at night and then steal the robot from the spaceship. A very good mix of all the odd music can be heard in FOLLOW THE LEADER's teaser sequence when John wakes up (and we hear music that was used when Judy and Don searched the dead city in HUNGRY SEA's teaser), then moves to the interior of the cave and finds all the odd alien artifacts, and this music expands to more new LOST IN SPACE horror music, ending finally as the door shuts and John runs to it (music which is used again when Don is trying to attack Noble Niolani's device in THE COLONISTS--and she points her staff at him and stops him). An other worldly variation of some of the slower, scary music can be heard when Will and Smith find an abandoned alien ship in WISH UPON A STAR--and here it is very different, almost lighter. More scary music can be heard in KIDNAPPED IN SPACE when the aliens enter the ship and search it for the one the Robot is closest to--and then when they backtime Maureen. INVADERS FROM THE FIFTH DIMENSION used some slow and odd music for the other worldly aliens--very effective. Scary music all. Much of the scary music for the Saticons, the new stuff from LOST IN SPACE, and the scary-devilish music used for A VISIT TO HADES was used on VOYAGE--again in TERRIBLE TOYS but also in SHADOWMAN. A very brief bit from an early sequence in DOCTOR WHO'S THE STONES OF BLOOD while the Doctor checks out the prints left in the ground, sounds a lot like some of the "scare" music commonly used in LOST IN SPACE and may have had its roots from THE DAY THE EARTH STOOD STILL.
DAY THE EARTH STOOD STILL alien-like and repetitive music figured well in the scence where Penny first loses Debbie in the lost city. It also figured extensively in TERRIBLE TOYS when Nelson visits the aliens in their own space station. The robot music in DAY THE EARTH STOOD STILL also made it into WAR OF THE ROBOTS and the robot episode of VOYAGE--THE INDESTRUCTIBLE MAN. This is by Bernard Herrman, the late, great composer of hundreds of classic films. THE DAY THE EARTH STOOD STILL is on a full CD as well as part of the FANTASY WORLDS OF BERNARD HERRMAN tape and CD.
Which brings us to the sea storm in THE HUNGRY SEA. This starts out with another theme from BENEATH THE TWELVE MILE REEF (the boat fight and finale--both on the CD-THE MARVELOUS FILM WORLD OF BERNARD HERRMANN VOL. 1). Then it briefly breaks into a small section from Herrman's JASON AND THE ARGONAUTS--the clip comes from the scence when the soldiers chase Jason just before the Hydra attacks them all (JASON is on both THE MYSTERIOUS FILM WORLD OF BERNARD HERRMAN and CLASSIC FANTASY FILM SCORES, however this short piece may not be on it). Then as the storm picks up momentum, it breaks into a long theme of action music from THE LAST WAGON, a very good western film. This music occurs in the film when a boy is nearly drowned in a raging river and there is a very short fight-punching scence between two of the older boys (one of whom is Nick Adams) which is part of the music--the part where Judy takes over the scope in THE HUNGRY SEA. This entire sequence was used extensively in VOYAGE TO THE BOTTOM OF THE SEA (the opening pirate ship fight in DEAD MAN'S DOUBLOONS, the second episode called THE CREATURE during a fight, the sea attacks on the submarine in KILLERS OF THE DEEP, and a few others) and also used in one or two THE TIME TUNNELs (PIRATES OF DEADMAN'S ISLAND and ATTACK OF THE BARBARIANS). At first when Don is ontop the Chariot, it is music from the THE LAST WAGON again but then after the full LAST WAGON piece, it becomes some other western film music, possibly from a part of THE LAST WAGON but maybe from another movie.
A few sidenotes must be added here: a lot of this music from the unaired pilot is left intact; however it is different from the first unaired pilot (yes, there are TWO) and the original sounds longer and more like the movies each track came from. BENEATH THE TWELVE MILE REEF by Herrman was featured VERY prominently in both unaired pilots and even in THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA, more than most people know (a lot of the Charoit music in the unaired pilots is from this film which is on the MARVELOUS FILM WORLD OF BERNARD HERRMANN VOLUME ONE and includes the boat fight, the sailing music used on LOST IN SPACE as the parajets and the finale music which is heard as Chariot music in both unaired pilots). As a sidenote, the music in the first, longer unaired pilot, the music used when the Charoit passes the fallen giant cyclops (dead?) comes from THE THREE WORLDS OF GULLIVER and is on the CD for that movie (also by Herrmann) as the sequence when Gulliver first meets the giant girl who picks up a rowboat--a toy he is sleeping in. Gulliver music also features on the record THE MYSTERIOUS FILM WORLD OF BERNARD HERRMAN.
The whirlpool from beginning to end--from the entrance into the whirlpool to the rescue of Don is ALL from the submarine movie THE ENEMY BELOW. This watery sounding action sequence is thrilling and serves its purpose. Many of the musical cues in the first five episodes were from the unaired pilot and were source music from other FOX productions--and most, but not all, were Bernard Herrman cues. They were left in and are fitting. In fact, the earthquake sequence in the cliffhanger of THERE WERE GIANTS IN THE EARTH contained music from JOURNEY TO THE CENTER OF THE EARTH (the clip comes from the kidnapping of Prof. Lindenbrook when he is in his stagecoach). In the tag of the next episode, the original John Williams LOST IN SPACE action music is played.
Another clip from JOURNEY TO THE CENTER OF THE EARTH is the music used when Penny sees Judy and Don kissing under the Charoit in THERE WERE GIANTS IN THE EARTH and then tells John and Maureen, who then have a talk about romance and kiss. Still another is the music played in THERE WERE GIANTS...just as Will points up to tell Maureen that John and Penny are flying at the Charoit and Maureen seems to give thanks. All of this spiritual type music is from JOURNEY'S scence when the young Alec talks to his fiance and later when the fiance thinks of Alec and his cohorts under the Earth.
Back to THE ENEMY BELOW. While this was used this one time on LOST IN SPACE, it took over the themes for the fourth and last season of VOYAGE (but some of it is first used in the NO ESCAPE FROM DEATH episode in the third season of VOYAGE--and it is the best thing about that episode which used a lot of stock footage). Fitting to the ocean, it sounds great in such episodes as THE FIRES OF DEATH (which used almost all of the ENEMY BELOW music cues combined with some new and old VOYAGE cuts); CAVE OF THE DEAD (which also featured the lizard music from JOURNEY TO THE CENTER OF THE EARTH when Nelson first comes aboard and sees the whole crew as skeletons); THE DEADLY AMPHIBIANS (to great effect as Nelson battles the fishmen in the sea); RESCUE (which was much more ocean-spy oriented); SECRET OF THE DEEP (which cleverly mixed music from many of VOYAGE'S past episodes) and a few others. Just as a note: the entire visual end sequence of THE ENEMY BELOW (which also costarred David Hedison) was lifted and used as stock footage in the sub collision at the end of KILLERS OF THE DEEP!
One more theme taken from a film includes the John flying to find Penny music in THERE WERE GIANTS IN THE EARTH and the parajet music from INVADERS FROM THE FIFTH DIMENSION as well as the music used when we see Penny on the turtle, lost. This excellent, uplifting music is taken from the sea-fisherman film BENEATH THE 12 MILE REEF (with Robert Wagner and Peter Graves, the music of which is on the CD called The Marvelous Film World of Bernard Herrmann). It is heard as their fishing boat heads out to sea. Some more music may have been used from this--when the fishermen deep sea dive but I am not sure about this. There is also a fire sequence in the movie which contains some music used in the shows.
MY FRIEND, MR. NOBODY music is the first alternative music used on the show and it fits right into the usual John Williams pieces. Much of it is used over and over. It sounds more fantasy-like and inspires a hope filled warm feeling as well as giving a lighter side to LOST IN SPACE. It is used largely in fantasy based episodes such as THE MAGIC MIRROR and THE TOYMAKER. Some of the music is lively and reminds one of the garden music and the Maureen washing clothes music, both originally from THERE WERE GIANTS IN THE EARTH. When Penny greets the flowers, the cave, and the pond as if they were alive and the flowers bow to her, the music is LOST IN SPACE at its most awe inspiring. The music used when Penny is running, trying to warn Mr. Nobody that Don and Smith are blasting, is exciting and different enough to make an impact. This is used again when Will, The Robot, Smith, and John and the TOYMAKER escape the toy machine and when Verda is first made in THE ANDROID MACHINE as well as when Penny screams and runs from the magic carpet--only to have Will fall into it in the teaser to PRINCESS OF SPACE. Some of the NOBODY music graces the dream sequences of THE SPACE CREATURE to good mood. NOBODY music was used in FLIGHT INTO THE FUTURE when Smith, Will, and The Robot go into the cave and hear things--but can't see them moving around.
The only other music from early episodes concerns the western sounding themes for Hapgood, the WELCOME STRANGER. The fight music (between Don and Hapgood) is fairly well done and is used to viewers' embarassment in the fight between Morbus and Don in A VISIT TO HADES. WELCOME STRANGER also featured some good ending music when the Robinsons bid him goodbye as he flies through space and encounters a supernova---and this music is used in the final scence in the unaired LAND OF THE GIANTS pilot and reused in HIS MAJESTY SMITH as Will thinks about the now gone Daddy Zach. The sprite music used when Hapgood sees the nova is used again in COLLISION OF PLANETS as the planet blows up and Will sees it in the viewer. It is tense but ends with an uplifting few strains which even out. There is also a theme to LOST IN SPACE takeoffs--not all, but most takeoffs of the Jupiter, alien ships, Hapgood's ships, the elevator from THE ANDROID MACHINE, etc. all use this uplifting music which fits well to being carried up and away. This is heard as the Jupiter leaves the GHOST PLANET (and John tells the voice that they will not be coming back) and is much better than the march-parade like music as the Jupiter left THE DERELICT spaceark. Music from the RELUCTANT STOWAWAY graces the PROMISED PLANET as the gang disembark from the landing Jupiter, the whole sequence giving us a good feel for the theme---sounding like a very military operation without overpowering us. The other music from the first episode that bears mentioning is the no gravity music which is used as Penny and Will fly around the upper deck and Smith flies around on the lower. This is used for dream sequences as in THE DREAM MONSTER and THE MECHANICAL MEN. The piece leads into a tense commericial lead in which is featured during the Robot's obeying command to attack and again in KIDNAPPED IN SPACE when Will begins to use the time device to bring John back to life--again before a commerical break.
The touching family music played in THE OASIS, THE RAFT, WAR OF THE ROBOTS, and many others is used again in the next two seasons, most noted in DEADLY GAMES OF GAMMA SIX as John tries to talk to Will about his not being a superhero, when Penny tells Maureeen about the Boy in THE MAGIC MIRROR, and as Smith tries to explain his faults to John in the end of SPACE DESTRUCTORS. A version was used in very early BATTLESTAR GALACTICA episodes. It is probably first heard in THE DERELICT and later used again when Will is told by John that Smith is supposed to act like everyone else in WISH UPON A STAR and used again in that episode as John chastises everyone for relying on the wish machine.
One thing refreshing about all Irwin's four shows is that they sometimes switched veins, musically speaking. An episode would come along which sounded like no other in the past. This is what made BLAST OFF INTO SPACE (Leith Stevens) so different from the any of the previous first season shows. It had a stunning new theme throughout with no past music used--even the cliffhanger for it and for WILD ADVENTURE (Alexander Courage) were totally new. The quake music is exciting, new and graces future episodes once in a while--episodes such as: MUTINY IN SPACE (during the shaking of the Admiral's ship by a dwarf star), CONDEMNED OF SPACE (twice--once during the ending of the Jupiter's bout with the supernova; then as Smith and Phanzig release more prisoners), HUNTER'S MOON (as John effects the escape of himself, Smith, Will, and the Robot from Megazor's camp), FLIGHT INTO THE FUTURE (during Will's final fight with the real menace--an alien machine), and it was even used in the scences to next week's HUNTER'S MOON--to good effect. This music was surrounded by some of the best mood music used on LOST IN SPACE as the Robinsons prepared for liftoff, Smith drove the Chariot a few times, Smith played galactic poker with Nerium, John used the parajets to find Will and Smith, and the stone statue came to life. Colorful stuff all of it. A lot of the mood music from this was used again: KIDNAPPED IN SPACE, THE CURSE OF COUSIN SMITH (during John's trick on the machine), THE DREAM MONSTER (when Smith plays jump rope with the robots), and a few others. A lot of it is not used again, however. There is a more optimistic feeling to this music than the Williams music, with lighter tunes, more relaxing type music.
WILD ADVENTURE is similar. The music used during the sun attack is used again when Will meets the Robot Brain in THE GHOST PLANET and during the titles of FORBIDDEN WORLD. The theme during Smith's tampering with the astrogater and the resulting shaking of the ship music just before the theme song and credits is used again in FLIGHT INTO THE FUTURE during the episode credits, during the attack of the alien station on the Flying Sub and Seaview in THE TERRIBLE TOYS, and in the LAND OF THE GIANTS unaired pilot as Spindrift is hit by the space warp.
In WILD ADVENTURE, a quick paced awesome sounding theme is used when the Jupiter flies into the cosmic dust ball. This is reused as the Space Pod music when it first lifts off in COLLISION OF PLANETS and when Smith and Will fire Zalto's supposedly harmless missiles while in the ROCKET TO EARTH which briefly repeats some of the music that was used when Maureen and Will spot the cyclops through the radio telescope in THERE WERE GIANTS IN THE EARTH.
WILD ADVENTURE also had the priviledge of some nice sounding space walk music, totally original. In addition to this, the music as the Jupiter lands on the fuel barge and Don spacewalks, not to mention the loss of fuel by Smith sequence is scored in such a way that the music can be listened to with your eyes shut and you can begin to imagine spaced out adventures in a positive way. The theme to the green girl was a bit over the top but effectively weird and reused when she appeared again in THE GIRL FROM THE GREEN DIMENSION. In fact, LOST IN SPACE began to have themes for the guest aliens: this is noticed in THE HAUNTED LIGHTHOUSE where J-5 and the Zabo had their own theme.
BLAST OFF, WILD ADVENTURE, THE GHOST PLANET, and FORBIDDEN WORLD boasted some new music for the Jupiter in space sequences. The section of music when John and Don are checking the ship just before spotting Smith and the green girl in space is brillant and subtle. The intros and exits are all very good as we see the ship flying in space---with nice journey type music unlike any other used in the show. The ending to BLAST OFF is reused in THE QUESTING BEAST lending that episode a good moment or two. FORBIDDEN WORLD had new tunes by Robert Drasnin, who also did the new pieces of score for CURSE OF COUSIN SMITH and the full THIEF OF OUTER SPACE.
Other new themes were not as extensive or distinguished but served the series well for a new outlook and sound: these include bits and pieces from FORBIDDEN WORLD, THE CURSE OF COUSIN SMITH, THE GIRL FROM THE GREEN DIMENSION, THE QUESTING BEAST, THE SPACE VIKINGS (the music during the attack on the caves by the giant feet of the Frost Giants is the best part of this; also of note is the odd music used when the gloves come out of the sky), TREASURE OF THE LOST PLANET (best when John is facing the pirate-wolf-man who attacks him with a sword after resisting John's laser firing), REVOLT OF THE ANDROIDS, THE MECHANICAL MEN (Alexander Courage's new themes, most for the tiny robots), THE ASTRAL TRAVELLER, A VISIT TO HADES, and WEST OF MARS (a Robert Drasnin score which boasted some very good themes both on the Robinson planet and the Western Planet). CAVE OF THE WIZARDS had some new music, mostly all of it---most of it scary but none of it is as memorable as some other LOST IN SPACE themes have been. It was merely adequate.
Silly, comedic music was used in the show in Season Two and this graced the worst episodes such as A VISIT TO HADES, THE SPACE VIKINGS, THE GIRL FROM THE GREEN DIMENSION, ROCKET TO EARTH, TREASURE OF THE LOST PLANET and a host of others. Goofy "sick" music was used when Smith thought he was going crazy in ROCKET TO EARTH AND TREAURE OF THE LOST PLANET. Not the fault of the music---it was silly--but again it fit the shows.
Seemingly totally new were the themes used in THIEF OF OUTER SPACE (Robert Drasnin), with a particularly Arabian sound to it. Of note is the sequences with the workroom as Will is shown how to work by the slave and he does all the work now and later when Penny does the work Will was suppose to. It is also very well done when Will is first taken by the Sedan Chair through space. This music is used again briefly in FLIGHT INTO THE FUTURE when Will sees the illusions of American Indians attacking him. The explosions that lead Will to the chair in the first place were accompanied by a jazzy theme that fit well to the whole series and John's fight with the Theif was a well composed theme. Some of the music was reused in the scare sequences in ROCKET TO EARTH, mostly during the encounter with the dummy in the cave by Will, Smith, and the Robot. This episode was really very inventive musically.
Next we must discuss the other music which graced LOST IN SPACE. There were plenty of episodes which used music only once or a few times but not as much as the mainstream stuff discussed above. These include mostly third season episodes: THE HAUNTED LIGHTHOUSE, CASTLES IN SPACE (Gerald Fried), SPACE BEAUTY, THE GREAT VEGETABLE REBELLION, and JUNKYARD OF SPACE. It is true of parts of COLLISION OF PLANETS (Gerald Fried), A DAY AT THE ZOO (very effective music used during the Penny convinces Oggo scence and when Penny is first caught, also effective is the title music as Judy and Don search for Penny), THE PROMISED PLANET (I like the music used when the Robinsons fall into place behind Edgar--and Penny and Will go with Bart into the rooms--it is nice and light), PRINCESS OF SPACE (the comedic beat to the end theme is used again in other episodes of the third season--although quite campy, it is also quite catchy and came from the end of A DAY AT THE ZOO), and FUGITIVES IN SPACE.
The first set have totally original music with THE HAUNTED LIGHTHOUSE sometimes relying on past action cues but using a lot of new material, especially during the spaceship heading at the station, John's spacewalk into the station, and the last major shaking of the lighthouse until J-5 finds the newspaper in the stablizers. Of real beauty was the whole musical sequence when Penny says goodbye to J-5 while her family enters the Jupiter II and we see Penny enter and close the doors and the ship takes off from the lighthouse. This dreamy and uplifting, yet somewhat meloncoly piece is reused and changed a bit for the very end to LAND OF THE GIANTS' DEADLY PAWN'S final moments. The music from when the storm is hitting the Jupiter to the attack of the lion and later from when the Jupiter lifts off to the landing on the space lighthouse is refreshing. Smith's illusionary lady friend created by the Zabo had a nice love theme attached to her but this music was used for the female robot in DEADLIST OF THE SPECIES.
SPACE BEAUTY was totally original with the Judy hypnotized sequence very nice and a new totally fresh varying of some of the old scare music. The entire lead up to this with the fire knights marching on the Jupiter is worthy of note--quite fresh and science fiction sounding.
CASTLES IN SPACE may have gone a bit over the top but some of the music is very good--especially when the ice princess first wakes up and walks through the area. Don's fight with Chavo is very well sounding and the sequence when Chavo tries to search Don and Judy's camp is also quite tense and alien-ish. The post teaser credit music is also very good with Smith and Will freeze framed. Some good transitions also abound in this one but the wild Mexican music really shouldn't have been used.
COLLISION OF PLANETS used a good, new action theme which fitted the hippy motif of the episode while not going over the top too much. It was used when John was beaten up by the leader who threatened him with the alien canister of explosive and later when John lasers the aliens' motorspace cycles. The aliens had their own theme as did their alien box which turned Smith into a sort of Samson in space--and Smith-Samson had his own theme as well. They tried but a majority of this just didn't cut it.
VISIT TO A HOSTILE PLANET used many of the old John Williams greats but then a few new variations on a few of these older themes were noticed. A new version of some of the old explore-scare music is heard during the finding of the old shack by Maureen and the girls, when Penny and Judy first went to pick apples and then when Judy, Don and John left the teenager. There are probably more examples of this from this episode (for one the scence when Smith makes Will and the Robot get captured).
THE PROMISED PLANET had snippets of new music mixed in with some new tunes. Of course, the alien music-hippy style was quite new and very odd. This was reused briefly as Val, Barry, and Fitzhugh watch a giant party in progress in the teaser to LAND OF THE GIANT'S DOUBLE CROSS.
GREAT VEGETABLE REBELLION, while a tepid episode, had some lovely music which sounded paradise-like and fit the jungle-forest-serenity well. It also sounds very exciting mostly when Judy and Will fall into the mulch pit and when John and Don sabotage the underground complex.
LOST had music playing almost all the time and its music is a credit to the science fiction and fantasy genre--ALL of it deserves to be put on CD. Several brief transition cues were used in LAND OF THE GIANTS episodes (BRAINWASH, ON A CLEAR NIGHT YOU CAN SEE THE EARTH, GENIUS AT WORK).
This allows us to switch the focus to LAND OF THE GIANTS. The unaired pilot used music from LOST IN SPACE, VOYAGE, and THE TIME TUNNEL. The actual series music has a similar history to that of LOST IN SPACE. John Williams scored a great deal of fantastic and overly large sounding music which fit in perfectly to LAND OF THE GIANTS. I mean it sounds gigantic. The Spindrift in the Space Warp theme was used only a few times in the show: in THE CRASH for the space warp AND the dog attack; for both balloon rides in TERROR GO ROUND and LAND OF THE LOST; the fight between the criminal giants in DOUBLE CROSS; and again in WILD JOURNEY during the flashback to the CRASH. All the feelings LAND stirs up are embodied in this music: the strange travelling through space and time in a ship, the on rush of something coming at you from out of the darkness, gigantism with emphasis on music that sounds towering, and fast paced action cues.
In THE CRASH, this music is soon followed by more soothing music with varied tension whirs within. The scence where Steve and Dan are out exploring the area had music from LOST IN SPACE used well and then breaks into a LAND shock theme which is soon replaced by music that sounds very like Jerry Goldsmith's PLANET OF THE APES and BENEATH THE PLANET OF THE APES chase music (which also feature Richard LaSalle-like music on the soundtrack--music which is used in THE UNSUSPECTED and many other second seasoners). This APE music is used again in ON A CLEAR NIGHT when Steve jumps on the spray can to distract the giant so Dan can run off and get away. PLANET OF THE APES is on a restored CD version.
Strains from the music just after Mark sets off the gas in the giant's lab as Dan uncuts Val and Steve up on the table top also sounds like beats from the APES music. This theme is used again in the teaser to TARGET: EARTH as the dogs hunt down the three men. It is also heard when Steve and Dan without Betty and Mark go through the animal cages in SEVEN LITTLE INDIANS. Here, it ends the same as in THE CRASH--with a building stir of sound into other action music. If I recall correctly, after THE CRASH, it is not used in its entirity.
The main titles of THE CRASH use uplifting and action filled music, not often heard on GIANTS in full. It features from when the credits return from after the teaser to when the spaceship actually crashlands this second time. This is used in part as title music to THE BOUNTY HUNTER as Fitzhugh is grabbed up by the giant. It is also used in the teaser to CHAMBER OF FEAR just as Fitz tries to distract the giant for Val to get away. One of the best uses besides the ones above, is the use in TARGET: EARTH as two dogs with SID men chase Steve and Dan to a gopher hole. A shorter version is heard in the very tag-end of ON A CLEAR NIGHT when Murtrah breaks out of the locked door and Steve runs out of the vent, setting off the explosives. While this music is very fast paced, it too uses loud and blaring momentum to carry a feel of something huge running after something small.
Backtracking a bit, one must remember the classic action Williams music from THE CRASH and THE WEIRD WORLD. One is the music first heard when Steve runs from the giant spider in the forest--this is heard only in part and not fully heard in its completeness until the giant professor chases Val, Mark, Steve, and Dan off the step in THE CRASH and then puts his net over Dan and the gang all run into the drain--followed by the giant's arm and hand. This music epitomizes LAND OF THE GIANTS more than any other music. It is tense, fast paced, and sounds totally giant as if something huge and fast were after you. It is almost scary and uplifting at the same time. It is used in many episodes such as THE TRAP (during the episode titles, THE WEIRD WORLD when Kagen saves Barry, in GHOST TOWN as the tramp chases Val, Barry, and Fitzhugh, in BRAINWASH as the trio run from the foam in the fourth act in the caves, when THE BOUNTY HUNTER has Barry in his grasp and Chipper helps the boy get away, when the dog chases Dan, Mark, and Fitz in ON A CLEAR NIGHT..., in SEVEN LITTLE INDIANS when Grotius gets Dan, TARGET: EARTH when Steve finds Dan and Mark in the device, during the title credits in SABOTAGE, and the last gunfight in THE CHASE. During the second season the same chase-action music is heard when the dog attacks storeman in EVERY DOG NEEDS A BOY, when THE CLONES and the real little people were pulled through the vent by the suction machine, and in THE DEADLY DART when Steve breaks free of the electro magnet and then shorts it out and the whole place blows up. In DEADLY DART and THE CLONES this music seems to have more of an accent on the clanging bell type sound which builds up.
The other main action music is the Cat Attacks Fitz and Barry and then the spaceship in THE CRASH. This music sounds like a better variation of some musical bits from THE THREE WORLDS OF GULLIVER ("Pursued by Giants" on the CD of GULLIVER) and which was also used in CLOSE ENCOUNTERS OF THE THIRD KIND--although not as effectively as either the first movie or GIANTS. This music starts out with a "shock" opening, heralding the appearance of some monster or some dangerous threat--the cat in THE CRASH, the giant girl throwing matches at Steve and the fire, the gopher's appearance in WEIRD WORLD, the start of the fight between the two crooks in DOUBLE CROSS, the giant girl chasing the truck Steve and Mark are in at the end of GHOST TOWN, the giant sticking a broom into the drain in EVERY DOG..., the dog sticking its nose into the drain in CHAMBER OF FEAR, and the first part of the electro magnet sequence (which offers a great mix of the Prof. Chase and the Cat Attack music). This music seems to have gotten a translation in RETURN OF INIDU during the second half of the ghost attack just after the teaser. The "shock" section of the music for the regular sound is preluded by a soft build up which repeats the same strains over and over but adding a bit more of a backdrop music and then we are hit with the shock music. After this is a section of whistling sounds which sounds very uplifting and this can be heard as Barry and Fitzhugh actually run away from the cat under a tree and up to the ship in THE CRASH; it can also be heard as we acutally see Betty, Barry and Steve pulled into the cave by the magnet in THE DEADLY DART. This uplifting music is very catchy on its own and hopefully it will be included on the CD set. After this section comes a brief respite---and this is actually heard when Barry and Fitzhugh enter the ship in CRASH and while Betty yells out to Steve in THE DEADLY DART in the cave while she is attached to the magnet. This seems to end the action music but whammo--we are hit with slow building shock music which becomes more action oriented once again--the cat is at the door in CRASH and in the cave in DEADLY DART, Steve pulls off his back pack and gets free of the magnetic poles. This action music theme becomes a full fledged tempo and climaxes in one of the best repetitional bits of music. Agian, good examples of this whole bit is the gopher attack in WEIRD WORLD and the attack on Steve and Dan by