Smith's Evening / Judo Chop / On The Pad / Countdown
Escape Velocity / Robot Control / Meteor Storm. Defrosting
The Weightless Waltz
The Monster Rebels / A Walk In Space / Finale
Suiting Up / Stranglehold / The Landing / Search For John
Tractor Play-On / Electric Sagebrush / Will Is Threatened
The Earthquake
Chariot Titles / Farenheit A Go-Go / The Chariot Continues / Sunstorm
Morning After / The Inland Sea / Land Ho / Strange Visitor
LOST IN SPACE End Title
John Williams, then still known as "Johnny," spent a decade scoring a wide variety of TV shows, from Playhouse 90 to Gilligan's Island, before moving up the food chain into feature-film scoring. His association with produc... more »er Irwin Allen was a crucial one; Williams's work on Allen's slew of mid-'60s sci-fi TV shows (Lost in Space, The Time Tunnel, Land of the Giants) led to breakthrough assignments on the producer's Earthquake and Towering Inferno film blockbusters. This collection from the ever-enduring Lost in Space encompasses Williams's first-season main title (the "mod" second/third season title appears on Vol. 2) and three suites of cues from the show's initial "serious" season. A good study of the concise economics of TV scoring, Williams's Herrmannesque motifs (including one theremin-laced piece that's almost too close to The Day the Earth Stood Still for comfort) usually place strong brass statements over roiling wind figures to great effect. Not exactly music for a rainy afternoon, but surprisingly engaging nonetheless. --Jerry McCulley« less
John Williams, then still known as "Johnny," spent a decade scoring a wide variety of TV shows, from Playhouse 90 to Gilligan's Island, before moving up the food chain into feature-film scoring. His association with producer Irwin Allen was a crucial one; Williams's work on Allen's slew of mid-'60s sci-fi TV shows (Lost in Space, The Time Tunnel, Land of the Giants) led to breakthrough assignments on the producer's Earthquake and Towering Inferno film blockbusters. This collection from the ever-enduring Lost in Space encompasses Williams's first-season main title (the "mod" second/third season title appears on Vol. 2) and three suites of cues from the show's initial "serious" season. A good study of the concise economics of TV scoring, Williams's Herrmannesque motifs (including one theremin-laced piece that's almost too close to The Day the Earth Stood Still for comfort) usually place strong brass statements over roiling wind figures to great effect. Not exactly music for a rainy afternoon, but surprisingly engaging nonetheless. --Jerry McCulley
"As children we delighted in this glorious music, now we are given this incredible gift of the best of John Williams' score for "Lost In Space". From the opening track of the main title I was immediately impressed with the excellent sound quality. Whoever remastered these tracks should be commended for the care that they took. All the best known cues are here, the cues that were used countless times during the three year run. And it is magnificent to hear them un-edited, without the sound effects and dialogue. John Williams would go on to become an honored film composer, and this wonderful collection of fantasmagorical music proved his genius at grabbing art out of an ordinary science fiction/action television show, as he would create magic for millions of moviegoers. When we think of the "Lost In Space" we think of his music first, for without it the excitement would be dulled, the fantasy would be routine. Of all the music written for television during the sixties, this stands out as a crowning acheivement."
1965 TV Treasure
Staysun | Downers Grove, IL USA | 06/02/1999
(5 out of 5 stars)
"Long before "Jaws" and "Star Wars," the unmistakable brilliant music of John Williams was heard (at least in the main title) in every episode of "Lost in Space." This disc features all of the key themes, motifs and musical stings that were used throughout the series' run. This album is a rare gem from the dusty archives that displays John Williams' unerring gift for drama already in full force in 1965. And the child-like atmosphere of "Lost in Space" was a perfect playground for this youthful collection of orchestral fun and frolic that is a direct prelude to "Star Wars." Lost in Space: 40th Anniversary Edition"
"Lost in Space" on CD - Deleted
Daniel J. Sheffield | Elmira, NY | 04/03/2005
(5 out of 5 stars)
"I can't for the life of me understand why GNP Crescendo has deleted this CD, unless the "Ever-Worshipped Almighty Dollar" had its say. It featured none other than the music of John Williams.... THE John Williams. I'm sure the CD didn't sell like a Jennifer Lopez release,.... which is probably to its credit, but the "Lost in Space" first season music should be considered a part of our musical patrimony. Sure it's all absorbed into each and every episode on DVD, but could it be possible that some of us just want to HEAR music, in the car, in the home or wherever.... and not necessarily have to WATCH something? There was some GREAT music here and GNP Crescendo has done a huge disservice to the public by deleting their "Lost in Space" CD series. (If you look at their current catalog, it's amazing that they've kept some of the substandard titles they have.) I hope a consciencious label will pick up the "Lost in Space" music, digitally remaster it and offer them on CD to those of us who care. I'd buy them and horde them. Those are MY "Almighty Dollars" speaking! (P.S. The poor sound quality of what's found on iTunes would be no substitute either.)"
Every motif is a masterpiece. Every chord.
Horst Meisterfluscher | 11/16/2004
(5 out of 5 stars)
"I am of the decided opinion that MORNING AFTER from THE HUNGRY SEA is the single greatest piece of music ever written in the history of the universe. I am not engaging in idle hyberbole. I really mean it. (And my apologies to Kim Carnes for having relegated BETTE DAVIS EYES to a #2 position.) Here's a tidbit I noticed: There's an ascending trumpet finale motif at the end of both THE RELUCTANT STOWAWAY and THE HUNGRY SEA. Williams took that motif and slowed it down to create MORNING AFTER. I was irritated by a sense of musical deja-vu until I figured out the provenance of MORNING AFTER.
CHARIOT TITLES is another mini-masterpiece. It is 64 seconds of promethean anguish. It reminds me of the term that Stravinsky used to describe Beethoven: "virile melancholy". I love the bass harmonies of the passing bass-string notes.
Remember the creepy piccolo at the end of SEA ATTACK #1 in JAWS? There's a similar piccolo routine in DEFROSTING. It's meandering & atonal & arhythmic. It sounds like nothing so much as a haunted tea kettle or bosun's whistle.
Regarding a track called WILL IS THREATENED. I love the trumpet line that starts at 7/1:38. It's backed with brilliant orchestration and key changes.
Regarding a track called LAND HO. It's a short & slow flute tune accompanied by marimba & bass strings. It's a brief oasis of bittersweet placidity. And it means more to me than the entire combined oeuvres of Bach, Beethoven, and Kenny Rogers.
"
Outstanding! What other TV show had this quality of music?
Thomas Lapins | Orlando, Florida USA | 11/17/2000
(5 out of 5 stars)
"NONE! We own all three years of "Lost In Space" on video. I've always heard the music accompany the dialogue and the action. To hear the soundtrack in both stereo and without any other distractions (I don't say this in a negative way) elevates the music into a whole new universe. Put your headphones on and you'll find yourself "lost in sound", a serious, symphonic journey with Mahler-like intensity. The sound quality is excellent. The horns, strings (especially the plunging violins and the deep tug and pull of cellos) and other instruments march you forward. The music is a total delight and should be experienced independent of the video; whether you liked "Lost In Space" or not, the music stands on its own! Volume Three is equally as good."
Track Listings (11) - Disc #1
