The Incredible Journey of Doctor Meg Laurel (1979) *** 1/2

In his early years, Gerald Fried (1928-2023) scored a steady stream of B-movies, with sci-fi, horror and crime films providing much of his bread and butter. Many of these scores have appeared on the Dragon’s Domain label in recent years, greatly expanding Fried’s discography for listeners willing to take a chance and explore his music. During the 1970s, Fried increasingly found himself scoring television movies and miniseries, including one of his most celebrated works, the 1977 miniseries adaptation of Alex Haley’s Roots.

Fitting into this period, The Incredible Journey of Dr. Meg Laurel aired at the beginning of 1979 and is a medical drama set in the 1930s. Lindsay Wagner (The Bionic Woman) stars as Dr. Laurel, a Harvard graduate who leaves her husband following a controversial confrontation with a Boston judge and returns to her former home in the Blue Ridge Mountains. There, her “modern” medical ideas stand in stark contrast to the more traditional, homespun approaches of the local community. Fried responds with a score that balances the pastoral setting with occasional reminders of the darker dramatic instincts that characterized his earlier work. “Stalking Mountain Lion,” for instance, introduces danger music through interesting rhythmic ideas and sharp brass stingers.

The “Main Title” establishes the score’s distinctive character, blending folk instrumentation—most notably prominent hammered dulcimer—with a jagged thematic idea. From there, Fried occasionally draws on the dramatic vocabulary of his early horror work, as in “Bad Dream,” where brief brass interjections cut through denser textures.

The Americana flavor becomes more prominent in “Journey to Eagle’s Nest,” where wind writing shifts the colors of the theme and eventually moves into a western-like rhythmic drive before pulling back to a plaintive harmonica statement. Similar western touches emerge in “Sin Eater,” while the folksy character of the score provides a lighter backdrop for thematic lines passed among different wind instruments and, at times, harmonica. These shifts in color give the music a pleasing sense of variety without disrupting its overall character.

“The Kite-Bee Attack” takes things in a more unusual direction, with electric guitars and denser dramatic writing. The resulting dissonant mass of sound is a familiar Fried touch, recalling the more aggressive side of his earlier genre work. Yet even as the score moves between pastoral Americana, wstern-inflected writing, and darker dramatic material, Fried maintains a strong sense of narrative flow. He knows when to heighten the tension and when to step back and allow moments of beauty to emerge, without pushing things into excessive melodrama.

The electronic elements can sound somewhat odd at times, although they are generally employed effectively during the story’s more unsettled passages. The primary theme returns for a satisfying “End Title,” bringing everything to a fitting close.

The Incredible Journey of Dr. Meg Laurel is a fine example of Gerald Fried’s ability to blend folk-inspired elements with the colors of a chamber orchestra. The primary theme provides an effective anchor, while the varied instrumental palette keeps the score engaging throughout. The release makes this score available for the very first time, with James Nelson handling the mastering and Scott Davis providing the liner notes. It is a welcome addition to Fried’s growing discography and a solid example of 1970s television scoring. The music can be sampled at the BuySoundtrax website. —Steven A. Kennedy

Comments regarding this review can be sent to: stev4uth@hotmail.com.

Force: Five (1981) *** 1/2

Force: Five (1981) is a martial-arts adventure from director Robert Clouse, who was responsible for such classics of the genre as Enter the Dragon and Game of Death. The film follows a martial-arts team as they travel to an island to rescue a senator’s daughter, who has been taken hostage by a fanatical cult leader. Composer William Goldstein (An Eye for an Eye, Forced Vengeance) provides an energetic score that combines orchestral writing with electronics, resulting in an exciting and surprisingly varied musical backdrop.

The “Opening” title track immediately establishes the score’s energy with an appealing thematic idea built from brass and guitar licks over a pop-oriented rhythmic backdrop, before shifting into a sinister, organ-like figure. Tension-building material and bursts of action round out the cue. A montage track leads into more thematic writing, while “Lookin’ Around” juxtaposes soft jazz trumpet with recurring electronic and wind motifs. Goldstein provides further contrast with the lush writing of “Still Time for Romance” and the bossa nova-tinged seduction of “Still Time for Fun,” while the pop-oriented “Laurie’s Song” has a touch of Burt Bacharach in its melodic character.

The electronic ideas become more prominent in cues such as “Back to Business,” where percussion and strings interact with stingers and dissonance to create an increasingly unsettled atmosphere. The variety of these approaches makes the score a fascinating listen, even when some of its individual gestures are familiar genre conventions. Goldstein moves effortlessly among them, maintaining a strong sense of overall shape rather than simply stringing together a collection of action and suspense cues.

While listeners may initially come for the action writing, it is Goldstein’s thematic material that ultimately makes the biggest impression, from the muscular primary theme to the more lyrical contrasting ideas. When these themes begin to intertwine, the tension rises while the emotional stakes become more apparent, particularly in tracks like “There’s Still Laurie.”

The “Final Battle” sequence offers another impressive showcase. It opens with angular writing, dense clusters of dissonance, and propulsive action material before moving into more mysterious sounds. The finale even indulges in a bit of Mickey-Mousing before bringing the principal themes back once more. It is an effective summation of Goldstein’s approach, balancing the direct impact expected from an action score with more unusual textures and vital thematic development.

Stylistically, the score overall sits comfortably alongside the work of composers such as Bill Conti and Lalo Schifrin during this period, but Goldstein brings enough of his own personality to keep it from feeling derivative.

The score was previously available digitally, but the current edition is remastered, with improved sound and several changes to the program. Fans of this era of action scoring should find plenty to enjoy in Goldstein’s work here. Clips are available at the label’s website. —Steven A. Kennedy

Comments regarding this review can be sent to:stev4uth@hotmail.com.

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We're excited to announce four new titles, all arriving August 12 at 12:00 PM Pacific.

This month's lineup leans heavily into long-awaited reissues, bringing back several scores that have been out of print for far too long.

First up is a late-'70s fantasy adventure score that was never widely available. We've gone back to the original elements for a complete remaster from the ground up, thanks to the outstanding work of James Nelson at Digital Outland, along with all-new liner notes and artwork. We think it sounds better than ever.

Next is a full-throttle action score from the early '80s that was only available very briefly before disappearing. With brand-new artwork and updated liner notes, this is a tremendously fun release that action score fans won't want to miss.

Our third release takes us back to the 1950s with one of the era's documentary scores. We've carefully restored and remastered it, and we're proud to present what we hope will be the definitive edition.

Finally, we're thrilled to present a brand-new remastered edition of a wonderful recording featuring four film scores originally released in the 1970s. Previously available on CD only for a short time, this edition features fresh artwork and updated presentation, and we hope it will be a welcome return for Golden Age film music enthusiasts.

Mark your calendars for August 12 at 12:00 PM Pacific. We can't wait to share these releases with you, and we hope you'll stop by to see what's in store!

We're excited to announce a special surprise for fans!

Bruce Broughton was able to carve out some time to personally autograph approximately 50 booklets for our release of The Girl, the Gold Watch & Dynamite!

If you've already purchased this title, we've included a signed booklet with your order at no additional charge.

A limited number of signed booklets are still available for new orders, and they're ready to ship immediately.

Don't wait—this special offer is available while supplies last!

The World of Buysoundtrax Releases!

Over the past few months, the folks at Buysoundtrax and Dragon’s Domain Records have been rolling out a host of interesting releases. There really is a little something for everyone, so get your wallets ready and head over to their website—it may be difficult deciding where to start!

Dragon’s Domain continues its model of issuing limited physical releases—typically around 500 copies—with the occasional bonus of signed editions early in the run. One of the better recent releases is The Bruce Broughton Collection, Vol. 3, featuring music from two films: Bobbie’s Girl (2002) and Warm Springs (2005). Both scores are written for smaller orchestral forces, perfectly suited to the intimate nature of their stories, and both feature the kind of gorgeous melodic writing that has long made Broughton a favorite among soundtrack collectors.

Fans of Arthur B. Rubinstein will also want to seek out the first volume of his work, which explores two television scores from 1977 and 1981 in premiere releases.

The label has been especially generous to admirers of Lee Holdridge, issuing a variety of noteworthy titles, including a collection of documentary music written for Olympic-themed films, an early score from 1973 paired with 1999’s Sealed With a Kiss, and a welcome reissue of Splash, complete with bonus tracks.

Of course, Dragon’s Domain also continues with its steady stream of B-picture sci-fi scores, crime drama releases, and ongoing composer series devoted to the likes of Don Davis, Gerald Fried and Albert Glasser—the latter now up to Vol. 8! All of these albums have been carefully remastered and are also available as digital downloads, with generous audio clips on the website to entice curious listeners. Collectively, they provide excellent opportunities to explore lesser-known film music across a broad range of genres and styles.REVIEWS

Meanwhile, archival releases from the old Label X and Southern Cross catalogs continue to be rolled out, alongside remastered reissues from the Citadel Records and Unicorn-Kanchana labels. Highlights include Bernard Herrmann’s Torn Curtain and North by Northwest, a Dimitri Tiomkin compilation conducted by Laurie Johnson, and a superb two-disc set devoted to Lalo Schifrin—including Voyage of the Damned— essential listening for any serious collector. There are also more unusual treasures, such as a reissue of Ryuichi Sakamoto’s The Handmaid’s Tale, and Maurice Jarre’s Pope Joan(1972).

As all of this makes clear, Buysoundtrax and Dragon’s Domain have built up a treasure trove for film score fans. If you already own some of the reissued catalog titles, it is worth noting that many feature noticeably improved sound, making them attractive upgrades over older editions. Just as rewarding is the chance to explore the labels’ genre releases—restorations of scores from films many have long forgotten, but whose music remains well worth rediscovering.

This overview is hardly exhaustive, but it should be enough to whet the appetite. A visit to Buysoundtrax is likely to expand both your collection and your appreciation for classic film music, overlooked gems, and the work of composers who deserve a wider audience. —Steven A. Kennedy

Comments regarding this review can be sent to: stev4uth@hotmail.com.

The Jerry Fielding Collection, Vol. 1 ****

JERRY FIELDING

Dragon’s Domain DDR850

23 tracks – 62:49

Click Here to go to the product page and hear audio clips

In the midst of his run of 1970s features for directors like Sam Peckinpah and Michael

Winner, composer Jerry Fielding also found time for a handful of smaller projects, thescores for which have now been released by Dragon’s Domain as The Jerry FieldingCollection, Vol. 1.

Though one of his most widely recognized credits remains the sitcom Hogan’s Heroes, Fielding rarely ventured into feature-length comedy, making the inclusion of 1974’s Honky Tonk particularly noteworthy. This pilot film stars Richard Crenna as a con man who sets up shop in Nevada. 

“Main Title” introduces the rollicking main theme on racing strings with harmonica and percussion in support. There’s also a scampering idea for pizzicato and horns, ostensibly for sneaking around, in “She Cuts Him Loose,” “Merry Chase to Bank Robbers” and “We Better Get Out.”

In cues like “Escape to New Town,” “Bank Holdup” and “You Had a Winner,” Fielding provides amusingly frantic western scoring for horns, galloping rhythms and rolling piano. Seemingly cut from this same cloth, “The Hard Ride/Stage Driver Killed” is a full-on action cue for rapid-fire brass and snare drums.

The score is not without its reflective passages, heard in the English horns of “The Judge Loses/Shoots Self/The Letter,” the flute and strings of “I’m Fighting It,” and theREVIEWS bassoons of “Money Is Hid.” A brief figure of churning strings hints at a love theme in both “Gone at Dawn” and “Lucy the Pitchman.” Elsewhere, a handful of cues happily lean into the western setting, from the saloon-style take on “Buffalo Gals” in “Into Brazo’s Place” to the playful harmonica of “Unless What?” Finally, “So, Goodbye” moves from a soulful passage of strings and chimes into a reprise of the opening material.

Written and directed by legendary screenwriter Dalton Trumbo, 1971’s Johnny Got His Gun tells the horrific story of a World War I vet (Timothy Bottoms) trapped inside his battle-mangled body. Following a bugle-led “Reveille,” snare drums dominate “Battlefield,” underscoring the chaos of combat, with a whistling effect near the end thatevokes a falling bomb.

Anguished male vocals drive “Nightmare Train,” while “Don’t Take My Legs” is anchored by a pensive string melody before giving way to increasingly anxious percussion and woodwinds. “The Nurse” brings strings and percussion into a searching, unsettled idea, capped by a brief, jaunty passage for banjo and muted horns. “S.O.S./Help Me” offers the score’s most traditional writing, with strings and winds forming anelegiac lament for the fallen soldier.

1972’s A War of Children explored the conflict between Catholics and Protestants through the burgeoning relationship between the daughter of a Catholic family and a

British soldier. With the story set in Belfast, Fielding’s music reflects this tension from the outset, the “Opening Titles” juxtaposing gentle winds against militaristic snare.

“The Troubles” is a solemn cue, pairing funereal drums with grim string writing, capped by aleatoric effects toward the end. “I Want the World to See This” introduces a more hopeful tone, its first half led by flute and warm strings before giving way to more experimental textures. In the “Finale,” trumpet and drums punctuate a downtrodden passage for strings and harmonica, leaving the score to resolve on an ambiguous note.

1979’s Mr. Horn was a mini-series that told the story of bounty hunter Tom Horn  (David Carradine). A lonely trumpet solo touches off the “Opening Credits,” soon joined by woodwinds and a brass choir. It’s not long before staccato drums form a march-like figure.

The pseudo-march recurs in “The Indian Wars,” underpinning sprightly wind figures and muted horns. The second half of the cue features a brief, more aggressive passage for horn hits and clipped strings to characterize the tribe. In “Tom,” militaristic drumsgive way to see-sawing string work, which gradually shifts into a lighter texture for winds.

“The Indians” appear to mysterious flute and tribal percussion, with contrabassoon andunsettling effects lending a menacing edge. In “Horn’s End,” the trumpet that openedthe score returns, now joined by a pensive orchestra; there’s no place for men like Hornin an ever-changing America.

The Jerry Fielding Collection, Vol. 1 spotlights a range of fascinating odds and endsfrom the too-short career of the talented composer. Dragon’s Domain’s album remainsavailable. —Tor Harbin

Ted Nichols, Famed Hanna-Barbera Composer on ‘The Flintstones’ and ‘Scooby-Doo,’ Dies at 97

He also worked on ‘Jonny Quest,’ ‘Space Ghost,’ ‘Wacky Races’ and many other other shows at the cartoon factory for nearly a decade.

Ted Nichols, who composed, conducted and arranged music for such beloved Hanna-Barbera cartoons as The Flintstones, Scooby-Doo, Where Are You! and Josie and the Pussycats, has died. He was 97.

Nichols had a long battle with Alzheimer’s and died Jan. 9 in hospice care in Auburn, Washington, his daughter, Karen Tolleshaug, told The Hollywood Reporter.

Nichols worked at Hanna-Barbera Productions from 1963-72, serving as the company’s musical director for the last eight years of his tenure. He started out working alongside another legendary H-B composer, Hoyt Curtin, before succeeding him and then being replaced by him.

Nichols composed the score for the sixth and final season (1965-66) of the original primetime run of The Flintstones on ABC as well as for the 1966 feature The Man Called Flintstone.

He is probably best known for his work on Scooby-Doo, Where Are You!, which premiered on CBS on Saturday mornings in September 1969.

“Ted Nichols’ underscores [for Scooby-Doo] are what I consider to be a near perfect set of music for a cartoon,” Cade Utterback says in his comprehensive 2021 documentary about Hanna-Barbera music. “It’s perfect for the show it was in. You can’t tell me it doesn’t help set the mood.

“There are a few tracks that run for a few minutes and have several sections. And the music editors knew this was a bonus as they mixed and matched parts from all the tracks to make a beautiful Frankenstein monster of a music bed in each episode.”

Utterback notes that Nichols’ music would continue to be used on every Scooby-Doo series through 1985.

An only child, Theodore Nicholas Sflotsos was born on Oct. 2, 1928, in Missoula, Montana. He and his parents, Nicholas and Josephine, moved to Spokane, Washington, and he started playing the violin at age 10.

He graduated from John R. Rogers High School and in 1946 joined the U.S. Navy, for whom he performed in a swing band based in Corpus Christi, Texas. And during the Korean War, he was commanding officer of the U.S. Air Force Bandsmen Training School, recruiting musicians from Juilliard and other schools.

Along the way, he picked up music degrees from Baylor University and Texas A&I and taught public school in Corpus Christi, where he directed a youth symphony. Nichols then moved to California, directing the band at Santa Ana Junior College and singing with the Dapper Dans of Disneyland from 1958-60.

While working as minister of music at the Church of the Open Door in Glendora, California, he first met Hanna-Barbera co-founder William Hanna.

In 1964, Nichols teamed with Curtin to write the score for the first incarnation of the adventure cartoon Jonny Quest before Curtin left the company in 1965, with Nichols becoming primary musical director.

He went on to work on Space Ghost, Birdman and the Galaxy Trio, The Herculoids, The Fantastic Four, The Secret Squirrel Show, Shazzan, The Atom Ant Show, Wacky Races (and the spinoffs The Perils of Penelope Pitstop and Dastardly and Muttley and their Flying Machines), Josie and the Pussycats and The Pebbles and Bam-Bam Show and the live-action series The New Adventures of Huckleberry Finn.

Nichols left H-B to write operas and gospel works and serve as the musical director of Campus Crusade for Christ, organizing music groups for kids.

“Ted’s music bridged the transition between science-fiction and slapstick programming on Saturday morning as demands for greater social control and regulation of media violence surged in the wake of Martin Luther King Jr.’s and Robert Kennedy’s assassinations in 1968,” Kevin Sandler, co-editor of the 2024 book Hanna and Barbera Conversations, noted in a statement to THR.

“He used less brass and more high woodwinds and violins in his instrumentation for Scooby-Doo and other comedy series to achieve a less intense, funnier sound.”

In addition to his daughter, survivors include his son, David; grandchildren Tawny, Kevin, Brian, Alex, Carson and Cammie; and six great-granddaughters. He was married twice, to Doris from 1950 until her death in October 2009 and to her younger sister Catherine from 2011 until her death in December 2020.