SECRET AGENT MEETS THE SAINT SPY Edwin Astley LP The Prisoner Danger Man Lounge

$

30

    SECRET AGENT MEETS THE SAINT  

         1965 RCA Mono LPM - 3467

           Vinyl & Cover VG/VG

Conducted by Edwin Astley   , Secret Agent Spy Music , Patrick McGoohan , Roger Moore , Danger Man , Secret Agent Man , The Prisoner , Number six , 007
 
Track listing ;

High wire (2:21)
Drake and ducks (2:26)
I wonder where the microdot went? (2:42)
Whatever happened to George Foster (2:28)
Mio amore stan lontano (2:29)
Drake in the new world (2:39)
The Saint (1:42)
Recumbent love (1:54)
Halo (2:02)
Staten Island ferry (1:43)
Cantina (2:49)
The Saint takes a ride (3:38)

Before listing what I consider the hits and misses of "spy music," I must confess there are those who don't see secret agent themes as a genre unto itself. In 2002, I SPY theme composer Earl Hagen told me, “If there is a 'secret agent' genre, I am not aware of it . . . When you analyze the themes and scores to shows like MISSION: IMPOSSIBLE and compare them to SECRET AGENT or THE AVENGERS, you have to come to the conclusion that the film dictates the style of the music.”

However, a number of composers have indeed shaped a distinctive tone and feel for television and film spy projects. In America, Jerry Goldsmith, Lalo Schfrin, and Mort Stevens were especially significant in the '60s; in England, Edwin Astley, Ron Grainer, Laurie Johnson , and the late great John Barry were equally influential. Many do see themes and motifs in musical styles that identify them as "spy music" beyond their being included in soundtracks and as incidental tracks for the large and small screen.



Secret Agent/Danger Man and The Saint

One of the most recognized, and most re-worked, spy melodies was the television theme to SECRET AGENT, the American title for the British series, DANGER MAN. American hit-makers P.F. Sloan and Steve Barri (responsible for 1960s hits for Barry McGuire and the Grassroots, among others) crafted the guitar-driven "Secret Agent Man" title as sung by Johnny Rivers. In subsequent years, the song was redone at least 26 times by various artists such as Devo and was used in films such as AUSTIN POWERS, INTERNATIONAL MAN OF MYSTERY.

One non-Rivers version is on SECRET AGENT (Bmg, 1997), the official and excellent soundtrack performed by composer Edwin Astley who wrote all the show's music beyond the American hit. Some of this music appeared on a 1966 vinyl album, SECRET AGENT MEETS THE SAINT, as Astley was responsible for both series. On CD, THE SAINT (BMG, 1997), also conducted by Astley, offers genuine music from the series, with a program of genuine musicality and international flavor. The 1998 soundtrack for Val Kilmer’s THE SAINT includes an excellent, percussive extended re-interpretation of Astley’s television theme by Orbital, although this theme was only heard in the film for less than a minute.

As it happened, the first whistle-tune for THE SAINT was actually composed by Simon Templar's literary creator, Leslie Charteris, for the radio versions of Saint adventures. For those wishing to hear the short, original Charteris theme, there are numerous cassette tapes and MP3 editions of the radio shows issued by various companies. The video releases of the 1938-1941 films also include the whistle theme, and the films starring George Saunders feature him walking into scenes whistling the signature bars.

The Man From U.N.C.L.E.

Noted composer Jerry Goldsmith scribed two important spy themes including the frequently anthologized OUR MAN FLINT film title and the original music for The MAN FROM U.N.C.L.E. in 1964. For years, Goldsmith's original tracks were popular bootlegs in the collector's market while the two "official" MGM vinyl soundtracks were known more for their covers than contents. In 1997, the best of the MGM tracks were released on THE MAN FROM U.N.C.L.E.: THE ORIGINAL SOUNDTRACK AFFAIR CD (BMG). I recommend it for the rousing Hugo Montenegro rendition of the title melody, although the rest of the album pleases few U.N.C.L.E. fans.

In 2003, two outstanding 2-CD sets of original U.N.C.L.E. themes and incidental music were issued by Film Score Monthly after their successful CD of original music from I SPY, also released that year. Widely praised by fans, FSM issued two more sets, Volume 4 released in December 2006. Serious collectors will appreciate the detailed liner notes in these releases describing the many composers who contributed to the flavor of the series.

In the 1990s, a short version of the U.N.C.L.E. title music Was part of a TV theme medley on THE SOUNDTRACKS OF JERRY GOLDSMITH (Deram/Decca Rec.). In 2000, he conducted yet another version of the U.N.C.L.E. theme on his THE FILM MUSIC OF JERRY GOLDSMITH (Telard SADD). Film buffs should enjoy either of these collections, but only diehard collectors should seek out the alleged soundtrack album for THE GIRL FROM U.N.C.L.E. (MGM, 1968). Male voyeurs will appreciate the go-go boots in the leggy cover art, but not one track on the vinyl album came from the series, not even the lackluster mutation of the title music. For display, not replay.

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Mission: Impossible

While there are numerous offerings of the MISSION: IMPOSSIBLE theme, the best is, appropriately, The Best of MISSION: IMPOSSIBLE (GNP/Crescendo). This CD is a compilation of the two albums issued by Lalo Schfrin in the 1960s, music from the 1988 remake, and live versions of the title track. An added feature is an interview with Peter Graves who discusses the music of the series, production of the 1988 revival, and his other work. (Lalo Schifrin also wrote for The MAN FROM U.N.C.L.E., and samples of his work can be heard on the Original Soundtrack Affair CD.)

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The Prisoner

Of special interest are three soundtrack albums of music from the short, 17 episode British series, THE PRISONER (Silva Screen Records). The genesis for these recordings began with the most influential and prolific fan club in the spy genre, the “Prisoner Appreciation Society” or “Six of One.” In November 1978, they got principal composer Ron Grainer to re-master his original tapes, and for some time only members of this club had ready access to the soundtrack albums. Now more available through internet sales, most critics praise the first two collections, dismissing Volume 3 as a mere anthology of classical music heard in the series.

For the record, as it were, rock group Iron Maiden made two references to THE PRISONER in their music. On their album, Power Slaves, one cut was called “Back to the Village.” Another song, “Number of the Beast,” begins with the opening title music of the show. A thorough look at the music in the show and links to more research areas can be found at:

http://www.the-prisoner-6.freeserve.co.uk/index_music_archive.htm

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