rom Star Trek: The Next Generation and V to Amazing Stories and War of the Worlds, the 1980s were filled with fun—though at times admittedly frothy—science-fiction television. In fact, the first significant TV miniseries of the decade was an ambitious adaptation of Ray Bradbury's The Martian Chronicles. Although the broadcast met with a mixed critical reception, most SF fans enjoyed the adventure. In addition to a provocative (albeit periodically slow-moving) plot, stunning production design and an all-star cast, part of the appeal was undoubtedly the program's inventive music, penned by Stanley Myers.
A new, limited-edition album showcasing his previously unreleased score is at once revelatory and rewarding. The first third of the CD, subtitled "The Expeditions," blends organic orchestration with eerie artificial tones. Cuts like "Concern for the Future" and "Col. Wilder's Promise" are, for the
most part, tender and inviting, while "Mask of Conflict," "Spender's Anger/One of Our Own" and additional otherworldly works meld electronic elements with insistent rhythms. The middle portion of the disc, designated "The Settlers," opens with the stirring "The Silver Locusts" and contains such pieces as "Father Peregrine's Vision" and "The Martian Appears," a brief but brawny tune that's wonderfully wraithlike. An 11-cue sequence, collectively called "The Martians," comprises the platter's final section. These numbers, featuring titles like "Lights in the Sky" and "Placing the Explosives/Canal Journey," are primarily symphonic and, on occasion, rather surreal.
The package is supplemented by a booklet furnishing extensive information about the miniseries, incorporating crisp recollections from Bradbury, director Michael Anderson, producer Charles Fries and actor Bernie Casey, among others. Spread across 24 pages, the text is complemented by dozens of photos, production sketches and promotional images.
Indelible instrumental interludes
When recently asked about the importance of Myers' contribution to the miniseries, Bradbury reportedly responded by saying "The film was so boring I don't really remember the music. Was it any good?" While there are surely some viewers who'll agree with the author regarding the on-screen action, this remarkable recording readily reveals that, despite the writer's witty retort, the score is actually quite memorable.
A poignant flute motif signifying the primary Red Planet race is introduced on "The Martian Chronicles Theme." This heartrending sound, which beautifully recalls Native American melodies, recurs on later cues like "Return to the Dead City" and "Memories," subtly linking the catastrophic first contact between the ill-fated Martians and the Earth explorers with the tragic treatment of New World inhabitants by early European settlers. At the same time, a significantly more vigorous, brass-infused theme, originally heard on "Space March" and further developed via strings and woodwinds on such cuts as "The Silver Locusts" and "The Million-Year Picnic," ingeniously suggests humanity's inexorable evolution. There are also a few standout pieces that are altogether lighthearted, especially the slinky, lounge-inspired "Martian Highway" and "Ben and Genevieve," an amusing, accordion-fueled tango.
Several works, particularly "Prologue" and "David is Confused," utilize weird electronic noises, though most of the truly avant-garde numbers—largely written by the composer's assistant, Richard Harvey—are not included in the collection. Even so, the 36 tracks on Ray Bradbury's The Martian Chronicles are evocative and enthralling. By uniting orchestral sounds with artificial effects, ancient noisemakers with contemporary instruments and familiar harmonic constructs with atypical
elements, Myers crafted a score that, in spite of Bradbury's (hopefully feigned) forgetfulness, is genuinely indelible.
