ver the past 50 years, there've been hundreds of science-fiction TV series that, though perhaps fondly recalled by a few steadfast fans, essentially remain forgotten. Logan's Run, an admittedly mediocre adventure that aired on CBS from September 1977 to January 1978, is surely
one of those programs. In spite of this lack of recognition, Film Score Monthly magazine recently released the show's soundtrack for the first time in any format, as part of their acclaimed "Silver Age Classics" CD lineup. It was an astute decision, as these long-neglected and all-but-unknown pieces, crafted by a crew of expert tunesmiths, are unexpectedly exciting and expressive.
Striking synthesized pings add both a futuristic feel and a tacky 1970s SF ambiance to the "Main Title," with a trio of suites, derived from works written by Laurence Rosenthal for the pilot adventure, displaying traditional orchestral arrangements delicately embellished, now and again, with artificial noises. Eight subsequent numbers also consolidate individual cues from specific episodes. "The Collectors" and "Capture," respectively penned by Rosenthal and Jeff Alexander, each launch with soft, pastoral sounds prior to introducing somber, apprehensive elements, while "Half Life," crafted by Jerrold Immel, mixes affecting flute with weird electronic wails.
In addition to the compositions created for particular storylines, the album also contains "End Title," a significantly shorter, more subdued version of the opening theme, and "Bumpers," an energetic 10-second cut showcasing two distinct yet dynamic morsels heard whenever the program shifted to or from a commercial break. The 20-page liner notes furnish a detailed history of the series, plus brief biographies of the four composers and point-by-point analyses of all 14 tracks.
The composers are truly Logan's heroes
For the film version of Logan's Run, Jerry Goldsmith wrote such memorable music that, decades later, Rosenthal still acknowledges the effort as "an absolutely, wonderfully imaginative score." Nevertheless, he and his colleagues opted not to emulate those tunes on the spinoff TV series. This was a wise choice, as the televised saga largely focuses on action outside the City—the domed megalopolis where every person is executed at the age of 30—thereby necessitating a far wider assortment of motifs and melodic methods than those used within the motion picture. This multiplicity of approaches ultimately results in an appealing and altogether fascinating collection.
The suite devoted to the fifth episode, "Man Out of Time," is especially enticing, incorporating honeyed strings, woeful woodwinds and shrill brass to summon forth feelings of tranquility, trepidation and turmoil. Starting out with tense, agitated instrumentation, the tune, written by Rosenthal, marvelously echoes the installment's thoughtful ambiguities, providing both heated and hopeful interludes before concluding with a reassuring flourish. Bruce Broughton's "Fear Factor" is similarly captivating, intermingling ominous harp and piano with sharp drums and skittering violins, even as "The Innocent," a simultaneously sinister and sweet selection created by Immel, contrasts calming electronic tones with muted organic accents.
Not every cut is wholly enjoyable—the single cue culled from Broughton's work on "Night Visitors" is atmospheric though not terribly appealing—yet most of the melodies are pleasing and surprisingly powerful. For most modern-day science-fiction fans, the Logan's Run television show is ancient history. Fortunately, thanks to the indefatigable Film Score Monthly audio resurrectionists, the music of the series lives on.
