After "Dark Skies" went off NBC in May of 1997, it went into a very heavy rotation on the Sci-Fi Channel, stirring up a whole new set of fans who, frankly, had more going on in their lives than to stay home on Saturday night to watch a TV show. This was before TiVO, you have to understand.
Around 1999, though, "Dark Skies" went into hibernation. Last week, it reared its paranoid, conspiratorial head again when "The Path to 9/11" started publicizing that mini-series with an ad campaign that looked about two shades past "homage" from the original "Dark Skies" campaign. This was duly noted on the Internet from everybody from The Huffington Post to Defamer to Salon. It was a real Roswell in a rainstorm...
Now there's word that it's coming out as an anniversary CD! Here's what they have to say about the release on the Intrada web-site that's selling it:
Original music from TV series set during 1960's, featuring conspiracies, cover-ups, the FBI, extra-terrestrials, other sixties icons, created by Bryce Zabel, Brent Friedman. Michael Hoenig scores with assist from Mark Snow on un-aired pilot. Hoenig anchors with main title theme blending lonely "Americana" trumpet with furtive string, keyboard rhythms. Bulk of score creates tension through plethora of piano rhythms, synthesized string figures, other bristling activity. In contrast are quiet ideas with meld of mystery, menace. Given limited scope of instrumental timbres, Hoenig works variety of material well, brings everything to a quiet, satisfying close. Snow gives unaired pilot score similar color via electronic string effects, keyboard ideas but highlights with interesting jabbing rhythm for synthesized brass, then balances with haunting minor-key theme for high strings over delicate piano arpeggios. Nicely-packaged with generous booklet offering notes about production, scoring. CD is packaged as "The 10th Anniversary Limited Edition Original Television Score".
It was an interesting musical start. Mark Snow, who was also working on "X-Files," scored our pilot originally and that version aired around the world in early 1996. But Chris Carter, as I understand it, was not enthusiastic about Snow doing his show and our show, so Snow had to depart our project. In came the incredibly talent Michael Hoenig as his replacement and the pilot was even re-scored before it aired on NBC in September of 1996 (ten years ago). And, for those "Dark Skies" fans out there (and I mean real fans), here is the rundown of what's on the CD.
1. Gary Francis Powers (2:24) 2. Dark Skies Main Title (0:48) 3. Project Bluebook (1:37) 4. Idaho Crop Circles (2:35) 5. Mesmerized By Light (3:43) 6. Moving Targets (2:25) 7. John's Escape (2:13) 8. Roswell, New Mexico (2:36) 9. Mission Control (1:50) 10. Mercury Rising (3:44) 11. majestic Headquarters (1:28) 12. Dreamland (3:27) 13. Meeting RFK (1:21) 14. Child Abduction (2:40) 15. Bach's Command (1:37) 16. John's Vision (2:59) 17. Majestic Takes Control (1:40) 18. Juliet, Dubious Ally (1:04) 19. Majestic Checkpoint (0:49) 20. Hoover In Louisiana (1:33) 21. A Grey Seeks Help-Kim Taken Over (2:35) 22. Kim Touches Light (1:35) 23. Steel (0:35) 24. Abort the Mission (2:25) 25. Epilogue (3:21) 26. Suite from "The Pilot" (Mark Snow)(12:30)
The thing is, I remember all these songs because I was there and editing with them, etc., but I am really looking forward to hearing this CD. Especially since, I think, I'm quoted in the liner notes. But I'll never forget that, in addition to our sophisticated and memorable musical score, we also budgeted for the use of a lot of period music. Our pilot, for example, ended with John Loengard and Kim Sayres on the run, after the Kennedy assassination they helped cause, as we heard the first strains of "For What It's Worth" by Buffalo Springfield. Now you know a bit about where this blog title came from. And, for the fans who to this day criticize that song as being out of time order, I offer the real explanation. We were scrupulous about matching song release to actual story points through the series, and "For What It's Worth" (released in 1967) was used -- ON PURPOSE -- because we wanted it to be a precursor of the paranoia that existed for our characters on the road ahead.
Now, if only SONY would take heed here. We've had the "Dark Skies" poster re-exposed to the national audience in the last week, now we have a CD of the music out. Maybe -- just maybe -- it's time to put the series itself out on DVD so people can actually watch it again.
Just a thought, guys. For what it's worth...
