A. PUBLISHED MUSIC FROM OLTL
Most soap opera music is never released outside of its actual use on the show (unlike films or prime time TV, which often have soundtrack releases). Nevertheless, there are a few instances in which music from OLTL has become available on tape, CD or (in earlier years) LP.
1. Love Songs from the early 90s:
"One Life to Live: the Best of Love" is a collection of love songs from the show in the early 90s. It was produced in 1994 by Linda Gottlieb and Jay Landers, published by SBK Records; and is available on tape or CD. It contains:
-
"From This Day On", by Barry Mann & Cynthia Weil; performed by
Brenda Russell & Howard Hewitt. This song was used for the
wedding of Tina & Cain.
"I Still Believe in You", by David Pomeranz & Dean Pickford, performed by Cliff Richard. This song was used for Max & Luna.
"The Way That You Love Me", by Albert Hammond & Tina Shafer; performed by Wendy Moten.
"Here We Are My Friend", by Gerry Goffin & Barry Goldberg; performed by Billy Dean. This song was used for Viki & Sloan.
[Ed. note: I've been told that this song was used for Viki & Clint; however the liner notes for the album say Viki & Sloan]
"You're My Soul and Inspiration", by Barry Mann & Cynthia Weil; performed by Darlene Love & Bill Medley. This song was dedicated to Tina & Cain for their honeymoon by Luna on her "Loveline". In a special episode of the show, the character Sheila brought Darlene Love and Bill Medley to town to sing it live at Tina's bridal shower.
"Teach Me How to Dream", by David Foster & Dean Pickford; performed by Chris Walker. This song was used for Marty & Suede. In their storyline, Suede was a composer and Marty a pianist, and they wrote the song together. I'm told that it was played all through their relationship and later, at Suede's funeral.
All I Know", by Jimmy Webb; performed by Amy Holland & Michael McDonald. This song was used for Cassie & Andrew.
"New Fire From An Old Flame", by Diane Warren; performed by Stephanie Mills. This song was played for Tina & Cain during their honeymoon.
"For Your Precious Love", by Arthur H. Brooks, Richard A. Brooks, & Jerry Butler; performed by Jerry Butler (with The Impressions). This song was used for Bo & Nora.
"Goodbye", by David Foster & Linda Thompson; performed by Warren Wiebe.
Sandy tells me that on the first annual Valentines' Day episode in 1994, they played songs from this CD in the background.
2. OLTL Themes:
First OLTL theme:
"Original Themes From the Great Soap Operas" (Realm V1/V2 - 8056; 1977) is an LP that contains the original OLTL theme written by Charles Paul, which was used 1968-1975.
Second OLTL theme:
The theme of 1975-1984, written by Jack Urbont, can be heard on four albums:
"The Great Soap Opera Themes" (Capitol SL-8076 / Springboard TVP-1011; 1977); an LP by the New Christy Minstrels.
"Your Favorite Soap Opera Themes" (MMR Productions MMRP-2200; 1986); an LP by Rosemary Joyce.
"Soap Opera Favorites" (Sine Qua Non SQN-5053; 1986); an LP by D'Arneill Pershing.
"Themes of Our Lives" (Intersound PCD-510; 1990), re-released as "Hits of the Soap" (First Choice FC-4522; 1991); a CD by Hollywood TV Pops.
3. David Nichtern's Guitar Music:
"From Here to Nichternity" is an instrumental album featuring the guitar music of David Nichtern, the current principal composer for OLTL. The album was produced in 1997 by David Nichtern and Will Lee; and is distributed through Nudgie Records & Tapes (web site http://www.nudgie.com). It is available on tape or CD. It contains five pieces that originally aired on OLTL:
-
"Thank Kevin", by D. Nichtern
"Lee Ann's Theme", by S. Ciani and D. Nichtern
"Ever", by D. Nichtern and J. Howarth
"Obsession", by D. Nichtern
"Heavenly", by D. Nichtern
B. THE OLTL MUSIC PEOPLE
- "The music is consistently beautiful on this soap. I would like
to know about the music, in general (e.g. who composes, arranges
and or selects it)."
[jlr, to RATSA, 1996/05/14]
CURRENT (1997) CREDITS FOR OLTL MUSIC:
1. The Music Directors
The show's Music Directors, JAMIE HOWARTH and PAUL GLASS, were interviewed by "Soap Opera Digest", 10 June 1997 (p. 60-61). In that interview, they explained that 90% of the music that airs is custom written for the show. They try to select music that is suitable for the situation, and that the characters might actually play. Specific songs aren't used as much as formerly. They discussed some of the music they used for OLTL's characters and couples, such as:
- Max and Luna: "I Still Believe In You" by Cliff Richard.
Marty: "Teach Me How To Dream", by Chris Walker; also, "A Song Without End", written by David Nichtern.
Andy and Antonio: "Somos Novios", by Luis Miguel; also, a lot of custom music.
Max and Maggie: "Fly", by Celine Dion.
Dorian and Mel: sophisticated, high-brow music.
Bo and Nora: comedic music and old rock 'n roll.
Kelly and Joey: "La Vie En rose".
Music Director JAMIE HOWARTH also undertook to answer some questions I posed to him by e-mail in April 1997. He explained various aspects of the job, and gave us some insights into "who does what" in the music department. The following excerpt describes how he and Paul Glass collaborate with the composers, and how he came to work for OLTL. The complete interview appears in Angela Earlye's IMHO Page
-
-OLTL lists two Music Directors in the credits, yourself and
Paul Glass. Do you do different things, or how do you divide
the responsibilities?
JH: We divide the tasks equally. I usually take the lead with the composers, having been here longer, though Paul's input is astute and invaluable. He tends to be focused on how the material gets used, and I work on original concept development.
-WHAT exactly does a Music Director do on OLTL? I'm afraid I don't know much about what is involved behind the scenes.
JH: We read the long synopsis and determine which stories are hot; come up with ideas for the style and to some extent content of the composition; coach the contracted composers using everything from free association to listening brainstorming sessions, to who knows how we do it.
I try to avoid the trap of speaking about music in solely musical terms. I can speak the language of the craft, but prefer to guide their composition through the use of oblique imagery. For a particular string quartet sting thing we are producing for some upcoming British/Irish story the notion is to write something that sounds like "Eleanor Rigby picks up her rice, and throws it in our faces." The composer got the idea.
Then daily we take this library of prerecorded material, and, using a digital editing system, custom cut to fit the timing and the development of each scene. Then in a separate session the show's music and sound effects and dialogue are mixed, and we supervise that process.
-WHAT kind of background do you have, and what made you decide to take the job as Music Director at OLTL?
JH: I did a BA in Studio Art at Middlebury College, Vermont, in 1976. I've spent many years in music, classically trained as a kid, then a lot of rock and roll road show bands. In the early 80's I was an assistant engineer/producing demos at Top NYC studios, then came to ABC when MTV was getting hot because it seemed like a good idea to learn video, got seduced by the stable nature of the work, and ended up dead ended as a post production mixer and discouraged of any musical future. Linda Gottlieb saw me work, and I thank her for having faith in me, and she suggested that I pitch her to Music Direct the show. I had gotten so far away from music (I was working mostly for ABC Sports as an audio mixer) that I jumped at the chance.
PAUL GLASS is the newest member of OLTL's Music Directors team. He has an extensive background in music, and years of experience with soap operas. He received an A.A.S. (Associate in Applied Science) degree in Contemporary Music/Guitar Performance from Five Towns College in New York, 1985; and a B.M. (Bachelor of Music) in Composition from Berklee College of Music in Boston, 1988. After graduating from college, he worked for Boston Symphony Orchestra as a production assistant, then returned to New York to work for Trendset Productions, an independent production house, doing radio and television commercials. Following that, he temporarily returned to the classical side of the business with the Program Department of Columbia Artists Management Inc., writing program notes and helping artists plan their recital and orchestral programs. In 1991 he began working with ABC as a substitute music director for LOVING, and a year later joined OLTL in the same capacity, which at that time was in full-swing with post-production. In February of 1996 he became a full-time Music Director for OLTL.
-
"When LOVING became THE CITY I decided that OLTL was the
only show on ABC that I was interested in working on.
The approach to music was beyond what anyone else was
doing and the fact that the show was being scored in
post-production opened up amazing opportunities from a
creative standpoint. OLTL's scoring involved a very
extensive and specific use of themes that reflected the
characters and situations closely - if there was music
it was serving a definite purpose."
[Ed. note: Thanks to Paul Glass for providing this background information via e-mail, March 1998]
2. The Composers
DAVID NICHTERN is the primary composer of original music for OLTL, and he produces all the music that we hear. He is a guitarist and played with Maria Muldaur's band in the 1970s. In 1974 he wrote a hit song for her, "Midnight at the Oasis". He also played guitar for The Great American Music Band, alongside David Grisman and Jerry Garcia. He composed scores for the films "The Big Picture", "White Line Fever", and "Spirit of '76". In 1991 he and Suzanne Ciani began working with OLTL to create music for the show's soundtrack library.
[Information about David Nichtern may be found in "ASCAP Biographical Dictionary", 4th ed., Compiled by Jaques Cattell Press. New York : R.R. Bowker Co., 1980.]
LEE HOLDRIDGE wrote the main theme for OLTL, and contributes themes from time to time. He has composed extensively for films and television. He collaborated with Neil Diamond in 1973 on the score for "Jonathan Livingston Seagull". He has composed scores for many films, including "Old Gringo" and "The Giant of Thunder Mountain"; and for television shows, including "Beauty and the Beast", "Moonlighting", and "One Against The Wind". Several of his scores are available as soundtrack releases. His most current projects, soundtracks for the documentary film "The Long Way Home" and the TV movie "Into Thin Air", have recently been released on CD.
[Information about Lee Holdridge may be found in "Contemporary American Composers: A Biographical Dictionary", 2nd ed., Compiled by E. Ruth Anderson. Boston, Mass : GK Hall & Co, 1982.]
3. Former Composers
CHARLES PAUL composed the first OLTL theme, which was used from 1968 to 1975. He composed original theme music for several other soap operas as well, including AMC, ATWT, AW, and GL. Besides his soap opera work, he wrote theme songs for "Martin Kane, Private Eye" and "Somerset". He also composed the scores for the Broadway shows "On Baile's Strand" and "First Love".
[Information about Charles Paul may be found in "ASCAP Biographical Dictionary", 4th ed., Compiled by Jaques Cattell Press. New York : R.R. Bowker Co., 1980.]
JACK URBONT composed the second OLTL theme, which was used from 1975 to 1984. He also wrote the theme for GH that was used from 1976-1993.
DAVE GRUSIN composed the third OLTL theme, which was used from 1984 to 1991. He has scored several films including "Heaven Can Wait", "The Champ", "On Golden Pond", "Tootsie", "The Milagro Beanfield War", "Havana", "The Fabulous Baker Boys", "The Firm", and "Selena". He has also written themes for television series including "Baretta" and "St. Elsewhere". In partnership with Larry Rosen, he formed Grusin/Rosen Productions and GRP Records, a contemporary jazz record label. A current project is "Dave Grusin Presents West Side Story", in which top jazz players have come together to celebrate the 40th anniversary of the classic music by Leonard Bernstein.
SUZANNE CIANI created soundtrack library material for OLTL in 1991-1992. She is a foremost contemporary instrumentalist/composer. She originally trained as a classical pianist, then studied electronic music and created compositions with the Buchla Synthesizer. She has produced music for television, films, and albums. Her film scores include "The Incredible Shrinking Woman" and "Mother Teresa". Albums include "Seven Waves", "Velocity of Love", "Neverland", "History of my Heart", "Pianissimo", and "Hotel Luna".
[Information about Suzanne Ciani may be found in "The Norton/Grove Dictionary of Women Composers", ed. by Julie Anne Sadie and Rhian Samuel. New York: W.W. Norton & Co., 1995.]
C. OLTL MAIN THEME AND OPENING
-
"I loved the old OLTL [theme music]. It seemed the epitome of soapy."
[Luke, to RATSA, 1996/09/07]
OLTL has used five different opening themes since its inception in 1968:
1. July 1968 - April 1975: Theme composed by Charles Paul. I'm told that, thanks to ABC taping over the first 11 years of OLTL, no copies of the original opening exist. The earliest opening has been described simply as the OLTL logo imposed over a scene of a crackling fireplace. The second accompanying visual, the "classic" OLTL sunrise (the sun coming up over a field) was the opening shown during the first of the "Daytime to Remember" series.
-
"The first OLTL theme, which accompanied both the short-lived
"fireplace" visuals and the early version of the sunrise, was
composed by the late, great soap music composer Charles Paul.
The piece was played by a chamber orchestra in the A-major key and
was included in the 1977 album "Original Themes from the Great Soap
Operas," put out by Columbia House on Realm Records. That Charles
Paul theme was nearly as grandiose as the long-running Jack Urbont
composed theme that ran from April 1975 to December 14, 1984."
[David Jackson, to RATSA, 1997/09/20]
2. April 1975 - December 1984: Theme composed by Jack Urbont. The accompanying visual, I'm told, featured typical "romantic" scenes, such as shots of the sun in a partly cloudy sky, birds fluttering, clouds passing over mountaintops, etc.
3. December 1984 - December 1991: Theme composed by Dave Grusin, with lyrics sung by Peabo Bryson. This was the theme that ran during the years of executive producer Paul Rauch. I'm told it was the visual opening most similar to today's - still frames of the cast imposed over scenes of Llanview. The music was upbeat, with lyrics as follows:
-
Here's what you do when you don't find the rainbow's end
This time
Here's where you go when it looks like the rain won't end
Don't cry
I'll give you tomorrow
Let me be the one you share it with
And each day that follows
'Cause we only have one life to live.
5. November 1995 - present: Theme composed by Lee Holdridge. The current opening debuted for the 7000th episode of OLTL on November 20, 1995, during the regime of former executive producer Susan Bedsow Horgan. The music has a rather busy, bustling, "big-city" sound. The accompanying visuals (two variants shown on alternate days) depict still shots of the cast over views of Llanview. Sandy tells me that the music improves when it's heard with "Surround Sound"; there are a lot of instruments (violins, etc.) that you can't discern on a normal TV set.
[Ed. note: Thanks to Sandy Weeks and David Jackson for their help in providing information for this section.]
D. LIVE PERFORMANCES
-
"Wow! I had no idea who the Chieftains were or why there was
such a
big fuss about them coming on the show... What a pleasant
surprise!"
[Eurydice, to RATSA, 1996/08/01]
One of the notable things about OLTL is its history of showcasing live performers during special episodes. Beginning sometime in the mid to late '80s, I'm told, the show brought on live acts to perform for the younger crowd. That tradition has continued, especially in the past year.
1. Performances Within Recent Memory (i.e. the past 3 years):
LITTLE RICHARD:
Little Richard provided the spark for the wedding of Bo and Nora in June of 1995. As the time of the wedding drew near, and many wedding plans were discussed and rejected as being "not quite right", Bo and Nora were in a quandry. Finally, Max came up with the perfect idea: he persuaded Little Richard to help them perform a rock 'n roll ceremony. Pretty soon the whole crowd (including Rev. Andrew Carpenter) was swaying in the aisles.
THE CHIEFTAINS:
On July 30, 1996, The Chieftains performed live on OLTL. The episode came during the time when "The Men of 21" was a front burner story and Marty/ Patrick a fan favorite star crossed couple. Music Director Jamie Howarth had these comments about the behind-the-scenes production for that special episode:
-
"The [Marty's] theme was written by David Nichtern and wasn't
purloined by anybody. It was written to fit the Patrick/Marty/
Men of 21 story. Like many great pieces, it was a real easy
one for David to write. In his words, "It came out like an egg".
He played it to me over the phone, solo piano, and I knew it
was a hit. David did a synclavier version and [former Executive
Producer] Susan Horgan adored the arrangement. We used the
synth version for a month or so, until one of our periodically
scheduled orchestra dates at Clinton Recording, where a revised
version was recorded by our handpicked small orchestra of top
New York strings and winds, Arranged and Conducted by Lee Holdridge.
Several days later we were back mixing the results of that session
at Clinton when it was mentioned by a staff engineer that (irony
of ironies) we were working in Studio 'A' on the Irish theme
at
in 'B' mixing the followup to Long Black Veil, produced by an
acquaintance of Nichtern's, a fellow named Jeffrey Lesser. David
and I were invited downstairs and met Paddy and we heard some of
the unreleased Galician music on The Chieftains' work in progress
and we invited him upstairs and he heard the Irish theme we were
mixing and it was friendly nods all around. Suddenly the obvious
became apparent: How about a collaboration to further extend the
theme (which as you recall was just a fragment of a thing), and
maybe even have The Chieftains come on the show to play it? After
some lobbying by Susie Horgan and some mediating by Jeffrey Lesser,
The Chieftains agreed to do the show, and the theme as we know it
will hopefully be appearing on a further album of theirs to be
released sometime next winter. Plus there was some further
development of a "b" Section (bridge) that Paddy Moloney himself
wrote, which will be heard for the first time Tuesday.
N.B. Contrary to the usual practice of lipsync, or at best live vocal over a prerecorded track; The Chieftains performed totally live, and will be heard as they actually performed on our soundstage. They sound gorgeous. We used every trick we could to get a stunningly clear recording (multitrack digital) and the results are phenomenal musically and technically."
-Thanks to Jamie Howarth for permission to re-print his comments, which were originally posted to RATSA, 1996/07/29, via Linda Martindale, in response to questions and discussion from the newsgroup.
-The Chieftains' "unreleased Galician music" later appeared in their album entitled "Pilgrimage to Santiago" (1996, BMG Music).
The DE LOS REYES Family: Kamar de los Reyes (Antonio) comes from a real- life musical family. His father, Walfredo Sr., and two brothers, Walfredo Jr. and Daniel, appeared with him on the show on two occasions. The first was on February 7, 1997. They performed as a band at the Angel Square community centre, at a fundraiser to help pay for Antonio's legal fees. For that performance, Kamar joined in to play the drums in a real family occasion. According to "Soap Opera Digest" (February 1997): "The [music department] talked to my brothers," said Kamar. "I came in and my brothers taught me the opening riff. Other than that, I just had to keep on playing the basic Latin beat --- they did all the difficult stuff." Their second appearance was for Antonio and Andy's wedding, August 4, 1997.
[Ed. note: Thanks to Tercia Ku and Angela Earlye for providing information on the de los Reyes family appearances.]
The Club Indigo Music Festival: In 1997, OLTL turned Club Indigo into a new venue for jazz music. "Name" guest performers who appeared at Club Indigo's music festival in the fall of the year included:
-
ERYKAH BADU: Well known singer Erykah Badu was the premiere
performer at the Music Festival, appearing on the episodes of
September 4 and 5. She sang two songs from her album "Baduizm".
The fact that her grandmother was a big fan of OLTL helped her
make the decision to appear on the show ("Soap Opera Digest",
16 September 1997, p. 30-31).
CHRIS BOTTI: Jazz trumpeter Chris Botti and his band played at Club Indigo on September 23 and 24. He performed songs from his album "Midnight Without You", and even got to flirt with Kelly in between. He was attracted to doing the show because OLTL wanted him to perform live instead of pre-recording his music ("Soap Opera Digest", 30 September 1997, p. 8).
DARYL WATERS: He appeared on October 14 and 15 as "Tracey Mitchell", a band leader whose quartet walks out of their Club Indigo gig. in 'Da Noise/Bring in 'Da Funk".
2. Past Performances:
OLTL is said to have featured live performances on the show since the late 1980's. Unfortunately I don't have details, but I'm told that The Beach Boys performed for Viki's high school reunion in the 1980s. Reba McIntyre is also said to have performed, either at Rodi's or on Luna's Love Line, in July 1992.
[Ed. note: Any further information on these or other past performances would be much appreciated!]
E. POPULAR SONGS
-
"There was some entrancing music playing on the radio, and
RATSA was awash with debate as to just what that music might
have been. Guesses ranged from Enya to Linda Ronstadt, but
no one was certain."
[Ishtar, to RATSA, 1996/12/24]
1. Music for Different Characters:
Particular characters have been portrayed as having certain types of songs playing in the background, to fit in with their personality. The music not only helps to define the characters and make them more understandable, it also adds to the air of realism on the show. People in everyday life often play their favorite music in the background; why not on the show too?
For example, Carlo was a character with a sophisticated taste for the fine life. His featured music was opera and classical selections. In late 1996, when he was preparing to flee town (because he was about to be discovered for his nefarious activities), we heard Wagner's "The Ride of the Valkyries" in the background. For his staged "funeral", he requested the Mozart Requiem.
-
"The opera/Wagner interest added dimension to Carlo's character,
which was bigger than life. Thom Christopher brought Carlo just
to the edge of grand operatic proportions without, IMO, ever
going
over."
[jody, to RATSA, 1996/11/30]
Bo and Nora are characterized as old time rock 'n roll aficionados. They often have rock 'n roll music playing during their scenes, or are shown dancing to those tunes. A memorable romantic montage of late 1993 featured nostalgic scenes of Bo and Nora to the sound of "Never My Love" in the foreground.
Patrick and the Men of 21 story (1995-1997) often featured Celtic performers and songs (for example, Loreena McKennitt's "Coventry Carol") in the background, appropriate for Patrick since he was an Irishman.
For the Vegas and Angel Square (introduced in 1995), Latin American music has been featured (see part 3 below).
RJ, the owner of Club Indigo, has long been known as a jazz lover. Jazz tunes are frequently heard in the background of his story. Current (1997) storylines are showcasing Club Indigo as a venue for budding musicians and jazz artists.
2. Music at Different Venues:
Certain special venues or sets have allowed for more popular music to be played on the show. For example, I'm told that in the 1980s, Wanda's diner filled the place that Rodi's and Carlotta's diner do today, and that songs were featured there regularly. Before Luna's departure in 1995, her "Love Line" radio show allowed her to play popular love songs, as well as dispense homespun advice. Rodi's bar (pre-renovation) was once a fan favorite:
-
"As for the music on OLTL in general, I always used to enjoy
all the Rodi's scenes because it was truly a rare occasion
when the songs playing in the background didn't *somehow* fit
the context of the scene... The song choices were always clever
and often tongue-in-cheek. Those days, however, are long gone...
and missed. But try and make a mental note to pay attention to
that type of detail when you are watching old tapes. Those are
the kinds of things that make them endlessly watchable."
[Cammay, e-mail,
1997/05/26]
The current "main scene" for music on OLTL is Club Indigo, a jazz venue. The locale fits in ideally with the character of RJ, its owner, who has long been known as a jazz lover:
-
"I can't think of a *better* venue for RJ to act out his
nastiness, *in addition to* bringing in an aspect of his
character that is too often overlooked. Speaking as a music-lover
myself, most of my musician friends and I simply cannot go a
single day without significant instances of music being in it.
Between rehearsals for something, performances of something,
singing along with the radio in the car or in the office,
singing along with jingles on television commericals, or just
humming to oneself, music fills our days.
Unfortunately, people in Soap Opera Land often do not have or
show this side of their characters. Bo and Nora are unique,
because music is written into their relationship. Music is also
a significant part of RJ's personality. And the music business
is rife with corruption and immorality, not to mention people on
power-trips. So I think it's the perfect addition to the
RJ
landscape."
[Juli, to RATSA, 1997/05/04]
3. Songs for Couples:
Important events or turning points for couples, especially that all-important first love scene, have often been marked by the use of popular songs. When the song selections are just right, it can add a lot to their fans' enjoyment of the scene:
-
"My utmost gratitude and praise to the OLTL music department!
What a fantastic song to play as Kevin and Cassie made love.
I knew that was coming, but "Fumbling Towards Ecstasy" by Sarah
McLachlan?! It floored me, then made my day! I recognized the
song immediately from the opening bars; one of my favs from Sarah
McLachlan's CD of the same name."
[Sue M., to RATSA, 1997/04/29]
Fans of particular couples have even gone so far as to compile the songs used for their favorites:
A-TEAM ONLINE is a web site for fans of Antonio and Andy. Among other projects, its members have compiled the lyrics for the Latin music used for A/A, together with commentary on the scenes in which the songs were used.
-
"A testament to the talent of Jamie Howarth is the diverse music
that has been wonderfully infused into the Antonio/Andy story.
While it's easy to see how "I'm Free" was perfect for the NY
montage, one special component that I've always appreciated is
the Latin music. Two A/A fans have put together a beautiful
work for A-Team Online which consists of most of the Spanish
songs featured in Antonio and Andy's storyline in 1996. There is
running commentary to tell you how those songs fit into the story
and also the Spanish and English version of the songs. I want to
commend Jamie for choosing songs that not only sounded great but
were lyrically fitting to the scenes."
[Angela, to RATSA,
1997/06/10]
And from the A-Team Online's Latin music section, their introduction, and an example of one of their commentaries:
-
"Music plays an integral role in everyone's lives. A song can
make you remember a specific moment in your life. Or, it can serve
asa reflection of your heritage. As Booster Angela said, sometimes
the lyrics can express thoughts in a way that ordinary conversation
wouldn't be able to.
In the case of Andy and Antonio, music has helped bring them closer
together. The songs OLTL used for Andy and Antonio often reflect
Antonio's cultural background. Andy learned more and more about
Latin culture, whether by learning how to dance at Rodi's, or
tasting some of Carlotta's desserts. Andy once asked Antonio: "Does
that mean you've broadened your horizons?" Antonio replied: "Yeah...
all the way to you." Music has been one of the ways that has
symbolized their coming together.
Music also adds to the action and dialogue in a scene.
Background
music, particularly music with lyrics, is easy to dismiss as having
little to no consequence in relation to the action on screen. But
closer examination of some of the A-Team scenes, especially those
with Spanish lyrics, showed that even small details enhance the
overall impression of a scene.
We have compiled most of the music that has been used for Andy and
Antonio's scenes throughout 1996... Enjoy! And we hope these songs
bring back many A-Team memories.
This feature was assembled by Boosters Judy C. and Denise, with
thanks to former Boosters Nancy-NY and Diane for their assistance.
One of first Latin songs used for Andy and Antonio's romance was Selena's "Amor Prohibido" from her "Dreaming of You" cd. It is used in this episode as background to convey how Andy and Antonio, who want each other but are completely unsure of how to proceed with an inter-ethnic relationship, seem to be constantly misreading each other's signals. The ever-present obstacle Linda comes to the diner to tell Antonio about her new job at the police station, and she then invites him to the "neighborhood thing," the Tres Reyes Magos party. It is always a killer moment to watch, because later we see the hurt and disappointed look on Andy's face as Antonio turns down her dinner invitation for the same evening." [A-Team Online, http://www.ccnet.com/~earlye/latinm.html]
THE MANNING BUILDING is a web site for fans of Todd/Blair/Tea. At that site, among other things, fans can find the lyrics to significant songs that have been played for their characters. The site also has a "song poll" where viewers can make suggestions as to what songs would best describe the characters.
- "On soaps, couples often have theme songs to describe their
relationships, lives and loves. The Manning Building has an
entire section dedicated to songs that have played during
significant moments throughout the stories of Todd, Blair and
Tea."
- "What becomes of the Brokenhearted?", by Hitchcock Russell,
available on "Russell Hitchcock"
The 'Just hold me' scene:
- "Everystep You Take", by David Benoit, available on "The
Best of
David Benoit 1987-1995" (Instrumental)
The Fourth of July Scene:
- "This Ain't A Love Song" by Bon Jovi, available on "These
Days"
- "Can't Stop Loving You" by Van Halen, available on "Balance"
- "Until the End of Time" by Foreigner, available on "Mr.
October"
- "The Downtown Lights" by Rod Stewart, available on "Spanner in
the
Works"
- "Bump 'n Grind" by R. Kelly, available on "12 play"
Todd Says "I love You':
- "Love doesn't ask why" by Celine Dion, available on "The
Colour of
Love"
The Wedding
- "I Will Never Be the Same" by Melissa Etheridge, available
on "Yes
I Am"
The Charity Ball aboard the Orion:
- "Today" by Jefferson Airplane, available on "Surrealistic
Pillow"
Misc. Songs from various scenes:
- "Take a Bow" by Madonna, available on "Bedtime Stories" and
"Something to Remember"
- "No More I love you's" by Annie Lennox, available on
"Medusa"
- "Valentine" by Martina McBride and Jim Brickman, available on
"Evolution"
[The Manning Building, http://geocities.datacellar.net/TelevisionCity/6178]
"This page features the lyrics to songs that have been played during significant scenes between these characters.
Todd and Blair's first Meeting:
4. Songs as Background for Important Scenes:
OLTL of recent years has excelled in making just the right song selections to make the drama of the scenes even more powerful. For example, a memorable occasion, with memorable background music, that I have often seen mentioned was the death of Megan, which took place in early 1992. Along with some beautiful original music, the show used well-known classical tunes as well:
-
"Faure's "Pavane" was one of the pieces of music playing
during the episode in which Megan died. An [original]
background piece had been playing for months, ever since
Megan first got ill. That piece was the one playing at
the actual moment of her death. "Pavane" was playing
earlier in the episode, during one of her final conversations
with her husband Jake. Also, another instrumental piece
used during that episode was a piece by Samuel Barber
entitled "Adagio for Strings". It played during the
Megan's Death episode, and during the AIDS Quilt episode,
later in the year. Although "Adagio for Strings" was composed
early this century, its use in the feature film "Platoon"
is probably the most widely-known."
[SandyWeeks, e-mail, 1998/02/19]
Well chosen songs as background can enhance a scene, not only through the overall sound and mood of the piece, but also through the added commentary of the lyrics. The famous (or infamous?) "Rape of Marty" sequence (early 1993) was scored almost entirely with popular rock songs. During the chilling leadup to the rape, while the fraternity party was going on, the hard edged songs playing at low volume in the background intensified the underlying tense, aggressive atmosphere. Then at the point where Todd reaches his turning point and makes the decision to rape, the song being played ("Head Like a Hole") was brought up to a louder volume and the lyrics became clear: "I'd rather die / Than give you control". Thus Todd's motivation for the rape was brought home to viewers through the use of background music, probably even more convincingly than through lengthy explanatory dialogue.
-
"Jamie Howarth and Paul Glass deserve many, many kudos for
their music choices. AMC rarely uses music and when they do,
it's very "in your face". JH and PG use background music subtly,
most of the time. If you're hip to the song lyrics, you realize
that these guys "choreograph" the appropos songs to the scenes
in which they'll be used. Their use of certain popular rock
tunes during the pre-rape scenes (Todd/Marty) back in '93 - for
instance, Nine Inch Nails' "Head Like A Hole" ("Bow down before
the one you serve/You're going to get what you deserve") and
Metallica's "Enter Sandman" ("Hush, little baby/Don't say a word/
And never mind that noise you heard/It's just the beasts under
your bed/In your closet/In your head") were driving testosterone-
laden rock tunes that very aptly set the stage for the
terrible
act that was about to happen. The fact that "Enter Sandman", if
I remember correctly, was playing as Marty was being raped creeped
me out. It was barely audible in the scene but I'm pretty sure
that was the song being played "downstairs" in the KAD house."
[Mandibles, to RATSA, 1996/07/08]
5. The CyberLPs
The variety of popular songs used on OLTL in the mid 90s inspired a lot of interest from fans, who wished to identify the tunes. During late 1995 and early 1996, a music loving fan, Mandibles, compiled "CyberLPs" for the RATSA newsgroup. These were "fantasy EP's of the new, cool songs" that were played on the show. There were 6 CyberLPs altogether. These lists of songs often included comments. To give a flavor for the kind of music being featured on the show at the time, here is an example from one of the CyberLPs:
-
"Subject: OLTL: Smash Hits CyberLP-Side A:
OLTL's "Smash Hits" is a compilation CyberLP featuring the most off-the-wall, innovative tracks played on OLTL. These songs aren't the stuff so often heard on radio; rather, they've been ferreted out by Jamie Howarth, OLTL's Music Director, and crew. All tracks listed here include the song title, artist and scene in which they were played.
Side A:
1. "Violet" - Hole: Featured in the scene (summer '95) in Rodi's when Andy comes to realize that Antonio was right - Manzo was the dirty cop. Perfect background music due to Courtney Love's screaming vocals, the intensity with which they're sung and the volume at which it was played (loud and annoying, perfectly reflecting Andy's sense of betrayal).
2. "Electric Boogie" - Marcia Griffiths: Featured in the ultra-funny "Marty and Rachel try to dance" scene at Club Indigo (summer '95) when both were wacked out on booze and drugs, respectively. This song's popularity has soared in recent years and its companion dance, the "Electric Slide", is lots of fun. A peppy, summery song.
3. "Time Of The Season" - The Zombies: Used as background/omnipotent music in a scene at The Palace dining room where Todd stared down Blair during their separation (summer '95). "What's your name?/Who's your daddy?/Is he rich like me?" - the quintessential song lyrics to describe the jealousy, pain and confusion Todd was feeling about the split at the time.
4. "Son Of A Preacher Man" - Dusty Springfield: This classic cued up on that magical jukebox during Rodi's grand re-opening celebration (fall '95). Aptly enough, Rev. Andrew Carpenter and his wife, Cassie, were the main players in the scene. All in all, a track worthy of airplay anywhere and anytime. Dusty Springfield's got a voice heaven-sent.
5. "Drive" - R.E.M.: An utterly haunting rock ballad from my homeboys hailing from Athens, Ga. Used in a scene at Rodi's (fall '95) where Antonio was pretending to be all wild about Linda in plain view of Dylan, Max and Andy. Andy could only gape disbelievingly and look plenty hurt while Michael Stipe's dulcet vocals seemed to magnify her pain and sense of loneliness.
6. "Thinkin' About You" - Trisha Yearwood: A-Team Boosters and fans-at-large will (should) always remember this song; it was playing during the scene in the stables outside the country club (Asa's bash; 2000th ep.) where Antonio first kissed Andy. Yearwood is a native of Monticello, Ga., and has a fine voice/country musical style. An appropriate song for a very long-awaited, tender A-Team moment.
7. "Enjoy" - Bjork: When Miss Thang (Rachel) pushed the button on Rodi's Magical Jukebox (fall '95) and this song by the former lead singer for The Sugarcubes cued up, I thought I was dreaming. Bjork is what I expect to hear on my U.'s college radio station, not OLTL. Bravo to Jamie and crew for exposing us to this uniquely talented singer.
8. "When You're Near" - Guru: A unique blend of rap and jazz, this song from Guru's 1993 release, "Jazzmatazz", certainly is the kind of music one would expect to hear at RJ's Club Indigo. That said, it's no wonder this song was pumping in the background while, uh, Miss Thang and Javy were doing much the same in the foreground (fall '95). Very danceable and... otherwise.
9. "Take A Bow" - Madonna: Penned by Kenneth "Babyface" Edmonds, this tune heralded Madonna's return to the top of the charts in 1995. Again, A-Team Boosters and fans-at-large should remember this song, which Andy turned down on the radio before Antonio stripped to skivvies and turned up the heat in that Serenity Springs hot tub (fall '95). Pats/Mags fans, it's your song, too. Mags aptly pronounced this a "good song" during that road trip to Washington, D.C.
10. "Name" - Goo Goo Dolls: This moody rock ballad made its OLTL debut in the Carriage House as background music when Kelly admitted to Jess that she had feelings for Joey (winter '96). A great breakthrough song for a band that's more than paid its dues. Side B forthcoming in a separate post." [Mandibles, to RATSA, 1996/03/13]
F. ORIGINAL MUSIC
-
"Funny how something like music can mean so much to us fans ...
I get really upset when a particular piece I like vanishes - I
take it as badly as if an actor left the show!"
[SandyWeeks, e-mail, 1996/11/01]
The bulk of the music we hear on OLTL is custom-written especially for the show. Original tunes are created and produced by the show's composers according to specifications they have been given. Most of the original music is orchestral. Special songs have occasionally been written for the show as well. Some of the more recent compositions feature the guitar playing of current composer/guitarist David Nichtern.
Describing OLTL's original music is often difficult, because most of these pieces have neither titles nor lyrics to hang a discussion on. Hence the original music is not mentioned much on newsgroups. However, it is still quietly noticed, as evidenced by fans' occasional compliments, and also their objections when a favorite theme is used for the "wrong" character or situation.
1. Theme Music
One of the most noticeable features of OLTL's music in the 90s (at least, up until the past year or so) has been the special themes designed for particular characters, storylines, and situations. Theme music can help to underline an outstanding facet or mood of a character, or the overall emotional direction of a storyline. Through repetition the musical themes become linked in viewers' minds with their particular character or story. That association helps provide psychological continuity for the characters. It also helps differentiate a particular character and storyline from all the others, just as an individual style of clothing does. In the early to mid 90s especially, OLTL emphasized a strong, consistent use of character and storyline themes. The strong theme music helped give the show a lot of its intense drama and unique personalities.
Here are a few of the musical themes I have noticed, or seen mentioned over the years:
THE BUCHANANS:
I'm told that when the Buchanan men (Asa, Clint, and Bo) came to Llanview, they brought with them a particular musical theme:
-
"The Buchanan theme music has been on the show ever since the
Buchanan boys first came to town. In some of the flashbacks they
showed during the 25th anniversary show, it was on even then! They
used to play it whenever the Buchanan boys were on
horseback.
(They used to do a lot of rodeo scenes in the past, which were
fun -
they played it a lot during the Old West storyline). They also
played it a lot during Megan's death week, in the scenes where Viki
& Clint were talking about their marriage. It's a real nice,
memorable piece ... not too loud, very "hummable". Haven't heard
it in a long time, though."
[SandyWeeks, e-mail, 1996/11/01; 1996/11/02]
CARLO:
The villainous character of Carlo Hesser had a rather melodramatic theme that often played during his scenes of nefarious evil-doing:
-
"Actually, the Carlo music really fit the character. I always
thought ofit as "The Hesser Chord," in the tradition of the famed
"Tristan Chord".... His theme fit him like a glove."
[jody, to RATSA, 1996/11/30]
ANTONIO and ANDY:
Antonio Vega and Andy Harrison were a very popular OLTL couple who gained a large fan following during 1995-1997. They had not just a single theme song, but a suite of beautiful custom written music, some of which had a distinct Latin sound. Their wonderfully romantic / tragic musical themes provided them with a fitting background and no doubt helped establish the popularity of the couple.
-
"My favorite background music is the Antonio and Andy music
(the one with the great keyboard chord ensemble). That music
sounds really great and add a lot to the scenes."
[Paul V., to RATSA, 1996/08/26]
"I loved the Spanish guitar chords the show used as Antonio's signature last fall and winter. I haven't heard that piece in a while and I miss it." [Doreen, to RATSA, 1996/08/27]
MARTY:
Marty Saybrooke was a character who changed from a troubled young woman in the AIDS/homophobia storyline (1992) to a mature, responsible young doctor by the end (1997). She also became involved with three serious romantic partners: Suede, Dylan, and Patrick. In reflection of those changes, we heard a succession of different musical themes throughout her story. When I first saw OLTL in 1993, the theme that was being played for Marty was a harsh, disturbed, brittle sounding tune. That music was used for many of Marty's scenes up until the Hospital Rapes storyline in 1994. The last time I recall hearing it was when Marty sat by the phone in the wee hours of the morning, until she finally made her decision to tell the truth and give Todd his alibi. Her psychological turning point was reflected in the music. Afterwards, we no longer heard that disturbed tune. Marty's romances were also reflected in her music. She and Suede Pruitt, 1993-1994, had a theme song, "Teach Me How To Dream", which was played all through their relationship, and later, at Suede's funeral. Marty later married Dylan Moody (1996), and that pair also had their own theme music. The most well known of Marty's themes was the "Song Without End". That piece was written especially for the Marty/Patrick/Men of 21 story (1996-1997). The song contained a secret code according to the story. It became the theme song of Marty and Patrick Thornhart, and played up until the end of their time on the show.
TODD:
Todd Manning is another character who underwent personality changes during his time on OLTL. In the beginning (1993-1994 storylines), he was a threatening, near psychotic rapist and stalker of women. His music at that time featured ominous low chords. When Rebecca came on the scene in early 1994, Todd became obsessed with her. A sweeping romantic theme with tragic undertones was used for their scenes, which was sometimes interspersed with the former ominous music. Then, when Todd rescued CJ/Jessica/Marty from a car crash in mid 1994, his change of heart was reflected by a change in music. His dominant theme from then onwards became a tuneful, forward moving piece [ed. note: sorry, I have trouble describing this one]. That theme was used regularly throughout Todd's redemption storyline (1994) and later when he became the Lord Heir (1995). In August 1996, when Todd returned from the "dead" after several months' absence, a new musical theme was introduced. It had a on-edge, demented sound, by which we were signalled that Todd had once again undergone a psychological change, this time for the worse. I notice the "demented" music is still being used in current (1997) storylines.
2. Mood Music
Cusomized music is also written for OLTL to convey certain atmospheres or moods needed by the storylines, such as comedic, tragic, romantic, suspenseful, threatening, etc. Mood-setting music is crucial to emphasize key moments in the storylines and enhance the emotional impact. This is music we can hear in various storylines and with different characters if a similar situation calls for it.
There are numerous and diverse examples of "special mood" pieces on OLTL, including:
Comedy:
A rowdy, rollicking piece has often been used on occasions of irony or humor, for example, during some of Bo and Nora's scenes, and during Todd's laughing hilariously when he found out from Tina he had inherited $28 million (1995).
Tragedy:
A tragic, funereal "death" piece has been used on the occasions of Suede's death (1994) and Blair's miscarriage (1995).
Hope:
A lovely romantic piece of dawning hope has been used on various occasions, for example, Todd and Marty's conciliatory talk at the Millhouse (1995), Todd and Blair's reconciliation at the stables, the morning sun dawning on Kelly and Joey after they had been looking for David's "body", Tea putting on a sexy dress for Kevin (1997).
Violence:
In the "Todd-as-rapist" storylines of 1993 and 1994, along with the ominous threatening chords associated with Todd, there was also some intense, on-edge music that was played at crucial climactic moments:
-
"One of my favorite background tunes is the "psycho music" ...
they played it in the scene where Nora stabbed Todd at the
beachhouse. I just loved that wild, pulse-pounding music!
They also played it, I think, when Powell stabbed Todd in his
hotel room. Haven't heard it since then,
tho.
Actually, I think it started awhile before Todd even appeared on
the show. I think I remember having heard it when Cord got shot
in Jaba City, a good year-and-a-half before Todd even appeared."
[SandyWeeks, e-mail, 1996/11/01; 1996/11/02]
When "mood" music is associated with especially moving scenes, sometimes it can be hard for viewers to emotionally disassociate it from that scene and accept it being used generically:
-
"As a Luna fan I found it very disconcerting to have Max tell
Maggie he loved her on the same music where Luna walked toward
the light after her death."
[Angela, to RATSA, 1996/10/01]
"I don't think that particular theme [from the goodbye at the airport] was ever exclusively Todd and Blair's. I remember it being used many times for different couples and even in non-couple scenes to help achieve a poignant effect. But I must admit I notice it in those scenes because of scenes like the Todd/Blair parting at the airport. I truly think that was the most effective scene ever in the Todd/Blair story, not to mention the most heartwrenching." [Jwcr, e-mail, 1997/12/21]
3. Special Songs
From time to time, special songs have been composed for OLTL, usually for some major event or storyline. Two notable original songs written especially for the show were:
"Here's To The Show":
-
""Here's To The Show" was written for the Daisy Awards episode
in 1989. It was featured in a big production number for the
Fraternity Row storyline. In the story, the "Daisy Awards"
were supposed to the the equivalent of the Daytime Emmys.
Spring Skye and Megan Gordon were to do the opening number.
Spring had Megan and Marco trapped in a meat locker. They got
away and barely made it to the show in time - Megan in an
old
meat coat carrying a cleaver. Spring laughed and said something
to the effect that it was too late for Megan to perform because
she wasn't dressed appropriately. Megan managed to find a
dress, put the meat coat (with blood) over the top of it, and
make her entrance from the opposite end of the room. The
production number ensued. It was called "Here's to the Show"
and had production number qualities like dancers, band, and
large props (just like the Emmys). Of course, Skye fell on
her face."
[Linda Martindale, e-mail, 1997/12/07]
"There Will Come A Time":
-
"I was watching an old tape from the homophobia storyline [1992]
the other day and they played a beautiful original song at the
culmination of the story, during the AIDS Quilt ceremony, called
"There Will Come A Time" by Lee Holdridge. For months, they had
been playing the musical portion of the song in the background
(very catchy) until I was humming it all the time. Then,
suddenly
they unveiled the beautiful words to the song. I'd never known it
had lyrics. That was the first time the music on OLTL really
caught my attention. They actually played a brief snippet of
the musical version of the song a week or two ago - I hadn't heard
it in years and suddenly it was there in a scene with Andrew and
Cassie."
[SandyWeeks, e-mail, 1997/08/05]
G. PERSPECTIVES ON OLTL MUSIC
-
"I've missed the musical edge OLTL had during the Linda Gottlieb
regime, when she and Jamie Howarth overhauled the generic soap
music and replaced it with classy, catchy tunes."
[SandyWeeks, to RATSA, 1997/05/03]
Soaps are a continuous long-running form of drama, and, as with anything else that keeps going for so many years, the musical production is bound to evolve over time. To give us some perspective on the show's musical developments, I asked a couple of long-time knowledgable people for their impressions about the music on OLTL over the years. I found out that an emphasis on music had a good grounding in the past history of the show. Here is what they said:
From LINDA MARTINDALE:
-
For me, my first soap was "Dark Shadows." I remember they used
the old timey organ music and things were keyed to what I call
suspense music (which can't be replicated here).
I watched AMC and Y&R in the 70s. The music on AMC was not notable then and doesn't stick out in my memory. The music of Y&R does for two reasons: (1) It centered around young adults. (2) It introduced my entire generation to the "Wedding Song" which they proceeded to use continually in their weddings.
I stayed away from soaps for about five years. When I came back it was to the ABC shows of OLTL and GH (with a little AMC thrown in). During the early years of my return, I can't remember anything remarkable. Then sometime around the mid-to-late 80s something surprising happened. OLTL started using more orchestra and bringing in groups to perform at the club. Over the summers it wasn't unusual to see up and coming acts performing for the teen and college crowd on OLTL. I'm not sure who the executive producer was when this occurred but it brought my attention to the music. Even the Beach Boys played a set for Viki's high school reunion where she found out about having her memory erased (so this must have been when Rauch was EP).
Another landmark in OLTL's history was the "Daisy" Awards. In this show, Megan was supposed to sing the opening number with Spring Skye but Spring arranged to have her detained. When Megan made her startling entry, Spring was so shocked. It brought the "Broadway" production numbers to OLTL.
Another landmark for OLTL was that suddenly songs were being written especially for the show. When the homophobia story played out and the AIDS quilt was displayed, a wonderful piece of music was used first musically then with words which expressed what we had experienced and seen all that summer. It reminded us that we need to have hope and love.
Gottlieb brought with her musical production. Having executive produced "Dirty Dancing" we began to get more defined themes for couples and for events. I won't go into the Patrick and Marty song, but there were songs that keyed couples like Suede and Marty (a beautiful piece) and Luna and Max. Reba McIntyre appeared on Luna's love line and old-time rock and roll came to represent Nora and Bo. Modern groups were mentioned for the teen set (like the Hootie reference by Jess).
So, for me music has changed. It's gone from organ to rock/symphonic with even opera keyed in. This makes the show for me more interesting. I also think that if you love music, music helps you with the mood of a scene.
[Linda Martindale, e-mail, 1997/12/07]
From DAVID JACKSON:
-
1. While a company called Aeolus Productions was credited with
producing the music of OLTL from as early as 1970 (i.e. an ABC
OLTL press release from April 1970 that I found at the New York
Public Library in Lincoln Center) until the Spring of 1984, there
are strong indications from the research I've done that before
1975 there was no one undisputed principal music composer for the
show. Charles Paul wrote several cues and themes for the early
OLTL including a New Orleans jazz style theme for Carla and a
bittersweet guitar and woman's voice wordless theme for the teenaged
Cathy Craig; but other early cues for OLTL were taken from Laurence
Rosenthal's music for the short-lived soap THE BEST OF EVERYTHING.
It's also possible OLTL used a so-called "needle drop" approach by
renting pre-existing music from outside music libraries.
- There were some classic musical moments during the
short-lived tenure of ELP: in the Summer of 1984, there was this
confrontational scene between Dorian and Cassie at the latter's
18th birthday party. Cassie burns the check Dorian gave her as a
harsh, downward lower strings and brass run plays in the background.
Another confrontation scene in early 1985, this time involving
Dorian and Rob Coronal, featured a busy fast electronic backing
and ominous low synthesizer notes.
- One basic cue motif that was constantly repeated during the brief ELP tenure on OLTL sounded like the recurring riff that plays throughout the 1974 Barry White hit "I'm Gonna Love You Just A Little Bit More Baby."
4. In the summer of 1985, Paul Rauch brought in Score Productions. (Since Rauch had worked with Score on nearly all of his previous soaps, it was only inevitable he would go to that company.) With principal music composer Michel Camilo, Score produced for OLTL music cues which were almost entirely electronic and featured a lot of non-melodic ostinato riffs. At times the approach wasn't unlike that of SANTA BARBARA, which premiered just as Rauch took over OLTL in 1984. By the end of the 1980s, most soaps went to almost entirely electronic soundtracks. (Synthi-pop all but wiped out acoustic instrument cues on OLTL and other shows by 1990.) Score Productions also did memorable change of pace music for the "Wild West" storyline of 1988 and the "Fraternity Row" soap within a soap storyline of 1988/89.
5. Since the Linda Gottlieb regime began in the summer of 1991, I have detected more of a "movie" style of scoring and composing on OLTL. The music cues by Suzanne Ciani (1991 to 1995) and David Nichtern (1992 to present) are more orchestral in nature than on most soaps these days.
[David R. Jackson, e-mail, 1997/12/08] - One basic cue motif that was constantly repeated during the brief ELP tenure on OLTL sounded like the recurring riff that plays throughout the 1974 Barry White hit "I'm Gonna Love You Just A Little Bit More Baby."
2. Jack Urbont was the principal music composer of OLTL through Aeolus Productions from 1975 to 1974. Urbont's first scoring sessions for the show occurred in March and April of 1975, and his style for OLTL, based on what I heard on those "Daytime to Remember" reruns, was similar to the house style for AMC. I just thought that Urbont's OLTL music featured more in the way of brass and horn cues and modern chords than the AMC music.
3. Starting around April 1984, during the final weeks of Jean Arley's reign as producer of OLTL, there was a decided campaign to contemporize the show's musical sound. Elliot Lawrence Productions, up to that time associated primarily with the Procter and Gamble soaps, was brought in by Ms. Arley. Some of Elliot Lawrence Productions' cues for OLTL were nothing more than retreads of the company's cues for such shows as EDGE OF NIGHT and SEARCH FOR TOMORROW, but a lot of the cues were in a rather loud rock anthem approach, particularly at the ends of acts.
About LINDA GOTTLIEB:
In 1991, OLTL hired executive producer Linda Gottlieb, who was well known for her hit film "Dirty Dancing". She remained with OLTL until 1994. She brought feature-film editing and music-scoring techniques to the show. An early article by Connie Passalacqua (LA Times, June 23, 1992) had this to say about Gottlieb's approach to the music on the show:
-
"Soaps had never kept up with new technology, says Gottlieb,
who has introduced film-like post-production techniques,
including computerized music editing. Gottlieb envisions
making music as intrinsic to the success of "One Life to Live"
as it was to "Dirty Dancing." She has already hired
personal
friends Judy Collins (to sing a love theme) and off-Broadway
composer Elizabeth Swados (to score a location sequence)."
FINAL COMMENTS and personal perspective from your editor:
[Ed. note: since this is my feature, I get the last word!]
I first saw OLTL in 1993. The dramatic storylines and compelling characters were what originally attracted me to the show . As I began watching it more regularly, one of the things that struck me as "different" about this show was that there was a lot of music. In comparison to other soaps, where the music was rather bland and featureless, on OLTL it was very out front and noticeable. Even the most minor background music had a lot of character. I found it really added to the whole production. Popular songs were used a lot, with lyrics to comment on the action. Characteristic "theme" music was associated with particular couples and characters. Many of the themes were very beautiful and "listenable" in their own right, so that they could withstand repetition day after day. The music had a great variety as well. Not only that, but all of the music was expertly integrated so as to fit exactly into the right moments of the scenes. As a result, the music really helped the show to have tremendous dramatic impact.
OLTL's music was appreciated by its fans, too. When I got online and onto the newsgroups in early 1996, I found a lot of complaints about a lot of things, but virtually nothing but compliments about OLTL's music. There was a tremendous amount of interest in the popular songs being played at the time, and also many favorable comments about the wonderful original tunes. The only negative I can recall was that, every once in a while, for some particular scene, fans thought the music might have been just a bit too loud.
In retrospect, those were the years when OLTL was at its peak, dramatically and musically. Perhaps it was a rare time. Currently (late 1997), OLTL is being written to emphasize dialogue rather than music and action. The characteristic quality of the music is still there in the background but it does not seem to be given the priority it once had, not so long ago. Even so, looking forward to hearing those great background tunes is one factor that keeps me enthusiastically watching the show.
Soap operas are a true phenomenon of modern culture - here today, gone tomorrow. Aside from a live concert, there is hardly anything in the world of music so ephemeral as soap music. Popular music fans can get their albums. Film music fans can get soundtrack releases. Even for prime time TV shows there are soundtracks, or at least the shows are re-run from time to time. In comparison, the soaps are not built to last. Those beautiful compositions we hear played on OLTL today are fated to disappear tomorrow. That may be the way the soap world is, but at least we can say that once upon a time, on OLTL, they made good music.
Copyright 1998 Marg Harris. All rights reserved.
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