The Dark Shadows Almanac: Millennium Edition
Page 15
ALEX STEVENS Silent Night, Bloody Night (1973 Film)
JAMES STORM The Invasion of Carol Enders (1974 TV Special); Scream of the Wolf (1974 TV Movie); Trilogy of Terror (1975 TV Movie); Curse of The Black Widow (1977 TV Movie)
MICHAEL STROKA Next Step Beyond (1978 TV Episode)
ABE VIGODA Tales From the Darkside (1986 TV Episode)
ELIZABETH WILSON The Addams Family (1991 Film)
Dark Shadows Music
With just a few isolated exceptions, all of the music heard on Dark Shadows was composed by Robert Cobert.
Cobert has scored nearly every Dan Curtis Production since Dark Shadows, including War and Remembrance, for which he received an Emmy nomination. Some of Cobert’s other daytime credits include, The Doctors, The Young Marrieds, and The $20,000 Pyramid.
Robert Cobert composed and arranged approximately 330 music recordings, known as cues, available for use on Dark Shadows. This included different versions of some of the compositions. (For example, several piano recordings, using different, styles, were made of Ode to Angélique. A harpsicord version was also recorded but was never actually heard on the show.)
Although the actors could not hear the music, the recordings heard on each episode were actually played in the studio at the same time as the show was being videotaped. When the series began, the music cues were played from record discs. Later, individual tape cartridges for each selection were utilized.
The original Josette’s Music Box melody heard on the series during the early Barnabas storyline was written by Canadian composer Robert Farnon. Cobert’s version was used starting a few months later when Josette’s music box was first seen in the 1795 storyline.
The musical score of Dark Shadows played an integral part in creating the many moods expressed on the series. The popularity of the show’s music carried over the Billboard record charts in the summer and fall of 1969 when The Original Music from Dark Shadows soundtrack album reached #18. It remains one of the top ten best-selling television soundtrack albums of all time.
In 1969, Quentin’s Theme from by the Charles Randolph Grean Sound reached #13 on the Billboard Hot 100 singles chart and #3 on the Billboard Easy Listening chart. The Charles Randolph Grean album Quentin’s Theme reached #23 on the Billboard Top Album chart. The song was subsequently recorded by over two dozen artists, including Henry Mancini and Lawrence Welk.
Despite the success of the Dark Shadows soundtrack album and the Charles Randolph Grean Sound release of Quentin’s Theme, the soundtrack single of Shadows of the Night by David Selby, backed with I’ll Be With You Always by Jonathan Frid, only reached #125 on Billboard’s Bubbling Under the Hot 100 chart.
Quentin’s Theme earned Cobert a Grammy Award nomination by the National Academy of Recording Arts and Sciences for Best Instrumental Theme, 1969.
Jonathan Frid and David Selby recorded their dramatic recitations for the Original Music From Dark Shadows soundtrack album in May of 1969 at Regent Sound Studios in New York City.
In 1970, it was announced that a second Dark Shadows television soundtrack album might be issued by Mercury Records (the parent company of Philips Records). However, a second album, entitled Original Music from Dark Shadows Volume 2, wasn’t issued until 1986 by the independent Media Sound label, formed by Dark Shadows composer Robert Cobert. The label subsequently issued Original Music from Dark Shadows Volume 3 in 1987 and Original Music from Dark Shadows Volume 4 in 1988. All four albums were reissued by MPI Home Video on compact disc and audio cassette in 1992.
Varese Sarabande reissued the Original Music from Dark Shadows album as a “Deluxe Edition” compact disc in 1999, featuring the original album with over 40 minutes of bonus radio interviews from 1968 (Jonathan Frid, Grayson Hall, Roger Davis, Humbert Allen Astredo, Robert Rodan, Don Briscoe) and 1969 (David Selby) from with WEST-AM, Easton, PA with deejay Ron Barry.
The Dark Shadows theme as heard on the main title opening sequence for each episode is an arrangement featuring an alto flute, a double bass, vibes, a harp, and a theramin.
The complete closing credit music contained an extra stanza with a high pitch. In addition, during 1966 episode 45 featured the closing music with a slightly different sounding reverb echo like the version heard on the early 1966 ABC-TV promos for the series.
Episode 625 is unique in that thunder is heard during the closing theme music.
Robert Cobert began composing music for Dark Shadows on April 20, 1966. The early recording sessions for the series were held in London, England.
The black-and-white episodes featured sound effects of waves crashing and wind howling during the opening Dark Shadows theme.
Although Bob Cobert composed three different songs for use in the Blue Whale, in the first year of the series there were a few recordings, supposedly playing on the jukebox, which were not Cobert’s songs. These were all instrumental recordings, including popular songs such as Willow Weep For Me and I’ll Be There.
The character of Adam repeatedly listened to a reel-to-reel tape containing classical music, along with Dr. Lang’s message to Julia Hoffman. The classical piece was Mozart’s Serenade No. 13 in G, K. 525 (“Eine kleine Nachtmusik”).
In Episode 501, when Adam abducts Carolyn from Collinwood in 1968, the song heard playing on the portable radio is the Theme From A Man and A Woman from the film of the same name. The tune was also heard in the Blue Whale in episode 307.
In Episode 841, Hungarian folk music is heard while Count Petofi is in an I Ching trance in the abandoned mill in 1897.
In Episode 866, Quentin Collins, while possessed by Count Petofi, plays Mozart’s Fantasy and Fugue in F Minor on his grammophone.
All of the original Dark Shadows series music compositions were mixed to single track monaural sound. Accordingly, none of the soundtrack albums are in true stereo. However, the selections on the first album, the 15, are heard in artificially-created strereo—an electronic process which enhances the treble in one channel and enhances the bass in the other channel. However, the overlaying dramatic recitations by Jonathan Frid and David Selby are heard in true stereo. In addition, stereo effects were added to a few tracks, exclusively for the album. This includes a tamborine on Back At The Blue Whale that was not heard on the song when it was used on the television show.
The vocal version of Quentin’s Theme is called Shadows of the Night. In addition to being recited by David Selby, the song was recorded by Andy Williams, Claudine Longet, The Ray Conniff Singers, Robin Grean, and The Midas Touch.
While many of the traditional soap operas still used organ music in the 1960s, Dark Shadows featured orchestra music. Some of the recordings featured as many as 35 musicians.
Quentin’s Theme was first heard in Dan Curtis’ 1968 TV drama The Strange Case of Dr. Jekyll and Mr. Hyde. Cobert later rerecorded the tune for Dark Shadows, as he did with many of his other Jekyll & Hyde compositions. I’m Gonna Dance For (aka I Wanna Dance With You) also originated in Jekyll & Hyde.
While the original series was on the air, Cherry Lane issued sheet music for Quentin’s Theme, and Criterion issued sheet music for the vocal version, Shadows of the Night, as well as Ode to Angélique. A player piano roll of Quentin’s Theme was also available. In 1995, the first-ever Dark Shadows Music Book was issued by Pomegranate Press, including the aforementioned titles as well as the Dark Shadows Theme, I Wanna Dance With You, The Playroom Theme, and others.
While appearing as a guest on Joan River’s Late Show on FOX-TV in January of 1987, David recited Shadows of the Night acapella. He did the same thing again on Pat Sajack’s CBS-TV talk show in October of 1989. On that show, Pat mentioned the home video release of Dark Shadows and showed a video clip of David as Quentin.
Cobert also scored the two films, House of Dark Shadows and Night of Dark Shadows. The former was largely comprised of Cobert’s original recordings from The Strange Case of Dr. Jekyll & Mr. Hyde, along with tracks from the Dark Shadows daytime series. Night of Dark Shadows featured several
new recordings along with tracks from the daytime series.
Rhino Records/Turner Classic Movies issued the first-ever soundtrack album for the MGM films House of Dark Shadows & Night of Dark Shadows on a single compact disc in 1996.
Over the years, Dark Shadows music has been licensed for use on various television and radio programs and promotions, particularly around Halloween. The popular NBC-TV program Saturday Night Live has even used original Dark Shadows recordings in skits.
Cobert recycled many of the Dark Shadows music recordings in later Dan Curtis productions such as Turn of the Screw, Frankenstein, The Picture of Dorian Gray, The Invasion of Carol Enders, Nightmare at 43 Hillcrest, Come Die With Me, and Shadow of Fear.
Dark Shadows music composer Robert Cobert.
Cobert scored the entire 1991 Dark Shadows revival series, which included rerecordings of several music cues from the original series as well as new compositions. Some of the music is heard on the Varese Sarabande compact disc release by Cobert entitled The Night Stalker & Other Classic Thrillers, issued in 2000.
The music video I Barnabas was created by engineer Alan Matlick at WNYC-TV in New York. The video originally aired a few times on the station in 1988, following reruns of the series. The video was later included on the MPI video release Dark Shadows Music Videos.
The 1988 album Lullaby, by the group Book of Love, includes a song called Witchcraft, which contains the lyrics “Angélique takes Barnabas from Josette.”
JOSETTE’S MUSIC BOX
Near the end or episode 236, in 1967, Barnabas Collins takes Maggie Evans to Josette’s room for the first time. He has kidnapped her with the intention of turning her into Josette Collins, his lost love of long ago, but Maggie has been unresponsive. Barnabas speaks of their romance in glowing terms, then presents her with Josette’s wedding gown, which is as perfectly preserved as if it were new.
Barnabas then takes the antique music box from the table and holds it out to Maggie, describing it to her: “I brought this with me from the orient, and I intended to give it to you on a very special day. That day has come. This gift has crossed the seas as I have crossed the centuries. All for your sake. Listen.” (He opens the box. A delicate and lovely tune tinkles away. Maggie seems to respond slightly.) “Do you hear it? This is your music. Listen to it and all the past will fade away to nothing—not even a memory. Listen—and you will forget what you have been and yearn only for what you are now. Listen—and all the fear and loneliness and unhappiness will disappear—forever. Listen—listen—” Barnabas holds out the music box. Maggie seems to be listening.
After Maggie escapes from Barnabas, he admits the failure of his attempt to turn her into Josette. He then gives the music box to Victoria Winters, who is more receptive to its music.
In 1795, the music box does not appear until after the wedding of Barnabas and Angélique. Josette duPrés Collins never sees the music box before her death at Widows’ Hill.
In Episode 711 set in 1897, Barnabas presents the music box to Rachel Drummond and tells her about Josette. Meanwhile Angélique casts a spell. Rachel chokes, then collapses. Under the spell, she speaks as Josette, and Barnabas realizes Angélique has caused Rachel’s collapse.
The MGM Dark Shadows Mobies
HOUSE OF DARK SHADOWS
Credits
JONATHAN FRID Barnabas Collins
GRAYSON HALL Dr. Julia Hoffman
KATHRYN LEIGH SCOTT Maggie Evans
ROGER DAVIS Jeff Clark
NANCY BARRETT Carolyn Stoddard
JOHN KARLEN Willie Loomis
THAYER DAVID Professor T.E. Stokes
LOUIS EDMONDS Roger Collins
DONALD BRISCOE Todd Jennings
DAVID HENESY David Collins
DENNIS PATRICK Sheriff George Patterson
LISA RICHARDS Daphne Budd
JERRY LACY Minister
BARBARA CASON Mrs. Johnson
PAUL MICHAEL Old Man
HUMBERT ALLEN ASTREDO Dr. Forbes
TERRY CRAWFORD Todd’s Nurse
MICHAEL STROKA Pallbearer
JOAN BENNETT Elizabeth Collins Stoddard
MGM PRESENTS A DAN CURTIS PRODUCTION
Producer/Director: Dan Curtis
Screenplay: Sam Hall and Gordon Russell
Associate Producer/Production Designer : Trevor Williams
Production Supervisor: Hal Schaffel
Assistant to Producer: George DiCenzo
Production Secretary: Diane Katz
1st Assistant Director: Bill Gerrity
2nd Assistant Director: Peter Bogart
Script Supervisor: Maggie James
DGA Trainee: Dwight Williams
Auditor: Bud Brown
Office Assistant: Sylvia Schaffel
Director of Photography: Arthur Omitz
Camera Operator: Dick Mingalone
1st Assistant Cameraman: Felix Tromboli
2nd Assistant Cameraman: Jamie Jacobson
Still Photographer: Charles Moore
Additional Stills: Ben Martin
Sound Mixer: Bob Fine
Sound: Chris Newman and Jack C. Jacobsen
Boom Man: Pat Suraci
Recorder: Les Lazarowitz
Assistant Art Director: Otis Riggs
Casting Director: Linda Otto
Gaffer: Willie Meyerhoff
Best Boy: Sal Martorano
Dolly Grip: Mike Mahony
Best Boy: Edward Larkin
Construction Grip: Joe Williams
Grip: Thomas Gilligan
Scenic Artists: Gene Powell andWilliam Chaiken
Outside Props: Ben Rutter
Set Dresser: Ken Fitzpatrick
Standby Props: Conrad Brink and Clint Marshall
Head Carpenter: Gilbert Gertsen and Richard Allen
Makeup Artist: Robert Layden
Special Make-up: Dick Smith
Hair Stylist: Verne Caruso
Costume Designer: Ramse Mostoller
Men’s Wardrobe: Jim Hagerman
Ladies’ Supervisor: Florence Foy
Stunt Coordinator: Alex Stevens
Unit Publicist: Baird Searles
Editors: Sid Katz and Arline Garson
Teamster Captain: James Fanning
Titles designed by: F. Hillsberg Inc.
Metrocolor 96 minutes. Released: September, 1970.
Filmed in Tarrytown, NY: The Lyndhurst Estate (Collinwood), The Sleepy Hollow
Cemetery (Eagle Hill Cemetery), The Schoales Estate aka Beechwood (The
Old House); Norwalk, CT The Lockwood-Mathews Museum Mansion
(Abandoned Monastery); Westport, CT; The Three Bear’ Inn
(The Collinsport Inn).
NIGHT OF DARK SHADOWS
Credits
DAVID SELBY Quentin Collins/Charles Collins
GRAYSON HALL Carlotta Drake
JOHN KARLEN Alex Jenkins
NANCY BARRETT Claire Jenkins
LARA PARKER Angélique
KATE JACKSON Tracy Collins
JAMES STORM Gerard Stiles
DIANA MILLAY Laura Collins
CHRISTOPHER PENNOCK Gabriel Collins
THAYER DAVID Reverend Strack
MONICA RICH Sarah Castle
CLARICE BLACKBURN Mrs. Castle
ART HAGGERTY Henchman
ALEX STEVENS Hangman
MGM PRESENTS A DAN CURTIS PRODUCTION
Producer/Director: Dan Curtis
Screenplay: Sam Hall
Story: Sam Hall & Dan Curtis
Associate Producer/Production Manager: George Goodman
Assistant to Producer: Bob Singer
Associate Producer/Art Director: Trevor Williams
Director of Photography: Richard Shore
Camera Operator: Ronald Lautore
First Assistant Cameraman: Bill Horgan
Second Assistant Cameraman: Emmanuel Metaxas
First Assistant Director: Stanley Panesoff