From: vrv@cimage.com (Victor Volkman)
Subject: Music FAQ, v0.2
Organization: Cimage Corp, Ann Arbor, MI
X-Newsreader: Tin 1.1 PL5
Date: Tue, 5 Jan 93 13:32:17 GMT



            THE UNOFFICIAL FREQUENTLY ASKED QUESTIONS (FAQ)
                     ABOUT MUSIC FROM THE PRISONER
                              RELEASE 0.2

                          BY VICTOR R. VOLKMAN

1.0  Welcome to the FAQ

2.0  Who wrote the music?

3.0  Who is Albert Elms?  (An Interview with Albert Elms)

4.0  Who is Wilfred Josephs? (Excerpt from review by Howard Foy)
     Who is Wilfred Thomson

5.0  What is on the soundtrack recordings?

6.0  How do I buy the soundtrack recordings?

=================================================================

1.0  Welcome to the FAQ

Most of you are familiar with the original PRISONER FAQ from
alt.tv.prisoner.  You may well ask:  "Why is there a FAQ on the music,
surely there is enough information already?".  We all want information
and I have been compiling it for some time.

First off, I do not want to detract from the official FAQ, which stands
very well by itself.  Second, I think that audio is at least one-half of
the message.  Certainly the audio portion of the PRISONER is an equal
match surrealistic, moody, and triumphant nature of the stories.

My primary sources of information in this endeavor include the
following:

* NUMBER SIX -- the official publication of SIX OF ONE fan club
* ONCE UPON A TIME -- an amateur newletter of American origin
* THE PRISONER INVESTIGATED -- an excellent video documentary (4 hrs).
* THE PRISONER SOUNDTRACK -- official CD recordings, Vols. I-III

In deference to the questioning nature of the PRISONER (e.g.  "Who is
#1?"), I have posed all the information in a question-and-answer format.
If this becomes too obnoxious, I'll change it.

I will happily accept updates from anyone with an even partially
documented source of information for evaluation and inclusion into the
FAQ.  Send comments, criticism, and flames to
sysop@hal9k.ann-arbor.mi.us.  Thank you!


2.0  Who wrote the music?

There are several key people in the story behind the PRISONER
soundtrack.  Here's a brief summary of each:

ALBERT ELMS:  Perhaps the second-most influential of the composers who
worked on the PRISONER.  He was responsible for much of the "incidental"
(background) music throughout the series.

RON GRAINER:  The best known and most influential of the composers.  He
was a professional soundtrack composer and did many of the TV series of
the 1960's.  It is his musical numbers for the opening theme and closing
credits which set the distinctive sound for the PRISONER.

WILFRED JOSEPHS:  Originally contracted to do the PRISONER opening
theme, his work was subsequently rejected by McGoohan himself.

WILFRED THOMSON:  Sound editor for the PRISONER.  The resourceful man
responsible for creating the unique sound of Rover and many other sound
bites.  Basically, his role is the non-musical portion of the
soundtrack.


3.0  Who is Albert Elms?  (An Interview with Albert Elms)

Excerpted from "Once Upon a Time", Issue #32

                           An Interview with
                         A l b e r t   E l m s
                                   by
                             David Walters

When ``Arrival'' was at the screen room stage, the main theme was yet to
be decided on.  All I had was the original theme by Bob Farnon, which I
hasten to add was disliked intensely by Pat and the production team.  At
the time, though, it had not been totally rejected, and seeing as Farnon
had been paid for the piece, I decided to use it.  Although it made an
eerie type sound, it needed what I fondly call ``plonkety plonk'' music,
which is often used for extra footage to use up screening time.  This is
usually the hero walking to his car or kissing the girlfriend in this
case, McGoohan's walk around the Village.

    I often (other series) based the incidental on the main theme, but
for obvious reasons I couldn't use that this time.  So, after watching
the rough cuts, I got the feeling of a fantasy type theme, so I sat down
at my piano and started ``plonking.''  Now, I don't know why but I
played the opening bars of ``Pop Goes the Weasel,'' and that's it
really.  It was as simple as that!

    Some episodes were easy to do, like the one where he comes back to
London after making his escape on a raft.  I got the feeling of Robinson
Crusoe, hence my Hawaiian theme, or the fairground music in the episode
where he's telling the spy story to some kids.

    Others were bitches to do and Pat was so intense in selecting the
inci- dentals.  The Bizet episode, of which I conducted the music for
the Bizet records No. 6 plays, when No. 6 tells the band leader to play,
that was my sound track.  The band at Portmeirion were miming!

    Now then, you'll have to tell me about the ``Once Upon A Time'' one,
it was a long time ago.  (After a brief description of the storyline.)
Ah, now that's the episode where Pat buggered about with the soundtrack.
I had a brief from upstairs that this was the cliffhanger episode that
would lead to series two.  But little did I know that Pat and David had
other plans!  I was home one night, it must have been about three weeks
after the completion of series one of ``The Prisoner,'' when Pat rang
and invited himself to dinner the following weekend.

    He sat in that chair there and told me about his trouble with
Markstein and others.  He said ``It's all got out of hand, Berty.  They
want to make it into a Bond movie and if there's one thing is ain't,
it's another `Goldfinger.'  I'm putting the bloody thing to sleep be-
fore it gets up and bites back.''

    I said, ``Are you going to leave it there without any explanation?''

    ``If Lew lets me, yes I am,'' he replied.

    ``Bloody hell, Pat,'' I said; ``They will do their nuts.''

    ``I know,'' he said and grinned at me.

    After dinner, we sat in my lounge and talked about old times.  He
told me that if he had to do a last episode, he wanted me an MD. I told
him about my new contract on ``The Champions,'' but I told him I could
do both with a push.

    It must have been another six weeks before I knew for sure that
``The Prisoner'' was not finished, and I stalled my job on ``The
Champions'' to complete ``The Prisoner.''  Ironically, it was Bob Farnon
who filled in for me by doing episode one of ``The Champions.''

    I knew Pat wanted ``Once Upon A Time'' as the penultimate episode,
but I didn't know he had messed about with it until it came on the
screen.

    But it was the last episode that got my blood boiling.  You ought to
have seen the out-takes, miles of wasted film and nothing wrong with it
except Pat didn't like it!  By this time, Pat was doing it all; I think
he was afraid of leaving it to anyone else.  He left notes for me
telling me what music he wanted.  He knew that even the people who hated
the series would be watching.  He wanted to shock.

    Of course, what he did was make them angry.

    When I arrived at Elstree, the set was abuzz with ``McGoohan and his
bloody ego,'' and Dennis Spooner knew it would be a tough act to follow.

    One episode of ``The Champions,'' ``The Night People,'' was even set
in North Wales at a fictitious place called Porthgerwyn.  It was not to
copy ``The Prisoner,'' just to add spice to the series, and you know
what they say about imitation.

    Patrick has been a family friend for many years.  We worked together
many times and he is Godfather to my son.  He adores his wife and is a
distant, deep-thinking man.  I think that's why he lives out of the
public eye; he prefers to spend his time with his family and why not?

    Albert Elms was responsible for the incidental music in ``The
General,'' ``A, B & C,'' ``Free For All,'' and ``Once Upon A Time,'' and
Music Director on ``Living in Harmony.''


4.0 Who is Wilfred Josephs?
    Who is Wilfred Thomson?

Excerpt from review by Howard Foy in "Once Upon a Time", Issue #35

(These paragraphs are from a review of the video documentary THE
PRISONER INVESTIGATED created by Steven Ricks.  The title of this review
is "No Prisoners Taken".)

"...Next, discussion turns to the creation of the opening titles theme,
with some interesting revelations by Wilfred Josephs, who was originally
contracted to compose the music.  Apparently, PMcG wanted a theme which
was to be a combination of Beethoven's ``Choral Symphony,'' the folk
song ``Little Boxes'' and in Josephs' words, ``something equally
esoteric'' which he couldn't recall.

Interestingly, too, the Josephs theme was not intended to start halfway
through the titles sequence, as the surviving version in the ``Alternate
Chimes'' would indicate, but on right at the start on Westminster
Bridge, and Steven recreates the full version in the film as Josephs
intended it to sound.

...Sound editor Wilfred Thomson reveals that Rover's distinct sound is
actually a combination of an inner-tube filled with pellets, a man
screaming in a college lecture hall and a monks' chorus played in
reverse."


5.0  What is on the soundtrack recordings?

There are currently three officially released volumes of PRISONER
soundtrack recordings.  Note that these are pure instrumental soundtrack
material -- no singing, no dialog, and no sound effects.  I apologize
for not completing the full soundtrack information, but I wanted to get
the FAQ out into the open.

There are four basic types of musical material to be found:

Titles:  opening and closing music, alternate theme takes
Brass Band:  lots of rousing brass pieces great for marching!
Prisoner Music:  composed especially to match dramatic scenes
Library Tracks:  canned recordings not written for THE PRISONER

                     Complete Soundtrack Breakdown

CD|Trk| Episode | Title                             |Time | Composer
--+---+---------+------------------------------------------------------
1 |  1| ARRIVAL | Main Titles                       |     | Grainer
1 |  2| ARRIVAL | No.6 Approaches the Esc. Helicopt.|     | Josephs
1 |  3| ARRIVAL | Village Band March into M. Square |     | Radetski
1 |  4| ALTCHIM | Alternative Main Titles           |     | Josephs
1 |  5| A,B,&C  | No.6 and "B" dance at Engadines P.|     | Elms
1 |  6| FREEFOR | Escape Attempt by Moke & Spd Boat |     | Elms
1 |  7| FREEFOR | Mechanical Band play in Cat&Mouse |     | Elms
1 |  8| FREEFOR | The election won, No.6 takes ofc. |     | Elms
1 |  9| FREEFOR | Violence erupts in the Rover cave |     | Elms
1 | 10| GENERAL | The art seminar around the fount. |     | Elms
1 | 11| GENERAL | Top hats approach security clear. |     | Elms
1 | 12| GENERAL | Villagers celebrate passing exams |     | Elms
1 | 13| GENERAL | No.6 is taken to meet the general |     | Elms
1 | 14| GENERAL | Destruction and aftermath         |     | Elms
1 | 15| FALLOUT | Main Theme and Fallout Reprise    |     | Grainer
1 | 16| HAPPYRT | No.6 Searches the Gunrunner Boat  |     | Elms
1 | 17| DANCE   | Carnival Procession around square |     | Elms
1 | 18| DANCE   | No.6 Steals the Lifebelt          |     | Elms
1 | 19| CHECKMT | Conspirators attack searchlight   |     | Elms
1 | 20| HAMMER  | No. 6 is followd to stone boat    |     | Bizet*
1 | 21| HAMMER  | Village band play the frs house   |     | Bizet*
1 | 22| HAMMER  | No.14 attacks No.6 in his house   |     | Vivaldi*
1 | 23| GIRL    | At the cricket match              |     | Elms
1 | 24| OUAT    | No.6 is regressed back to childhd |     | Elms
1 | 25| OUAT    | and starts his schooldays         |     | Elms
1 | 26| ARRIVAL | Closing Credits (animated bike)   |     | Grainer

CD|Trk| Episode | Title                             |Time | Composer
--+---+---------+------------------------------------------------------
2 |  1| ARRIVAL | No.6 in his cottage "home"        | 3:20| M. Lubbock
  |   |         | (Moon Lullaby)                    |     |
2 |  2| ARRIVAL | No.6 espies the cleaning maid     | 2:17| Tamburello
  |   |         | (Party Dress)                     |     |
2 |  3| ARRIVAL | Village Band afternoon concert    | 2:17| C.H. Jaeger
  |   |         | (Double X)                        |     |
2 |  4| CHIMES  | No.6 hides loudspeaker in fridge  | 3:03| P. Green
  |   |         | (The Awkward Squad)               |     |
2 |  5| CHIMES  | No.6 tree chopping and raft bldg. | 2:33| Bonneau
  |   |         | (Tropical Forest)                 |     |
2 |  6| CHIMES  | Curfew time/Bedtime               | 1:57| Aliprandi
  |   |         | (Lullaby for Isabelle)            |     |
2 |  7| CHIMES  | No.6 and Nadia inside crate       | 3:01| J. Beaver
  |   |         | (Ionosphere)                      |     |
2 |  8| CHIMES  | Announcement of art competition   | 3:01| R. Farnon
  |   |         | (Here comes the Band)             |     |
2 |  9| A,B,&C  | Engadines party string music      | 2:47| M. Stern
  |   |         | (Capricieuse)                     |     |
2 | 10| A,B,&C  | No.6 arrives at "dreamy" party    | 2:06| J. Arel
  |   |         | (Welcome, Mr. Jones)              |     |
2 | 11| HAPPYRT | No.6 adrift on raft at sea        | 2:55| T. Veneux
  |   |         | (Ocean)                           |     |
2 | 12| CHECKMT | Invitation to human chess         | 2:42| S. Logan
  |   |         | (Minuet in F)                     |     |
2 | 13| DANCE   | Village morning prior to carnival | 2:42| R. Roger
  |   |         | (Pavanne)                         |     |
2 | 14| DARLING | En route to Kandersfelt           | 1:30| R. Farnon
  |   |         | (Swiss Polka)                     |     |
2 | 15| GIRL    | In the Magnum Record Shop         | 2:02| Arel/Petit
  |   |         | (Psychedelic Portrait)            |     |
2 | 16| GIRL    | You have just been poisoned       | 2:34| N. Nardin
  |   |         | (The Whistler)                    |     |
2 | 17| GIRL    | On the Big Dipper                 | 3:41| Bourdin
  |   |         | (Stac Flat)                       |     |
2 | 18| GIRL    | Chase with sports cars and copter | 2:34| Bonneau
  |   |         |                                   |     |
2 | 19| GIRL    | Good night children everywhere    | 1:30| N. Nardin
  |   |         | (Catch that man)                  |     |
2 | 20| FALLOUT | President's speech                | 2:39| R. Roger
  |   |         | (Lunar Landscape)                 |     |
2 | 21| FALLOUT | No.6's speech                     | 2:16| Arel/Petit
  |   |         | (Rag March)                       |     |
2 | 22| FALLOUT | Back in London                    | 1:46| Bellington
  |   |         | (September Ballad)                |     |
2 | 23| ARRIVAL | Alternative Main Title Theme      | 3:09| Grainer
  |   |         | (The Age of Elegance)             |     |

* Indicates special arrangement by Elms.

Please pardon the cryptic abbreviations in the title phrases, they are
my own abbreviations.  N.B.  Chappells Library music tracks have their
real title given in parenthesis after their Prisoner usage title).

                                 CD Key

CD| Title
--+-----------
1 | The Prisoner (Bootleg CD)
2 | Original Music from The Prisoner, Vol. Two
3 | Original Music from The Prisoner, Vol. Three

                          Epsiode CodeName Key

Episode | Full Episode Title
--------+--------------------------------
A,B,&C  | A, B, And C
ALTCHIM | Alternate Chimes of Big Ben
ARRIVAL | Arrival
CHIMES  | Chimes of Big Ben
CHECKMT | Checkmate
DANCE   | Dance of the Dead
DARLING | Do Not Forsake Me Oh My Darling
GIRL    | The Girl Who Was Death
FALLOUT | Fallout
FREEFOR | Free For All
GENERAL | The General
HAMMER  | Hammer into Anvil
HAPPYRT | Many Happy Returns
OUAT    | Once Upon a Time

Tracks are credited by the episode in which they first appeared.  That
is why "Main Titles" is listed under Arrival rather than the 13 episodes
in which it was also used.


5.1  Liner Notes from "THE PRISONER, Volume Two", by Roger Langley

The 1989 Silva Screen Prisoner Themes album Volume One contained 26
essential music tracks from the classic 1967 ITC British television
series The Prisoner.  The tracks featured the work of the programme's
main composers, Ron Grainer, Albert Elms, and Wilfred Josephs.  The
music from the previous volume was all specially provided for The
Prisoner series and was therefore grouped together as one compilation.

Volume Two now turns its ear to the atmospheric and much-appreciated
incidental music heard behind the action in several key episodes.  Not
only is the series' other main composer, Robert Farnon, featured, but
also, as a bonus, this latest volume of Prisoner music closes with the
alternative main title theme played by the composer Ron Grainer on
harpsicord.  This version was originally titled "The Age of Elegance"
and offers a more gentile rendition of the series title music.  The star
of the show, Patrick McGoohan, wanted a more 'beefed-up' version.  And
so it was not just a case of producing an 'alternative-mix' -- Ron
Grainer set about recording a completely different orchestral version
for the programme.  He corresponded with this writer (Roger Langley)
some years ago and explained how the earlier version of the main theme
had been played and recorded with only a few instruments -- "I remember
there was a harpsicord and clavicord and percussion, probably a flute
too."

The actual orgins of the "Age of Elegance" composition are obscure, but
the arrangement had a similar structure to the more familiar up-tempo
version which accompanied the TV series, indicating that it was Ron
Grainer's original concept for The Prisoner main theme.  Certainly, the
electric harpsicord played by Grainer was distinctive, although it must
be said that the orchestral music heard on screen is much more powerful.
The story goes that Patric McGoohan contributed to the melody line and
demanded a more strident combination of instruments and pace, resulting
in the piece bieng re-recorded for the screen version.  The source for
the closing track on this album is believed to be the only copy of
"Elegance" now known still to be in existence -- hence a true
collector's item!

The famouse Chappells Music Library was waiting to be researched and the
episodes of The Prisoner needed to be filled with incidental music.
Both tasks were undertaken by Prisoner music editor Eric Mival, who
worked tirelessly taking timings of the countless scenes and fitting
snatches of music to them.  The writer (Langley) borrowed his working
notes a few yers back.  These were contained in a book with black
covers, devoid of identification save for a label "The Prisoner -- Music
Bible".  Another name appeared in the book, that of Robert Dearberg, who
was music editor on the episodes "Arrival", "Chimes", and "Checkmate".
One other music editor, John S. Smith covered "Its Your Funeral", but
the remaining 13 episodes music were all edited by Eric Mival.
Therefore, Mival had perhaps the greatest insight into the workings of
the script and screen action, enabling him to provide much of the
musical interplay.

Occassionally, Mival noted in his book comments such as "Pat likes".
Clearly the series star and mentor McGoohan was closely involved with
all aspects of production, not the least of all the music.  By January
1967 Mival was working on the "Chimes" episode and there was a long way
to go.  The notes recorded that Ron Grainer had begun to put together a
demo of the first version of the music for the opening titles and
closing sequence, together with a second version (which was subsequently
used, with the original version being dropped, as mentioned earlier).

Work continued throughout 1967, until Mival was engaged on the music for
"Do Not Forsake Me..." then entitled "Face Unknown", in the October of
that year.  Numerous titles from the Chappells library were dotted about
Mival's notes, and it might be throught that the editor had merely
closed his eyes and stuck a pin in the vast catalogue of listings.
Nothing could be further from the truth.  Mival expertly chose the most
appropriate trackds to be matched up with the screen action portrayed by
the episodes he was involved with.

When I perused the "music bible" some years ago, its pages were already
yellowing.  Now, a quarter century since The Prisoner was made, we are
fortunate that it is still possible to blow the dust off the Chappells
library tapes and present the tracks again for listener's appreciation.
Eric Mival can justly be proud of his involvement in the whole
undertaking, helping to create the unique atmosphere of "the Village"
and in bringing to life the Prisoner screen action...


6.0  How do I buy the soundtrack recordings?

If you are in Europe or simply want the most direct method, you can buy
them directly from the manufacturer.  Please note that I have no
affiliation with this company.  Overseas Air Mail (the only way) will
run about $10.  Here is the current price sheet, subject to change.

PLEASE NOTE ALL PRICES ARE GIVEN IN BRITISH POUNDS (#)!

IF YOU HAVE A VISA CARD:  Don't worry, your VISA credit card will give
you an excellent exchange rate and you avoid foreign currency conversion
fees.  For those who don't know, I generally figure #1 U.K is about $2
(#12.95 = $26).  If you can, order by phone (ask your operator how to
dial long distance to the U.K.) number is 071 284 0525.

IF YOU DON'T HAVE A VISA CARD:  Don't expect a company in a foreign
country to cash a personal check from a foreigner!  A money-order is a
more sensible approach.  Either you or they will have to pay the bank a
$10 charge to convert the money from $US to #U.K.

THE PRISONER Volume One, Cassette #7.95, CD #12.95
THE PRISONER Volume Two, Cassette #7.95, CD #12.95
THE PRISONER Volume One, Cassette #7.95, CD #12.95

Please make all cheques, postal orders, etc. payable to SILVA
PRODUCTIONS LTD. and send to:

Silva Productions, Mail Order dept.
Silva House
261 Royal College Street
London NW1 9LU U.K.

For overseas orders, postal rates will be given on application.

Newsgroups: alt.tv.prisoner