Raiding the Library
The composition of the score was effected by Musicians Union restrictions
which dictated the length of recording sessions and meant that only five episodes in a series could be fully scored.
Most previous ITC series employed an array of specially composed generic pieces which could be slotted into individual scenes
by the music editor as required and were re-used throughout the series. Space: 1999 was too complex
and varied a series for this approach to be successful, though it was probably never within the possibilities even of the
huge budget of the show for every episode to e individually scored.
The five episodes scored by Barry Gray were the first three: Breakaway, Matter of Life
and Death and Black Sun; episode six, Another Time, Another Place, plus the fifteenth episode, The
Full Circle. The series' requirement for more music than could be produced in the recording sessions for these
episodes meant that much use was made both of tracks from pervious Anderson shows, from suggestions by Barry Gray and
of recordings from the Chappell Recorded Music Library. End of Eternity and The Infernal Machine in
particular use a great many library tracks. It is interesting that the tracks chosen are not, on the whole, standard
action adventure recordings that would fit in with Gray's orchestral score, but instead are unusual pieces which give the
episodes in which they are used a unique feel within the body of the series.
On two occasions classical pieces were used, Adagio for Strings and Organ in G Minor by Tomaso Albinoni
giving Dragon's Domain something of a 2001: A Space Odyssey feel. For British audiences who
were old enough to remember, Space Brain's use of Gustav Holst's Mars the Bringer of War brought back memories of The
Quatermass Experiment. For the former the production team decided to use the highly regarded version conducted
by Sir Malcolm Sargent with the BBC Symphony Orchestra.
Musical Associations
Another potential source of music for Space:
1999, Vic Elmes (mis-spelt as 'Elms' on the credits and billed as 'Associate' alongside Barry Gray's credit) proved
less ideal for the production's needs. He initially proved useful in providing the electric guitar arrangements for
the Space: 1999 opening theme and for the Matter of Life and Death score. However he was ultimately a pop musician
whose lack of training and experience in composition and the needs of film production soon became apparent when he was put
before a full orchestra.
In an attempt to better use Elmes's skills he was provided
with a small group in a rock-stlye formation under Music Editor Alan Willis amnd most of the resulting music was used in episode
four, Ring Around the Moon - the longest section being in the 'moonwalk' sequence. The experiment was not repeated
and Vic Elmes took no further part in the production. Elmes, who was Slyvia Anderson's son-in-law, had previously been
guitarist with Christie, who had scored a major worldwide hit with Yellow River in 1970, a record on which Elmes
hadn't actually performed.
The song was written by Jeff Christie and had been recorded by the Tremeloes, who subsequently decided
not to use the track. The band's vocals were removed and those of Jeff Christie substituted, the band being formed to
tour the song. Though not suited to soundtrack composition, Elmes was s killed rock musician and songwriter, and penned
the band's final hit, JoJo's Band, which topped the charts in Argentina and Brazil. Elmes tours Europe to this day with
his own version of Christie, entitled Christie Again.
