You'll Hear It: Full Album Deep Dives with Jazz Musicians - 7 Hippest TV Show Themes

Episode Date: July 29, 2021

Peter and Adam rate some classic TV theme songs that somehow manage to be more hip than corny.Links from this episode:Check out a free lesson from Bob DeBoo's new bass course Walk Like Paul ChambersHave a question? Leave us a SpeakPipeWatch Live: YHI LIVE Mondays at 4pm ET on YouTubeWant more of Adam and Peter? Check out Open Studio Pro hereWoosh or No Woosh? Hit us up on Twitter and let us know which team you are onSupport the pod by spreading the word with the link youllhearit.com Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram

Hey, Peter. What's up, Adam? Hey, it's after school. It's about 4.30 p.m. Yes. You're home. You get the cheese puffs out, right? You turn on a little black and white TV that's next to the kitchen.

Channel 11. Channel 11. What comes on? Wrestling at the chase. That's not what I was looking for. I'm out of menace. And you're listening to the You'll Hear podcast. Music advice coming at you.

Coming at you today, sponsored by OpenStudio. Go to Open Studio. Jazz.com for all.com. I said it like a true St. Louis. That cam. For all your jazz lesson needs. Peter. What's up?

Man. We got a new course. We do have a new course. Studio Jazz. Yeah, it's called Walk like PC. It's from the great Bob Dubu. Walk like this. Walk talk like this.

Walk like this. Arrow Smith. You don't know that? It's like you just did the parody version. That's totally what you do. Walk this way. Walk this way. Talk this way

Walk this way What we were just talking about I'm not Walk like this Walk like PC, man Come on I got him I got it look at him

He's cracking up He's cracking up Look he can't go on This is a podcast sir This is a podcast Okay Okay gather yourself I'm gonna gather myself here

Gather ye emotions Oh my goodness Anyway Go to go to OpenCedia Oh boy We'll put a link here To walk like PC Honestly if you play bass

or just piano too. Seriously, it's amazing this course. So please go check it out. You can learn how to walk like PC. Bob does a great job. Lots of transcriptions, lots of analysis, lots of guided practice sessions. Go check it out.

And a special forward on the course from Richard, what's his name, Richard Tyler, Tyler Perry, which is tight. I know, I'm not, I'm not going to answer to you. Just keep going. Just want to see how long this could last. Steve Perry. Yeah.

Steve Perry. Steve Tyler. Stephen Tyler. Yeah, old Stevie Tyler. Little Stevie Tyler. Oh, I love little Stevie Tyler's first record. Look at that. This guy, he's, okay.

For those they can't see right now, this gentleman on the other side of the table for me, Mr. Adam Maness, my co-host, my Ertzweil, co-founder of the You'll Hear podcast, has been rendered. Ertzweil. Incapable of continuing on due to humorous laughter. Ha! Oh, he can't talk. I'm taking over the podcast now. I can do whatever he wants. Steve Perry, that's the best one.

Walk like this. Walk like this by the great. Oh, like this. By little Steve Tyler. Little Stevie Tyler. Your pop culture knowledge is so immense. It's incredible. It's like Swiss cheese.

It's got a few holes in it. And little Liz Tyler. His daughter. Livy Tyler. Livy. Liz. Amazing. Okay.

Well, this is all good because we are talking about pop culture today, aren't we? We are talking about pop culture. So a few weeks ago, and our podcast, listeners won't really know this, because we kind of, I think we lopped it off at the end of the show. But when we were live on YouTube, we finished doing another great episode like this one. And then we just kind of got, I think we were talking about Quantum Leap at first and how great that came out of Al. It had something to do with Al. Oh, we were talking about Alf. Hey, Willie.

And, of course. Ha! Sorry. That is so loud. Sorry. What an Al stands for? Alien Life Form Very good

Yeah yeah yeah And I was an Alf fan Buddy It was Alff The show or the character No I was the show I remember it was on NBC It was Alf

And then it was Amazing Stories Stephen Spielberg Oh amazing stories Which was a great show I don't think that was Steven Spielberg I think was Steven Tyler

Stephen Tyler But Yeah so I Tyler Perry Somehow I don't know How would this Devolve to Tyler Perry Like this

You know what's fun is when you start, you can be like, Stephen Tyler, Tyler Perry, Perry Mason, Mason McGruff, McGruff the time drop. Harvey Mason. Harvey Mason. Harvey Hancock. Herby Hancock. That's right.

All right. So we just started listening to TV show themes live on the air, and it was really, really fun, and people were adding theirs. So we kind of took that, and I thought, well, what if we actually, like, you know, seriously looked at some of the music? So I had Max Gameez, our in-house open studio transcriber. He made lead sheets for seven of our favorite. Now, caveat here, you know, Peter and I were both two dudes around the same age,

and we kind of grew up around the same time and kind of grew up in the same city. So if you're not from America or St. Louis, Missouri specifically, and you weren't born between 1971 and 1979. You might not get any of this. That's right. So you know. That's right. But we think it's fun.

Actually, you think some of these are super hip, and a lot of these, you will know. So shall we get to it? Let's do it. This is in no particular order, by the way, and some of these have fascinating stories. So our number one, again, no particular order, but our first hip TV theme.

This is obviously hip. Jazz musicians love this theme, and it is Angela, the theme from Taxi, Bob James, 1978. Okay. Classic road sound. This might be Harvey Mason, actually. There's a Harvey Mason appearance.

later for sure. Padage? How good is this? So this is Angela. How easy of a gig was this for those string players? Oh, they love it. Football's all day long. So of course, the great Bob James. So there's a great this is from a Bob James album. It's from his album Touchdown that was recorded in

1978. And check out the track listing of this. So Bob James is paying piano and the roads, of course, the Oberheim polyphonic synthesizer. We've got here, let me see if I can find. This is the very first, the opening track. I'm looking at the bottom here. I didn't realize this, we published this song. That's awesome.

Yeah, we put a copyrighted on it and everything. So, it's out to Bob James. It's, on this track, it's, it's actually Idris Muhammad playing drums. Oh, Idris. Yeah, Idris. Out of New Orleans. Out of New Orleans. That's so great.

Gary King on the bass. Yeah. That's on, Gary King plays base on electric bass on tracks one and two, but on tracks three, four and five, it's friend of the show, Ron Carter playing acoustic bass. Yeah, isn't it amazing? Yeah. And it's Ralph. McDonald on percussion.

Steve Gadd is on this album. This is Idris Muhammad's only track on the album. And then... It's man. What a force. Well, the feel on that, the sound. But check out some of the horn players that played on this album, Touchdown

from Bob James. We got Howard Johnson, David Sandborn, Phil Bodner, Hubert Laws. Was that Hubert on that intro there? I was wondering. I don't know. It doesn't have who's on that intro. Yeah. I mean, it would...

It would seem like it would be. Wayne Andre. I mean, Randy Brecker, John Fattis, a lot of heavy hitters playing with Bob James in 1970. Bob James is, I mean, he's a tastemaker. I mean, he knows his quality level in this genre, but it's a lot wider than folks would think. I mean, just from everything to how he's got that roads tuned on here.

Oh, it's so beautiful. You know, the sound of it is so. Yeah. I love the late 70s production sounds so much, man. All that Steely Dan from the late 70s, all that earthwinded and fire, I'm such a sucker. Yeah. All the Stevie from the late 70s, the Herbie from the late 70s, I'm such a sucker for all of it. And I was just remembering, you know, I got a couple chances to play with Idris Mohamed years ago.

And he was one of the best, like he's one of those drummers. Well, like I would just say all great drummers, which is I select when you get to that upper echelon. They make you, especially as a piano player feel good. Yeah. But I mean, just like he was just like a warm, one of the blankets now, the heavy, the weight. He's like a weighted blanket. He was a weighted blanket to play with him. I mean, I still remember how that felt.

We have one of those in my house. It's really, it's fantastic. Is it named Idris Mojahy? We will be now. We're christenating it. But yeah, so this was from a real album. This is from around the time the show came out. I think the show came out in 1979 or 1980 maybe.

I mean, think about what this did because this, these shows were so big, bigger than anything now because like what we talked about at the beginning, there wasn't as much choice in programming, streaming and all this different stuff. So this really probably did more to elevate the American musical aesthetic of just your everyday kid or person. Like I remember hearing this, my parents watching this show. Oh, taxi, T-A-X-Y. I like that. Oh, wow.

Tax-I. Tax-I. But, like, just kind of hearing this, you know, so, I mean, to be able to hear, it's like a little Picasso or Rembrandt sort of floating into your home. You might not know anything about it, but you're getting that aesthetic. So here's how you know it's really from 1978. I have here on the Wikipedia page. It's chart positions. It charted at number one on the top jazz albums,

which of course meant it had to chart at number 37 on the Billboard Pop albums. Wow. That would never happen to, I mean, well, not never. Because theme songs don't have that kind of potential pull anymore. Number 37 on the pop albums. Can we do a little bit of quick analysis on this? Please do. I'd love to see. So the flute.

So I like how he's going to these slash calls. towards that starts to kind of give it that separation because you've got one, four, three, and then what would kind of be typical would be like six and then five. And so he's going one, four, and then three, and then to the six, but it's a, so you got diatonic movement, but super slick. And I think he even voiced it. I know at least sometimes he did with that E flat second inversion try it on top. So it's almost like a kind of baroque.

you know kind of leading what do you call that figured bass kind of a sound you know yeah I'm taking a little liberties because I like this tune it's a great tune so that's the big that's like normally be like go to commercial there but you've got everything is just you know stick a fine E flat but we're going down and the groove changes there and everything do be do be bo boom them I made it a little funkier than it was but you know my my favorite part part. Oh, yeah. And then so we actually... Why are you jumping there already, man? Why can't we go bar by bar? So we can go bar. We had seven more, actually. Yeah, it's actually

major there. It's all triads. That was very adeptic. Yeah. It's a D major, not a D minor. I really, I chose the right keyscape sound today, I think. Yeah. So, I mean, just Bob James, a master of taking these beautiful places meandering around, but then making that shift right on time. So, so could. So that's our first. Again, no particular order, but this one probably is the best. This is Angela from Bob James Touchdown album. Oh, I thought this was Angela from the office. I never

realized that was a different character. Hey, Angela, from Who's the Boss? Who's the Boss? Not a bad theme. Not a bad theme. Our number two here. Yes. Sanford and Son. Boom. Ever heard of it? St. Louis's own Red Fox. Red Fox hilarious. So good, man.

So, so, so good. Isn't that awesome? Yeah. So that is Quincy Jones. It's from a Quincy Jones album, 1973, called You've Got It Bad Girl, which is from the Stevie Wonder tune. He covers it on the album. Yeah. This is a, I've never heard of this album, but I'm going to give it a big listen to this week.

Summer in the City, Eyes of Love, a theme from the Getaway. You've Got a Bad Girl, Superstition, Manteca. The theme from Sanford and Son, which is also called the Street Beater, which is what we just heard. and chump change round that out but check out the personnel on this Dave Gruson on Electric Game ever heard of him Valerie Simpson on vocals

Phil Woods Valerie Simpson of Simps but I'm trying to hear where's the vocals on here Nothing on that track This is everybody on the album Of Asford and Simpson fame Asford and Simpson Tuts Tealman's

Ernie Watts This is his first of two appearances from this episode Ernie Watts Bobby Porter Bob James Come on now. Bob James is on this album too. Ray Brown plays bass guitar.

It says bass guitar. Ray Brown, there's three basses. Ray Brown, Carol Kaye, legendary. Chuck Rainey, legendary. Chuck Rainey. I mean, that's three basses that are all like legends. I still remember going into the music store, one of the great music stores in Shinjuku and Tokyo, you know, with like 11 floors.

And there was like the sheet music book thing. And they had a whole thing for about Chuck Rainey. And they had a transcription book. It said, it was written. I mean, it was so cool. It was like a picture of him. It said the legendary Chuck Laney. Like written with the L, the legendary Chuck Lady.

Eddie Lewis, George Duke plays piano. Let's see here. Grady Tate plays drums. Grady Tate. Isn't that crazy? Yes. Crazy, crazy personnel. And there was another great, there was a Grady character on Sanford and Sun,

not related to Gravy Tate. Man, but like these bands that were making these themes in the 70s, just incredible. You've got a bad girl from the Quincy. That's the Quincy Jones album, 1973. You got it back with. Didn't someone, did you say this was, was this the one? I'd always heard it's Benny Golson, the ghost wrote this.

Maybe it was like his melody. Yeah. But, you know, I don't want to put any shade on it being misattributed, but I had heard. The recording definitely has Quincyisms. Oh, yeah. You know, like the arrangement and all that stuff. So let's just do a quick analysis on this. So we've got that, you know, set it up, you know, and then the great, I never knew.

I mean, it makes sense. That's too. You said it's Tuts stealing on, yeah, I mean, of course. Why not? But then you've got the melody. Boop boe-bo-bo-bo-de-ho-do-do-do-scoo-bo-weed-up. So it's blues, right? It's funk, but it's not going there.

Maybe because it's a TV theme, and we don't have a lot of time before the commercial comes. It's possible. B-B-de-Haw-Skud-a-B-B-B-B-B-B---------------------------. And I love this is that. How great is that? Yeah. Scoop-de-d-bo-do-p-p-doo-pid. And then this is like kind of, you know, inward motion.

And then when it gets here, like, the bridge is no melody. It's just jam. Sanford and Son. Is that amazing? This was, I got a lot of my acute sense of humor from this show. It's a great show. My dad was a huge fan of Sanford and Son. Big shout out to Red Fox out of the St. Louis.

St. Louis has a great, even before we showed up on the scene, on the comedy scene. It has a great heritage of comedy. of actual professionals, Red Fox, Dick Gregory out of San Luis. Yeah, yeah. Amazing. Lenny Bruce, not from San Luis. Not from San Luis. But, you know, it was great. All right, next up, number three. This is one, actually, I got inspiration because I know you played it, Peter, on your shelter and play solo piano concerts. Did I?

I think you did. Or maybe you did a jazz piano method lesson from it? I just remember you playing it recently around the studio. And this is the theme from I Love Lucy. This is actually slept on how hip this is. Check it out. Hold on. There's the ending version. Let's listen to the outro version. Yeah.

So written for the show, the I Love Lucy theme, was written by two-time Oscar nominee, Elliot Daniel. Did you know? Good old Elliot. Lyrics were later added so that Desi could sing this to Lucy in the 1953 episode, Lucy's last. I love Lucy and don't you too. It is something like that. And I've been messing up my lyrics.

It is. Do we have that version? I don't have that version. We can just... I love Lucy and don't you too. Don't know. Here we got it. Oh, you got the whole episode.

She's so funny. Weeks. We just can get a haul of you. We ran out of the house. Nobody could find you. Oh, no. I got a wonderful present for you. You want to hear it?

Hear it. Lucy and she loves me. You're as happy as do. can be sometimes we are all but then I've never

I've seen kisses like no one can and I'm her man Isn't that great? Fantastic I've never seen that scene or heard that

man that's so hip and this is like I always like to call this the um well you know we were talking about the other thing the backdoor 251, but this is almost like the back, we could call this the back door relative minor because you're going from D flat major. So that's, this is the wrong key for what he's doing.

But in D flat major, then he goes to, goes down to B flat major instead of B flat minor. Yeah. Can we coin that? There's probably a more official name for that, isn't there? Like borrowing from, where would that be borrowing? I guess it's just transposing briefly to that minor third away. It's like happy Memphis Jones. Right?

No, that's major thirds. It's so unrelated though because you're there. And then he's like, and then I love that little tag. So good. That's our number three. I love Lucy. And big shout out to Nicholas Payton because he's the one who first,

I think I did, I do remember playing this now on the shelter in place and I did it as a ballad, which I got the idea from Nicholas Payton years ago, like 20, 25 plus years ago. Nicholas just started playing this. I remember vividly at Snug Harbor. and was just like playing the melody

and we kind of came in behind him and I was like I think I know I was like it's like one of those standards you don't really know but he's playing it really slow really pretty you know and then I was like what is that song but you can't tell what it is when it's a ballad and we finished and he got on the mic he's like um wait is there a title to this

besides it's his theme I love Lucy I think at the end he was like ladies and gentlemen that was theme from I love Lucy and everyone in the audience was like oh yeah I told you. I knew it was that. I told you.

It was either that or the... Bewitched. That's great. Well, let's go back to the 70s, Peter. Oh, really? Did we ever leave? Orange shag carpeting. High-fi stereo system.

Boom. And let's watch some Barney Miller. Barry. We'll talk about it. Okay. So Peter asks if I have the personnel here, which I do. I have a little list of everything.

This is one that it's really, really hard to find. So we're going to start here in a series of where it's kind of really hard to find who's playing on what. Like you kind of have to know someone. So this was written by Jack Elliott and Alan Ferguson. And it opens with the baseline. Jack Elliott, any relation to Elliot Daniel, the composer of I Love Lucy? No. Okay.

But performed by the baseline is Chuck Berghoffer. And that's really all we got. That's all I could figure out in my copious research for this. No, with quite a bit of Googling, I couldn't really. So with this and our next few, there's lots of chatter about, my cousin said that his teacher in New York played bass on this. And I think he's right because he's never wrong about it. It's prison at him. There's a lot of like speculation about all these.

So we do know that it's Chuck Berghofer and it was written by Jack O'Lay, but I don't know who's playing drums on it. Man, that's not a, I was going to say Harvey. I mean, it could be a lot of people, obviously. But I mean, I wonder, so apparently this is what you have here. Can you just play something on bass? This is one of those situations where, and we talked about this with maestro, Ron Carter, when we were able to do the interview with him where he was talking about on red clay and different situations where bass players are just like, okay, kind of play what you hear or whatever.

And then when it becomes such an iconic thing, I mean, this is such a beat. So good, right? I mean, I remember my dad. I can still picture it, like, watching this, like late afternoon. or maybe yeah I guess maybe it was reruns I don't know but he had a I'm going to expose Bill now

is this bad I'm going to put him out there a little bit as a felon but I think the I think that no he had like Miller beer yeah Miller High Life yeah pre hipster okay this is just mill this was just a beer it was just a good beer and I come in he was watching Barney Miller yeah and then sometimes

and then he'd give me a sip he'd like look around for my mom oh yeah of course but the other interesting thing I remember him watching Barney Miller and other shows and practicing, like when the commercials will come on, which is a great trick. Like, he'd always have his violin or viola out or something. And he'd be in his room and he'd like, I hear him practicing. Then he'd be like watching Barney Miller that he'd pick up. But that's a smart thing.

Always have your instrument there, you know, because while recreating, you can be practicing. It's a time time. That's great. And then you get to learn the theme from Barney Miller. Barney Miller theme. Miller High Life, Viola. Biller. That's what we can call him.

Yeah, Biller. Miller High Life is horrible. by the way. It's not terrible. It's, I mean, listen, if you're down... If that's the high life, I don't want to be, I don't want to be high. Buddy, you're down on Cherokee Street. There's a DJ just ramping it up. Grab yourself a high life.

You're not missing nothing. All right, so next up, this is more, I think this is more from... So, Barney Miller, honestly, I didn't watch that show. It was a little before my time. I watched it because my day, yeah, it was actually a little before my time, too, but I couldn't understand. The humor was so sophisticated on there. I didn't understand, but I just remember my dad cracking up as he was watching it.

So I'd kind of be laughing, you know? But it was, well, that's a horrible story. I wasn't old enough to understand the humor of Barney Miller yet I was old enough to drink Miller High Life. Well, there you go. There's a 70s. You got to start sometime. So next up, this is definitely a show I watched religiously as a kid. And it was in reruns when I was in like middle school.

I've watched every episode of this show. This was a little later. This is Nightcourt. The bass. Chickory Electric Band. Herbie Headhunters, maybe? Yeah. Bernie Watts.

right more Ernie Watts that's got to be Harvey Mason it is Harvey Mason you got it yeah yeah no that one I Ernie Watson and Harvey Mason That's Phil Woodblock How good is that

How good is it I mean if you're got to rip off the headhunter's sound You might as well have Harvey Mason Yeah exactly So this is this was written by Jack Elliott again This is our second one by Jack Elliot Who wrote the Barney Miller theme

Did you write the Barney or did he just tell the bass player Berghoffer to just come up with the line? This one features Ernie Watts and then again, this is another one where there's no real consensus on who's playing what. A lot of people think bassist is Mark Miller, not Marcus Miller,

but Mark Miller, who was like a basketball player. Is like a session, legendary session bass player. And then basketball player for the Cleveland Cavaliers, maybe different Mark Miller. Different Mark Miller. And the drummer is,

according to the internet, and a lot of, like, it's kind of established this probably most likely Harvey Mason. I think so, that Phil, when he went to those towns. It sounds just like him. I mean, I'm sure there's some great germans that could have to do, but I mean, that's, yeah, that's very Harvey Mason-esque. I love that, too.

It brings me back to eating Cheetos in my underwear, watching night court on the snow day. Whoa. All right, so next up, this is another one more in my wheelhouse. This is Family Tides. Now we're getting to some of the extended. Oh, my God. Theme song.

A phase shift at the mastering level. Polycore is at the start. Put up that music without us there. Duet. For a million more. Oh, it's like I started breathing on the night we kiss. How good is this, though? Is that Johnny Mathis?

Johnny Mathis and Denise Williams. Oh, of course. Denise Williams, yeah. Now this is the prototypical 80s Production Without love And there ain't no nothing We can love each other through

Woohoo I mean first of all This production This production is like a warm blanket for me Just because of the era I grew up I know everything that's about to happen Every move that the instruments are about to make But also it has one of the greatest

lines in, I think, TV show theme history, which is, and there ain't no nothing. We can't love each other through. How great is that? Yeah. Yeah, yeah. So this was, oh, my gosh, it's so good. So this was written by Jeff Barry and Tom Scott. And the first season, it was sung by Dennis Tufano and Mindy Sterling, but then performed and for the rest of the show's run, Johnny Mathis and Denise Williams, who famously made a bunch of duet records together. So it's so good at this. They actually released this eventually. Isn't that so good? I mean, all. All the slash chords, everything. It's just very...

It's a little story. Like, you wouldn't think you'd have time for that before the show starts. Sitcoms are only, what, 22 minutes without... We've got to have at least a minute there to have Johnny and Denise set us up, you know what I mean? I mean, this is just like, you know, verse, verse, verse, core. And then, so...

It's a real... It's a real song, Pete. It's a real song. And then we go to G. That's right. I was going to say, okay, so verse isn't F, chorus isn't G. Like Johnny Mathis is a...

himself is sitting right here in front of me. It's amazing. That's family ties. We've got Johnny Not Mathis. We got one more and then we got a bonus. Bonus. This was requested. I think you put this in here as an option. Okay. For number seven. And this is by far, far and away, the most modern theme we have. And I don't think we have a chart on this one, do we? No, but we have something even better. Okay. We got a picture of, uh, of you. No, not of me. This is not going to work. But I figure it. Oh, that's right. We do have a picture. Yeah, I mean, if you can swing it, it would be great to, because we don't have a chart. I thought at least we could like make it up to the audience on YouTube by putting up a picture.

Nope, that's not you and chucho. Nope, not you and chucho. Or is it that? Not Alf. It's not alf. Nope, not Alf. It is. So we thought if we, as long as we put up a picture of John Hamm and January Jones, it's probably okay.

Not to have notation. Okay, just to let you guys know. And look, if you're listening on the podcast, you're going to miss out a little on this. But that's all the more reason. Just join us over at YouTube. Can we do a little plug for the YouTube channel? Yes, shout out to everybody here on YouTube. We're live right now.

Yeah, we do this live sometime. You have to hunt that down. But if you're on, okay, this computer's acting weird. Okay, so if you're on the tubes, you're about to see something funny. Adam sent, I got to show them the file that you sent over. You know, I'm not good with files. You're not a file guy. I'm not a file guy, Pete.

I'm not good with the mouse, so I'm not even going to be able to pull it over there. I'm not a numbers, man, Peter. You're a big picture guy? I'm a big picture guy, obviously. I'm a little picture guy. I can't even get it over there because I'm so bad with this. Something's funny. He's happening here.

So you're going to get off the hook. Anyway, suffice to say this is a much better picture. He sent me a potato quality picture that was pixel. It looked like it was shot by a four pixel camera back in the early 60s. Whatever. You got Don and Betty. There's nothing. Can't go wrong there.

So this is, of course. And there ain't no nothing. You can't file. a picture. Oh, here we go. Here we go. I got it. Boom. You know what actually? It's not that bad. Oh my God. What a setup. Yeah. What a setup. This guy. It's not, but check it out. Check out the pixelization. But this one I like that I subbed out is kind of creepy. Because if you look at it, they're holding what could be like a dead baby. Definitely a baguette. It could be a baguette. Is it a kid? But I think this is like her kid with the other, with the governor or something. I don't remember the whole story. So of course, we're talking about the theme from Mad Men. But I digress. This is called the beautiful mine, like, and, and, M-I-N-E. It's from an artist name R-J-D-2 from his 2006. R-J-D-2, Star Wars. I need oil.

It's from his 2006 album, Magnificent Cities. This is, of course, like, one of these interesting stories where this was from the instrumental version. He's a hip-hop artist. And, of course, you know, they released the beat version, the instrumental version. And then the producers of Batman took this from that instrumental version. And it's pretty good. Yeah. We have this one.

No, we just have the picture. Oh, that's right. It's a little microtonal. It's in between D-flat and C. Oh, I love the drums. Check out the mix. Oh, it does it come in it. This is the standard version.

Is that Harvey Mason? It might be. It might be a sample of everything. But check out when they change the mix on the drums. Here, it's coming. Now, this is like the full version. They obviously pick some stuff. It's really long.

It's like five and a half minutes. Oh, can you play the TV version? It's that. Because it's... They cut to that in the TV version. But you hear how different the mixes. It's so great. Yeah, yeah.

No, they did a lot of fudging with this track from a beautiful... Called the Beautiful Mine. Just as they fudge it with that baby in that... In the picture here. In the body in the bonnet there. Yeah, yeah, yeah. No, you know what? Actually, when you just said now, is that Harvey Mason?

Did we just figure out who's playing drums on the Barney Miller theme for sure? Because think about it. It was just... Elliot wrote Nightcourt and Barney Miller. Yeah. Similar sound. Yeah. Right?

Sounds like Harvey Mason. Man, if we could get Christian McBride on the pod, which I'm sure we could. He'd probably know. He would know. He would know. I think we just solved that. So check that out. That's driving me crazy because that is not C-sharp minor, but it's not.

Can you play it again at the beginning? It's similar. Is it microtomal? It is microtom. Is it D-2? This is a great feel going to that. Kind of brushes. into it.

Bell the symbol. And you know what's great about this? Oh, so on the show, they switch right here to that. Boom! They switch right. Right. Ah. I'm telling you.

Go down a rabbit hole, my friend. You're just going to be in, you find yourself in a chat group from 2007 being like, who's playing drums on the Madman theme? People like, well, my uncle. My uncle was walking by the studio when it was laying it down. A lot of people don't know, but it was recorded in Appleton, Wisconsin. And my uncle was the engineer there and he said that it was Harvey Mason.

That's right. Okay, so that's our number seven Madman theme. I like that pick, Pete. I think it's a great theme. You know what it does? Can we do a little quick analysis on that too, though? Sure, sure, yeah. So that's very ominous because of if you like these.

There's a lot of stuff with TV themes because you've got to, you know, you know, diminish things and little tricks. But so it's like, it starts out very kind of classical, almost like, you know, Biner 1. to minor four. Yeah.

Which is, what is that the, not the pickardy? That's some kind of fancy. Neapolitan. Neapolitan. Ooh, I could go for a Neapolitan right now to eat because it's hot out.

But you know, is this right bass? And then it does like the classic. Are you a D flat? Yeah, kind of. It does the classic. Like tango.

It's very classical. And then when the drums come in, And like that updates it, which I think is what the produce, the folks that produce this show, and I'm spacing on the guy's name, Matthew, something was like so particular. Yeah, very particular about every detail. But I feel like because it's such a period piece, like everything had to be perfect. And you know, no Starbucks cups on set and all that kind of stuff. Except they caught them.

Did they catch him? Did you see that? No, that was Game of Thrones. But it's like, in terms of like the music, you've got that, you know, very classical thing. And then when the drums comes, it's like, and so like that really updates it. A lot of foreshadowing until how this show works, how it goes right. up to that later period and kind of the theme song is the only thing that's kind of not placed within that time period awesome stuff so uh we have one more we have a bonus but please make sure to

smash that like button smash it if you're your first time here hit the subscribe we go live all the time if you're listening on the podcast please leave us a rating and review peter we got and subscribe wherever you're you're at wherever you're at's free we got a bonus so most most of the besides madmen it was all sitcoms but we haven't had i think one of the great genres of TV themes. Game shows. Whoa. Also a little in between. Yeah. Of course, the theme,

to the price is right, legendary, I love this theme. I remember, like, I think it was the first night I was in New York City as a kid, right, right when I first moved there, I was walking around, and there was like a club club.

And I was like, some music was coming out, it was like the, and I was like, I don't know any club music. Why do I know? It was like the club version of the Price's Right theme. And I was like, this is incredible.

It's such a catchy tune. It has a fascinating story behind it. Actually, I was just, as I was doing research, I found a podcast episode. There's this great podcast called 20,000 Hertz. And it's all about audio stuff. And it was really, really well done. Sounds great, obviously. It's really, really well done.

And the host interviewed the composer for the Price's Right theme. His name is Edward Kailoff. and he composed a lot of TV show themes. He was mostly a theme guy. Price is Right. Double Dare, ABC World News Tonight, Monday Night Football. He re-did, and he did a lot of stuff.

And this was one of his first gigs. And you can hear the Moog there. He was super into Moves at the time. This was recorded in London. He was based in New York, but he had an orchestra in London that he worked with. So he flew to London with his Moog, excuse me. They didn't have one there.

They're going to, I don't think they did actually It was like 1972 or three Oh, okay So flew to London with his Moog And recorded this show Now, I don't know if you know this, Peter But sometimes

Entertainment executives Are a little funny with the money Oh yes, I've been at the brunt's end of that Thank you very much, ABC I have too I have to thank you Disney But No, just kidding

But So the producer He was he was kind of like diplomatic about it or political, but he's like, the producer basically talked him into having, instead of him signing as the composer for ASCAP BMI, the producer's wife would be listed as the composer.

He said it's done all the time. Part of the divorce settlement, perhaps. So this young composer's in his early 20s, like trying to make a name for himself. One of the producers of the show has his wife sign as the composer, so of course they can get it. Now, it turns out, no one's going to know the show is going to be such a huge hit for so many years.

So the guy was like, you know, my BMI lawyers, say that this is probably about over the course of, you know, the lifetime of it, $40 to $50 million signature. So no harm, no fact. Isn't that crazy? So the guy who, and again,

an incredible job, Ed Kloff. We actually have a picture of the producer here. I don't know if it's appropriate to, can I show it? Sure. I mean, I don't want to call him out, but how did you know that was coming? Would that be something you might be interested in. So anyway,

I love this tune. I think it's actually, if we can put the chart back up, man, there's some cool stuff happening. Like, he mentions, like, I was a young composer at the time. I was really trying to be as, like, throw as much hipness in as early as possible. So you can see. He's like, if I'm not going to get paid

for it, I might as well throw something hip in. So first of all, he says that everything he's written, he's put the name of the show as the theme. So this is supposed to be the price and try. And it's like, The prices, right. Yeah, yeah. The prices, right.

Yeah, yeah. This is how he described it. You go polychord. Isn't that great? The best part of this tune, I think, is... Bip-bib-boo-dee. Isn't that awesome? That's really good.

Boo. Bip-bib-d-d-bub. Instead of just... Bip-b-d-dee. That would have been boring, but you got... Bip-bib-dee. B-b-b-boo-ee. So there's the theme.

the prices right. Amazing, amazing stuff. This was fun, Peter. Now, we're going to get a lot of emails about how we left off everybody's favorite TV show themes and ours are emails. Where would they email us?

They could email us at OpenStudiojazz.com. They can reach out at you'll hear it.com. They can reach out at Peter Martin at, no, I'm just kidding. No, they can email us at Y-H-I. Remember that? Y-H-H-I.

Here we are. We're getting into it now. But let us know what... At OpenStioJazz.com. Let us know in the comments here of the YouTube video. There, do it there. Go to the comments

of the YouTube video and let us know your favorite theme. Yes. From TV, because we are of a certain age and of a certain generation, and we have our certain favorites, but let us know. We have a certain elevated aesthetic. Well, here's the thing. Maybe people love, like, Western themes,

and we're not particularly into those. The theme to the A-Team, not bad. How was that? Wait, what was the 18? Yeah, that was kind of a little bit militaristic. That was kind of cool. Not terrible. Not terrible.

Nice. Cool. And then it had that thing in the middle. Is that when they put the B.A. Baracchus down? He drinks the milk and he's got the gold chains. Thanks everybody for tuning in. Until next time, you'll hear it.