Raiders of the Lost Ark

#1093: What Are the Earliest Pieces of Music You Remember Loving?

RECORD STORE TALES #1093: What Are the Earliest Pieces of Music You Remember Loving?

We are all shaped by our earliest experiences, whether we admit it or not.  What were the first songs and pieces of music that you remember loving?  Let’s have a look at 10 of mine, from my pre-heavy metal years!


10. The Doctor Who theme.

I grew up with the third and fourth doctors:  Jon Pertwee, and Tom Baker.  In particular I remember the Baker years as the most important to my childhood.  I asked my mom to knit me a long brown scarf like Baker’s Doctor wore.  I also remember sitting in front of the TV and recording the intro music to Doctor Who, so I could rewind and play that tape whenever I wanted to.  The music was all synth, and entirely spooky, cool and catchy.

9. John Williams’ scores.

Star Wars was first.  Empire was second.  Raiders was third.  Those three soundtracks made up the majority of my musical listening for years.  I didn’t own any other records.  Just John Williams.  When you consider the impact that Holst’s The Planets had on Williams, and heavy metal too, it is no wonder that heavy metal music would later speak so clearly to me.

8. Joey Scarbury – “Theme from The Greatest American Hero (Believe It or Not)”

My earliest musical loves all came from TV or cinema.  This was the first non-Williams record I owned, on a 7″ single.  Mike Post co-wrote the song, and he would figure into the career of Van Halen much much later.  “Believe It Or Not” was a pleasant pop song with an irresistible chorus.  The B-side was a ballad called “Little Bit of Us”.  I hated it.  I remember playing the single at 78 RPM to see if it would make the song any better.  It didn’t.

7. Magnum P.I. and The A-Team theme songs.

Here’s Mike Post again, with the theme music to Magnum P.I. starring Tom Selleck.  Funky electric guitar hovered behind a bouncing string section playing the theme.  It was like my John Williams soundtracks had collided with rock instrumentation.  I would sit in bed and hum these themes, singing myself to sleep.  And guess who was behind the A-Team’s music?  Also Mike Post!  Military drums and more symphonic theme greatness.  I was well on my way, wasn’t I?  These two themes were critically important to the whole action TV show genre.

6. Michael Jackson – “Beat It” and “Thriller”

Like every kid in the mid-80s, I loved Michael Jackson.  It would not be an exaggeration to claim that every kid in my grade liked Michael Jackson to a certain degree.  He had a number of hits on the radio, including “Say Say Say” with Paul McCartney, which I was frustrated to find was not on my Thriller cassette.  Of course, I had no idea who Eddie Van Halen was yet, but he was in my head, playing the “Beat It” guitar solo without my knowledge.  Michael’s songs were perfectly written and produced.  His videos were groundbreaking, but I hadn’t seem them yet.  I wasn’t even sure what he looked like at first.  Tabloid photos always showed a gaunt Jackson hiding from the cameras.  Once we saw his videos, I was shocked at how effeminate his speaking voice was, for a guy who sang so powerfully.  Yet, I only played two or three songs on the tape.

5. Culture Club – “Karma Chameleon”

Hot on the heels of Jackson was Boy George.  “Karma Chameleon” was impossible to forget, and I could care less about any of his other hits.  I had the Colour By Numbers cassette and never played it except for one song.  The album cover shocked me!  I thought Culture Club was synonymous with Boy George – a one-man band.  I had no idea there were other members, or what they looked like.  I liked the tune, but this band was not for me.  Eventually I would erase both Jackson and Boy George, and record other things on their tapes.

4. Styx – Kilroy Was Here

“Mr. Roboto” was the song that hooked me, but the album itself was pretty good:  “Cold War”, “High Time”, “Don’t Let It End (Reprise)”, “Heavy Metal Poisoning” and “Double Life” were awesome rock songs!  As before, I had no interest in the ballads.  I played them once or twice, and just skipped them from then on.  Styx were the first band with multiple singers that I liked:  Dennis DeYoung, Tommy Shaw, and James Young.  I wonder what influence this would later have on my love of KISS.  Styx were bombastic and huge.  The gatefold album came with lyrics, which I studied as if they were containing deep hidden meaning.

3. AC/DC – “Dirty Deeds Done Dirt Cheap”

I recorded this song from my best friend Bob, along with “The Mighty Quinn” by Manfred Mann, and if memory serves, “Ooby Dooby” by Roy Orbison.  I might be wrong on that last one, but AC/DC was the one I kept playing over and over, sometimes to irritate people.  I remember distinctly telling people I liked the chorus because the singer sounded like “he had a frog in his throat”.  My classmate Alan Runstedtler said “I like songs with the guy with the frog in his throat!” and so did I.  It was pure comedy and novelty to me, but the guitars lay the groundwork for what would come later.

2. John Fogerty – “The Old Man Down the Road”

MuchMusic had arrived!  I had no idea who Fogerty was, or that he was in a legendary rock band called Creedence Clearwater Revival.  All I knew was that he had a really, really cool music video on TV, and I couldn’t stop watching it.  The upbeat bluesy song with rattling slide guitar seemed cool to me.  I decided that I liked John Forgerty based on that one song.  I was slowly discovering rock music, and the last song on this list was the last one I loved before going full-metal in 1984.

1. Quiet Riot – “Cum On Feel the Noize”

I didn’t know what they looked like.  I didn’t know anything about their prior history, the two Japanese albums, or Randy Rhoads.  All I knew was I had finally found “my thing”.  My sound.  Bombastic, big, loud, catchy, well-written, and perfect.

Without Quiet Riot, I may never have taken my next tenative steps:  Helix, Iron Maiden, Judas Priest, and W.A.S.P.  All much heavier than Quiet Riot.  Without Styx, I might never got gotten into Quiet Riot.  Without John Williams, I might never had dug into Styx.  Who knows?

I loved Quiet Riot well past their best-before date.  I remember other kids at school making fun of me for calling Quiet Riot my favourite band.  “They’re out!” laughed Ian Johnson.  “Duran Duran are current!”

Fuck Duran Duran.

My journey into metal was natural and organic.  I don’t know if those kids from school even listen to music anymore.  Their loss.

REVIEW: Raiders of the Lost Ark – Original Motion Picture Soundtrack (2008 CD reissue)

scan_20170116RAIDERS OF THE LOST ARK – Original Motion Picture Soundtrack (Originally 1981, 2008 CD reissue)

When it comes to sci-fi nerds, movie geeks, and Speilberg buffs, there is one name that we all salute:  composer John Williams.

In 1981, Williams was given the task of composing yet another soundtrack for his buddy Steven:  Raiders of the Lost Ark.  Like Star Wars and The Empire Strikes Back before it, it needed identifiable themes to accompany our characters:  the heroic school teacher (!) Indiana Jones, his one true love Marion, and a whole slew of evil Nazis.  This time Williams needed to come up with appropriate music not for epic space battles, but to inspire awe in the wrath of God and the Ark of the Covenant.

To go with the 2008 theatrical release of (the atrocious) Kingdom of the Crystal Skull, Lucasfilm remixed and reissued the original Raiders soundtrack with 30 minutes of bonus tracks.  (Unfortunately, both the LP and box set have music not on this CD, but we don’t get this stuff for free, so a review of this CD is all you get.)  Virtually every note will be familiar to fans both casual and die-hard.

Indy begins his adventure “In the Jungle” and immediately you can picture the spiders and creepy-crawlies that Indy had to step through.  “The Idol Temple” has even more creepy-crawlies, and Williams expertly finds the musical effects to go with the eight-legged chills.  Just like the movie, be ready to jump startled at certain cues.  Serious action begins on “Escape from the Temple”, the kind of track that is a benchmark for such scenes.  The “Flight From Peru” is the very first appearance of the famous Indiana Jones theme, as he escapes death…barely!

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In America, Indy is paid a visit at the school by two “Washington Men” who want him to find something.  This is the eerie, understated debut of the Ark’s theme, though Indy’s own theme plays around with it, indicating the two will eventually collide.  “A Thought for Marion” introduces her theme, and then back to the Ark’s music once again.  The ominous overtones indicate that Indy’s mission to find the Ark will not be easy.  He is then off to Nepal with music that hints at the dangers ahead.  In Nepal he finds both Marion and the medallion, which has its own dark music.  The military drums foreshadow the involvement of the Nazi forces also searching for the Ark.

The score takes a slight middle eastern turn with “Flight to Cairo”, also augmented with Indy and Marion’s themes.  The two must find the Ark before the Nazis do with the help of Indy’s old Egyptian friend Sallah.  Marion finds herself in trouble almost immediately.  “The Basket Game” is one of the most memorable cues from the movie, though it ended badly for Marion and Indy.  Williams uses articulate melodies in a cartoon-like style to hint at the motion happening on screen.  With Marion gone, Indy must continue his quest with Sallah.  Together they visit a wise man, and discover that someone is trying to poison them with “Bad Dates”.

“The Map Room” is the setting for the next piece, building tension back with the Ark theme.  This incredible cue ends with Indy discovering the location of the Well of the Souls.   What I always assumed were sound effects in the scene is actually music (chimes).  Soon he finds Marion alive and well.  Her theme and that of the Ark return for another go-round as the heroes finally find the treasure.  The music when the Ark is found is similar to that in the Star Wars scene where the first Death Star explodes.   More creepy-crawlies (“Snakes…why’d it have to be snakes?”) infest “The Well of the Souls”, surely the creepiest scene in the movie.

Another great Indy action cue is “Indy Rides the Statue”, a piece of music that recurs when our hero is in great danger.  Escaping the Well of the Souls, Indy must battle a massive German henchman in “The Fist Fight”.  The tension is turned up again, and fans will recall this piece from one of the most punishing action scenes in the film.  “The Desert Chase” is the longest piece on the album, to suit a roller-coaster scene of thrills and chills.  The music delivers the same thrills, as you can picture Indy on that horse chasing down those Nazis.  It’s among Williams’ finest music.

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A tender moment (“Marion’s Theme”) is short lived as the Nazis return.  The action-packed music takes Indy to a secret Nazi island in the Mediterranean (“The German Sub” and “Ride to the Nazi Hideout”).  The horrifying finale reveals “The Miracle of the Ark”, and again some of Williams’ best music.  The end credits music “Raiders March” is some of most memorable music in film history.  It revisits the most exciting music from the score.  It is similar in style and equal in quality to what John Williams did with the Star Wars saga end credits.  This single track should be in any serious music lover’s collection.

For a more knowledgeable take on the Raiders soundtrack, we spoke to Rob Daniels from the Visions In Sound radio programme.  He had this to add:

When I first heard John Williams’ score to Raiders I immediately fell in love with the theme. In fact it has been my ring tone on my phone for several years over at least three phones. That being said the score to Raiders is much more than its theme. By the way, the theme is actually two separate pieces that Williams had written to be the title theme for the film.  Speilberg loved them both and asked them to be combined.

John Williams is the master of memorable themes and Raiders is no exception. There are several wonderful themes such as the aforementioned “Raiders March” but also to be commended is “Marion’s Theme” and the “Ark Theme”. Though I have to admit that my favourite comes in the cue “Desert Chase” as Indy is going after the Ark as it is on its way to Cairo. As the cues play you can see the Nazi soldiers being thrown from the truck and Indy’s fight in the cab with one of them as he eventually gets dragged behind the truck to his final victory and escape. It’s an amazing piece of audio gymnastics in an 8:18 cue.

Williams is known for his broad themes (See Star Wars & Superman) but he also plays the smaller moments just as well. (See “The Medallion” & “To Cairo” cue). In the hands of another composer this could have been just another score but Williams elevated the film to a fun and epic adventure that can be playful, sad and triumphant, sometimes all in the same cue.

The remixing renders an awesome sounding CD with the depth and clarity you expect.  A nice looking booklet has the images to go with it.  Remember listening to a soundtrack while leafing through the photos in the LP?  Relive that with the reissued Raiders of the Lost Ark.

5/5 stars