Dragon's Domain Records presents the premiere release of original music composed by Harry Lubin for the second season of THE OUTER LIMITS. Originally broadcast on the American television network ABC from 1963 to 1965, THE OUTER LIMITS was one of many series influenced by THE TWILIGHT ZONE and SCIENCE FICTION THEATRE, though it ultimately proved influential in its own right. 49 Episodes were produced.
When the familiar dulcet tones of the 'Control Voice' welcomed viewers back to THE OUTER LIMITS on for the second season premiere, few, if any, were aware of the behind-the-scenes turmoil that had caused the departure of several key staff members. But something was different. In particular, there was a new signature tune that was lonely, sad, and claustrophobic. Despite its current reputation as a cult classic, the original ABC run of THE OUTER LIMITS was not the ratings blockbuster the network had been hoping for. Creator Leslie Stevens and fellow writer Joseph Stefano continually struggled to bring their personal visions of "extraordinary people in extraordinary circumstances" to life each week, despite being gifted with an ensemble of first-class actors, directors, and stunning noir photography. Network executives constantly interfered, trying to make the show more formulaic and easily marketable.
The perpetual battles between Stevens and ABC over what the network classified as "questionable content," along with frequent budget overruns, eventually led ABC to demand that several conditions be met in order for them to commission a second season. These conditions included a time slot change and cutting the budget.
Season 1 combined science fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring 'scary monster' motif of Season 1. Each episode in Season 1 was to have a monster or creature as a critical part of the story line in a villain of the week format. Season 1 writer and producer Joseph Stefano believed this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as 'the bear.' This device was, however, mostly dropped in Season 2 after Stefano left. Also gone were Leslie Stevens and composer Dominic Frontiere. ABC then installed one of their own executives, Ben Brady, as the new producer. No stranger to television production, Brady had come to the network after a successful run on the first two seasons of PERRY MASON. Brady's limited resources for the second season required him to rely on the talents of another former co-worker to provide an impactful, but cost-effective musical score.
Harry Lubin was an accomplished composer, arranger and conductor who began his career as a piano accompanist for Feodor Chaliapin, Sr. At only 20 years old, Lubin became musical director of the Irving Palace Theater in New York City before spitting his time between Broadway shows and locally-produced radio drama. Eventually, he transitioned into television as musical director for THE LORETTA YOUNG SHOW, a long-running anthology series that allowed him to experiment with early electronic instruments like the theremin. He further expanded his palette of unusual instrumentation while scoring the horror/science-fiction anthology ONE STEP BEYOND, which pre-dated THE OUTER LIMITS.
Though there were some new recordings done for the second season of THE OUTER LIMITS, much of the second season's 17 episodes featured thematic material edited from multiple variations within the vast library Lubin had amassed from his earlier series. To create this compilation, Dragon's Domain Records has carefully selected and grouped together the most memorable musical themes for the episodes in which they were initially used. So turn out the lights, sit back and allow us to control all that you hear from as we take you back to…THE OUTER LIMITS.
Dragon's Domain Records presents THE OUTER LIMITS: SEASON 2, featuring the premiere release of original music from the second season composed by Harry Lubin. The album includes liner notes written by authors David Hirsch and Sam Scali. The music has been mastered by James Nelson at Digital Outland.
THE OUTER LIMITS: SEASON 2 is a limited edition release.
ハリー・ルービン作曲による、1963年から1965年にかけてTV放送された『アウターリミッツ』シーズン2（『ウルトラゾーン』）のオリジナル・サウンドトラックが世界初リリース！
トラックリスト『トワイライト・ゾーン』や『サイエンス・フィクション・シアター』の影響を受けた数多くのシリーズの一つでありながら、最終的には独自の影響力を確立し、全49話が制作されました。
第2シーズン初回放送で“コントロール・ボイス”のあの馴染み深い優しい声が視聴者を『アウターリミッツ』へ再び迎え入れた時、数名の主要スタッフが離脱した舞台裏の混乱に気付いた者はほとんどいなかった。しかし何かが違っていた。特に、孤独で悲しく、閉塞感に満ちた新たなテーマ曲が流れたのである。現在ではカルトクラシックとして評価されているものの、ABCで放送されたオリジナル版『アウターリミッツ』は、ネットワークが期待したような視聴率の大ヒット作にはならなかった。クリエイターであるレスリー・スティーブンスと共同脚本家のジョセフ・ステファノは、一流の俳優陣、監督陣、そして見事なノワール調の映像美という恵まれた環境にもかかわらず、毎週「非凡な状況に置かれた非凡な人々」という自らのビジョンを具現化するために苦闘を続けた。ネットワーク幹部は絶えず干渉し、番組をより定型的で売りやすいものに変えようとした。
スティーブンスとABCの間で、同局が“問題のある内容”と分類した要素を巡る絶え間ない対立と、頻繁な予算超過が重なり、ABCは第2シーズンの制作を承諾する条件として複数の要求を突きつけた。これには放送時間帯の変更と予算削減が含まれていた。
シーズン1はSFとホラーを融合させたが、シーズン2は“ハードSF”的な物語に重点を移し、シーズン1で繰り返し登場した“恐ろしい怪物”というモチーフを廃止した。シーズン1の各エピソードでは、週替わりの悪役形式で、怪物や生物がストーリーラインの重要な要素となる予定だった。シーズン1の脚本家兼プロデューサー、ジョセフ・ステファノはこの要素が恐怖やサスペンス、少なくともプロット展開の核を提供するために必要だと考えていた。この種のストーリー要素は「ザ・ベア」として知られるようになった。しかしステファノが去ったシーズン2では、この手法はほぼ廃止された。レスリー・スティーブンスと作曲家ドミニク・フロンティエールも去った。ABCはその後、自社の幹部ベン・ブレイディを新プロデューサーに据えた。テレビ制作に精通していたブレイディは、『ペリー・メイスン』の最初の2シーズンで成功を収めた後、同ネットワークに移籍していた。第2シーズンの限られた予算の中で、ブレイディは効果的かつ低コストな音楽スコアを提供するため、別の元同僚の才能に頼らざるを得なかった。
ハリー・ルービンは、熟練の作曲家、編曲家、指揮者であり、キャリアの始まりはフェオドール・シャリアピン（父）のピアノ伴奏者であった。わずか20歳でニューヨーク市のアーヴィング・パレス劇場の音楽監督に就任し、その後はブロードウェイの舞台と地元制作のラジオドラマの間で時間を割くようになった。やがてテレビ界へ転身し、長寿アンソロジー番組『ロレッタ・ヤング・ショー』の音楽監督を務めた。この番組ではテルミンといった初期の電子楽器を用いた実験的な試みも行った。さらにホラー／SFアンソロジー番組『世にも不思議な物語』（『アウター・リミッツ』の前身番組）の音楽制作では、特異な楽器編成の幅をさらに広げた。
『アウターリミッツ』第2シーズン用に新規録音された楽曲も一部存在するが、全17話の大半では、ルービンが過去のシリーズで蓄積した膨大な楽曲ライブラリから複数のバリエーションを編集したテーマ曲が使用された。このコンピレーション制作にあたり、各エピソードで初登場した最も印象的な音楽テーマを厳選し、エピソードごとにグループ化しています。さあ、明かりを消し、くつろいでください。私たちがあなたの耳に届くすべてを制御しながら、あなたをあの世界へとお連れしましょう…『THE OUTER LIMITS』へ。
限定盤。
Dragon's Domain Records presents the premiere release of original music composed by Harry Lubin for the second season of THE OUTER LIMITS. Originally broadcast on the American television network ABC from 1963 to 1965, THE OUTER LIMITS was one of many series influenced by THE TWILIGHT ZONE and SCIENCE FICTION THEATRE, though it ultimately proved influential in its own right. 49 Episodes were produced.
When the familiar dulcet tones of the 'Control Voice' welcomed viewers back to THE OUTER LIMITS on for the second season premiere, few, if any, were aware of the behind-the-scenes turmoil that had caused the departure of several key staff members. But something was different. In particular, there was a new signature tune that was lonely, sad, and claustrophobic. Despite its current reputation as a cult classic, the original ABC run of THE OUTER LIMITS was not the ratings blockbuster the network had been hoping for. Creator Leslie Stevens and fellow writer Joseph Stefano continually struggled to bring their personal visions of "extraordinary people in extraordinary circumstances" to life each week, despite being gifted with an ensemble of first-class actors, directors, and stunning noir photography. Network executives constantly interfered, trying to make the show more formulaic and easily marketable.
The perpetual battles between Stevens and ABC over what the network classified as "questionable content," along with frequent budget overruns, eventually led ABC to demand that several conditions be met in order for them to commission a second season. These conditions included a time slot change and cutting the budget.
Season 1 combined science fiction and horror, while Season 2 was more focused on 'hard science fiction' stories, dropping the recurring 'scary monster' motif of Season 1. Each episode in Season 1 was to have a monster or creature as a critical part of the story line in a villain of the week format. Season 1 writer and producer Joseph Stefano believed this element was necessary to provide fear, suspense, or at least a center for plot development. This kind of story element became known as 'the bear.' This device was, however, mostly dropped in Season 2 after Stefano left. Also gone were Leslie Stevens and composer Dominic Frontiere. ABC then installed one of their own executives, Ben Brady, as the new producer. No stranger to television production, Brady had come to the network after a successful run on the first two seasons of PERRY MASON. Brady's limited resources for the second season required him to rely on the talents of another former co-worker to provide an impactful, but cost-effective musical score.
Harry Lubin was an accomplished composer, arranger and conductor who began his career as a piano accompanist for Feodor Chaliapin, Sr. At only 20 years old, Lubin became musical director of the Irving Palace Theater in New York City before spitting his time between Broadway shows and locally-produced radio drama. Eventually, he transitioned into television as musical director for THE LORETTA YOUNG SHOW, a long-running anthology series that allowed him to experiment with early electronic instruments like the theremin. He further expanded his palette of unusual instrumentation while scoring the horror/science-fiction anthology ONE STEP BEYOND, which pre-dated THE OUTER LIMITS.
Though there were some new recordings done for the second season of THE OUTER LIMITS, much of the second season's 17 episodes featured thematic material edited from multiple variations within the vast library Lubin had amassed from his earlier series. To create this compilation, Dragon's Domain Records has carefully selected and grouped together the most memorable musical themes for the episodes in which they were initially used. So turn out the lights, sit back and allow us to control all that you hear from as we take you back to…THE OUTER LIMITS.
Dragon's Domain Records presents THE OUTER LIMITS: SEASON 2, featuring the premiere release of original music from the second season composed by Harry Lubin. The album includes liner notes written by authors David Hirsch and Sam Scali. The music has been mastered by James Nelson at Digital Outland.
THE OUTER LIMITS: SEASON 2 is a limited edition release.
2025/9/29の週発売
01. Main Title (0:55)
02. Suite From SOLDIER (9:20)
03. Suite From COLD HANDS, WARM HEART (9:55)
04. Suite From BEHOLD, ECK! (3:44)
05. Suite From EXPANDING HUMAN (6:19)
06. Suite From DEMON WITH A GLASS HAND (5:32)
07. Suite From CRY OF SILENCE (3:37)
08. Suite From WOLF 359 (6:30)
09. Suite From THE INHERITORS Pt. 1 (4:15)
10. Suite From THE INHERITORS Pt. 2 (7:27)
11. Suite From KEEPER OF THE PURPLE TWILIGHT (6:26)
12. Suite From COUNTERWEIGHT (4:23)
13. Suite From THE PREMONITION (3:10)
14. End Title (0:54)
Total Time: 73:20