This originally appeared on the MoreSpace campaign website. Thanks to Jerry Scott for allowing it to be seen again.
21. In question 7 you said "I would love one day to get my masters back, edit them and remix them with modern facilities." Then if the promo CD was not struck from the masters of the Year Two scores, What is it's source? Is it from your reel to reel dubs of the masters?
I was given some 7.5 ips mono takes of all the music in the series when we had finished at Pinewood. These were used to make the promo CD. We may yet have to use them again on the forthcoming official album if we are faced with fiscal or technical problems but I hope not!
22. Why was some of the music for "The Taybor" episode never used in other episodes?
The Taybor episode was a rare humorous episode and the whimsy was mostly inappropriate in further contexts.
23. What was the inspiration for the jazzy theme to Taybor?
Panic!
24. Who are some of your favorite TV Composers? And what are some of your favourite TV themes?
Klaus Doldinger ('Das Boot')
Barrington Pheloung ('Inspector Morse')
Johnny Pearson ('All Creatures Great and Small')
Laurie Johnson ('The Avengers' Etc.)
and of course..... all the usual greats... Morricone... Nina Rota... Jerry Goldsmith..
25. If you were to be approached to write a soundtrack for a remake of Space: 1999 (movie), what style would it be similar to?
Of course I would aspire to be original.
Although I continue to make a living writing music for various purposes, I feel that I have not for some time had any context in which I could really be myself.
I have an idea that I want to develop musical focus in such a way that big dramatic motifs are offset against a hazy and unfocussed background. It would be 'Rock-Classical' I suppose.
I write (and play!) Jazz, but I often feel that Jazz is highly personal and does not provide sufficient detachment to work in multi-media. In films music is mainly a part of a whole and should sensitively interweave with dialogue, effects, visuals, etc., etc.
26. Is there some specific '70s music that inspired you when you made the 1999 music?
Probably more than anything, the minimalists (i.e. Terry Riley 'A Rainbow in Curved Air') and the rock musicians I was hanging around with at the time.
27. Were you generally pleased with the way your music was used in the series?
In some parts, I felt that the effects I achieved sounded unlike anything else on air at the time. Like most young writers (I was quite young then!) I tried rather too hard and wrote some difficult stuff for the players to perform in the very short (or indeed non-existent) time there is for rehearsal in a pressurized TV recording. Nowadays, I would give them an easier time and the result would be less scrappy. Also, I would make sure that sound effects were on the scenes before I wrote for them so that some of my best bits wouldn't get swallowed up! Nevertheless, I was generally pleased with how my music was used.
28. In Manfred Mann's Earth Band's 1976 LP Roaring Silence, you were credited for working on the album. Were you the one playing keyboards on "Blinded By the Light", the album's hit song which was a remake of a Bruce Springsteen song?
Sadly no... Manfred played all the keyboard stuff and I was either in the Brass Section or conducting. (or propping the bar up!)
29. On the Y2 promo CD, you were credited in the liner notes with having worked with The Beatles, Rod Stewart and The Rolling Stones! What did you do with them? Did you get a chance to get to know some of the musicians in the groups?
I did sessions with Paul McCartney when he produced Billy Preston and Doris Troy and with George Harrison on his 'All things must Pass' album and some other stuff at Apple studios which was used for I know not. I arranged and played on a Rod Stewart track at CTS studios but I didn't write the name of the track in my diary so I can't remember what it was. I do remember all the sessions I did with the Stones for an album called 'Their Satanic Majesties Request'..... (Their least successful album I think!... it wasn't my fault!)
There were a great many sessions going at the time. We flitted from one studio to the next never quite knowing what we had done. Now that there is money available for people who played on records of yesteryear, we are all scrabbling about to find out who did what!
30. You were the arranger/composer for Dusty Springfield. Did you work on songs like "Son of a Preacher Man", which was used in "Pulp Fiction"?
No.... all that was much more recent. I worked with her between 1964 and 1970.
31. Would you still do soundtracks for tv shows? If so, what kind of tv shows would you want to be involved in? (sci-fi, drama, etc)
Is the pope a catholic? Anything that pays and sometimes for love!
32. Did you ever play on any albums by Dave Lawson's band Greenslade?
Again, I'm not absolutely sure, although they were my buddies. Incidentally Dave Lawson was a sideman. The band belonged to Dave Greenslade. I do recall working in Olympic Studios with him but cannot remember the context.
33. Do you still write commercial jingles?
Yes.... although mostly I appear as arranger conductor rather than composer. I have done one this week at Abbey Road as a matter of fact for 'Elf' petrol and have others currently on air for 'Powergen', 'Axa Insurance' (Music from 'The Mission') and one that has had us all laughing here where I am filmed conducting Mozart at the Methodist Central Hall (rather Gothic and grand) where the announcer states ' One of these musicians had diarrhoea!...... Get 'Imodium Plus' today!
34. Is the studio your interview was filmed in for the Fanderson documentary your own home studio?
Yes.
35. How do you feel about today's technology like Midi/sampler keyboards and sequencers? And do you use them? With the advancements in electronics since the 1970's one can literally record, mix and produce a DDD CD at home, has that changed the way you approach composing music?
I use modern technology a lot these days and adore it. It is hard to get 'feel' into it so mostly I try to combine it with live playing as most of us do. To fully give my thoughts on this subject would take a long time and I am pressed into keeping this interview short because of current work and domestic pressures on my time.
36. Can you tell us of some other session work you have done that we may not know about?
I could but I have been professional for 39 years and hundreds of recordings. Wait for the book!
37. Have you ever worked with Jimmy Page, Ritchie Blackmore Gary Moore, or Big Jim Sullivan on any session work for other artist's?
Only Big Jim when he was a session musician. The others were solo performers.
38. Since you have done some work for this record label recently, I am asking you this question in the hopes that you could shed some light on a rumour I have heard. Is Silva Screen Records owned and run by Sylvia Anderson?
Silva Screen Records is owned by a nice man and soundtrack enthusiast Reynold da Silva. Nothing to do with Sylvia Anderson.
39. What is the reason behind the use of the Pseudonym of Daniel Caine? I ask you this because on the selections you did for "The Cult Files" CD, the performance is credited to Daniel Caine but the credit for Musical Director is Derek Wadsworth.
I was foolishly persuaded to adopt this name by Michael Jones who tried to tell me that Derek Wadsworth did not sound international and would not sell. We all have to be a twit at least once in our lives!
40. What other albums do you appear on as Daniel Caine?
About seventeen albums in all.... do I really have to fish through the cupboards to find out what they were?
41. You had mentioned to me that you are now working on your own album,when can we expect to see it in stores, and what label will it be released on?
With your dear help Jerry, and with the help of other kind friends around the world, I am hoping to sell it direct and not go through a record company. I would prefer it that way. I am working on it slowly and will let you know when I have something ready.
All for now Jerry...
Many thanks for all your kind support and enthusiasm and love to all who tune into 'Morespace' and still manage to keep a childish wonder in their outlook on life.
DEREK WADSWORTH ........ July 15 1998, Barnes, London.
Catacombs Reference Library