![]() ![]() ![]() Others like “Human Music,” I had to call Justin and say, "What the heck does human music sound like?" Then “African Dream Pop” from Season One as well as an instrumental that Gavin puts on when he's turning into a creature, a Cronenberg. For example, for “Goodbye Moonmen,” the script said, "Fart sings a David Bowie inspired song," so it was very clearly in the script, and then the lyrics were all there, exactly what I used. Usually the lyrics to the songs are written into the script, so they always have an idea of what they want it to sound like. ![]() Was there much discussion when you were first doing those first songs about what it should be, what it should sound like, how seriously we should take it?ĮLDER: Yeah, for sure. In hindsight, they're such a vital part of the show. Whenever I see Justin and Dan in review I'm like, "Write more songs into the scripts," because they're really fun and they let me go loose and make something really fun. They're smaller, they're not as big as “Goodbye Moonmen” and “Get Schwifty,” but there’s “The Rick Dance” in the final episode. “Human Music” was one that I did very early on, and I'm trying to think. There's a Small World parody, “Small Intestine.” That was one of the first ones we stared working on, so that's just what I worked on first but I also, very early on. Do you remember what the first original song was that you wrote for the series and how that evolved? Because it's now become such a vital part of the DNA of the show.ĮLDER: Yeah, the first original song I wrote for the show was probably in the episode Anatomy Park. ![]() This is also a show that has a lot of really great songs. You’ve got to feel the stakes of what's going on. It's an interesting thing, because it's such a silly show, but the music does have to do the work, especially in the action sequences and the thriller sequences. I can definitely feel the Jerry Goldsmith influence in there.ĮLDER: Cool, thank you. I think they're genius, and if I ever need inspiration I listen to those and I'm good to go. He really loved Farscape, so that was one of the reference points, and I sort of brought in for the main title certainly the Doctor Who vibe, and I'm also very heavily influenced by Jerry Goldsmith, the Alien score, the Planet of the Apes score. He wanted it to feel like a classic sci-fi movie score, and he had a couple of TV shows that he had in mind. So, once that pilot gets worded to series and once you guys start digging in together, what were your initial discussions about what the score for the show should be?ĮLDER: Justin's vision in the beginning was that it be as filmic as possible, and that the music always take itself seriously, to play against the comedy. I was working on commercial music at the time, a lot of advertising, and I just said, "Hey, if anyone needs any music, I'm free and I'd love to work with you," and Justin and Dan, over many years, took me up on that offer and we made a lot of shorts and little things, and I helped Justin with a lot of pitches to various networks and stuff, until when it came time for them to make a pilot for Rick and Morty, I think I was fairly high up on their list of composers, certainly ones they have worked with before. I knew I wanted to get in with these guys. He had this show House of Cosbys that just brought the roof down on the place. Dan started Channel 101 and when I first started, Justin was the hot new show maker. It's like a mini TV show network where the audience votes for their favorite shows. RYAN ELDER: Justin and Dan and I go way back to this monthly film festival in LA called Channel 101. I'm sure you've answered this question a lot, but how did you first get involved with the show? The Rick and Morty soundtrack will be released by Sub Pop on September 28th. Baby Lullaby Festival (103) Bert-Åke Varg (93) Best Disney Songs 2020 (128) Billboard Baby Lullabies (125) Caspar Babypants (176) Cedarmont Kids (280) Dr.Photo by Temma Hankin for Adult Swim and SubpopĬheck out the full interview below. ![]()
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