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If you’ve ever wondered… Here it is, from someone who would know!
http://www.buzzine.com/2008/05/oingo-boingo/
Buzzine has also posted the Elfman/On The Score interview in text format, complete with cool vector illustrations…
This is fantastic and answers nearly every unanswered question I had. Thanks Ryan! I’m surprised Elfman didn’t mention at the end how much of the Oingo/Boingo crew now contributes the Battlestar Galactica scores. From a Soundtrack.net interview with BSG composer Bear McCreary:
Soundtrack.net: Who are the main people who help you write, orchestrate, and perform the music on the show?
Bear McCreary: […] You’ll also frequently hear Oingo Boingo alums Steve Bartek (guitars), John Avila (bass), and Johnny “Vatos” Hernandez (drum kit).
SN: Indeed, I had noticed a strong association with Oingo Boingo. How did that come about?
BM: Yeah… a lot of people notice it. Sometimes they call the show Boingo-star Galactica. The story of how that came about is a long and improbable yarn, but I’ll summarize it by saying that I’ve always been a huge fan of their music, so the opportunity to collaborate with them on a near-daily basis is pretty amazing. I’ve also worked with them for three years in a row as Music Director for the Johnny “Vatos” Tributes to Halloween and Oingo Boingo. They are these totally insane Halloween concerts performed in Los Angeles and Orange County where the Boingo boys get together with me and my brother (vocalist Brendan “Bt4” McCreary) and perform tunes from Oingo Boingo and The Nightmare Before Christmas with an eighteen-piece band (I think of it as the rock-chamber-orchestra from Hell).
SN: Richard Gibbs was credited as the main composer on the mini-series. Then you took over during the first season. How and why did this “passing of the torch” happen?
BM: Working for Richard was my first gig in “the business” when I got out of school. I’d worked with him for nearly a year when the Battlestar mini landed on his plate. So, I pitched in on that, writing a lot of the percussion-based action cues, while he developed the thematic material. From there, I helped him score the first two episodes of the series that were produced (which were “Water” and “Bastille Day”). But before he could begin scoring the series’ premiere episode, “33,” he got the irresistible pull back to feature film work. So, I was the obvious choice to take over from there.
Full interview here: http://www.soundtrack.net/features/article/?id=247.
Very nice article… A little disappointed to see the graphic taken from mysticknightsoftheoingoboingo.com, but Richard is rectifying that
Oh wow, I was wondering about that graphic at the top of the page and thought it was excellent. Nice work!
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