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Rock Talk, Vol. IX
Jeff Walton is an example of how you can live your dream in music and film without ever leaving the city. As a teenager growing up in Pearland, he was one-third of The Judy's, arguably one of the biggest unsigned Texas bands in the 80's, . When the group demised, Walton shifted his talents to another love of his -- movie scores. We caught up with Jeff and talked about his film composing, and also learned some great news for all of The Judy's fans still out there, over 20 years later.
How did you get involved in scoring films?
Film music was something I had interest in as a kid. I listened to soundtracks from the time I was around six years old. I would come home from school and listen to The Wizard of Oz, Willy Wonka, or Charles Fox's Pufnstuf soundtrack in my bedroom on this old mono record player that had belonged to my uncle – I still have it in my studio. Later in junior high, it was Jerry Goldsmith, MIklos Rozsa, John Morris, and James Bernard scores, old radio shows, and Monty Python records. By then, I had a Radio Shack stereo with plastic speakers and I would listen to this stuff over and over. I was a movie and TV fan so that was the stuff I grew up with before I got into rock music.
Later in life, when I was still in The Judy's, I figured out that film and TV scoring was what I wanted to do. It took a while to figure it out - I must have been about 21. When the band had sort of broken up temporarily in '82, David [Bean] and I both recorded some solo stuff. In 1986, I had a couple of those songs used in a low-budget horror film called The Tomb which was directed by Fred Olen Ray. Later that year, I left The Judy's and began to really pursue film scoring, which meant years of not getting any film work. I was also studying music at U of H at the time. I stayed in touch with Fred and would send demos or call occasionally and ask if he had anything I could do. In the mean time, I was doing anything I could – film shorts, local TV and radio, and arranging tracks for studio projects. Finally, in '92, Fred gave me a low-budget action film called Fatal Justice that he was producing in Dallas. He was happy with what I did and started giving me more films and that got me going. Slowly it branched out to other directors and production companies.
Is it tougher to be a film composer in Houston compared to living in L.A. or New York City?
Yes, for film work it is because you have to do it long distance and you are not in the middle of things making contacts. Most filmmakers and directors like to be able to sit down with their composer and go over everything, so it helps if you live in the same city and LA and NY obviously have most of the post production work. I got lucky doing those low-budget genre films because they didn't care so much. I would Fed Ex cues on VHS and we would work long distance over the phone. Fortunately now the internet has changed all of that. In the past year, I've worked on two projects where the directors were in LA and you just shoot files back and forth and communicate through the internet. There is a program now where you can actually sync your Quicktimes up over the web and go over things frame by frame if you want. It's wonderful and I think it takes some of the fear out of not being in the same city.
Do you compose most of your work at home?
No, I have a project studio where I do all of my work. I have two boys at home - so I would never get anything done if I had to write there. I have to be alone to work. My studio is a couple of blocks away from the house so it's really convenient. I can walk to work if I want. Occasionally, if no one is home I'll use the piano to write or if I've got an idea I need to get down before I forget it.
Out of all the films you composed, which one is your favorite?
I'm not sure that I have a favorite. Usually with every score there are parts that I like and parts that I don't, usually because of time restraints. If I'm doing a feature, I usually only have three or four weeks to write, record, mix, and deliver the entire score, so inevitably there will be good cues and cues you wish you could redo in some way.
I liked my score for an action film called Paper Bullets - it had its moments. Invisible Mom was a fun one. I would like to re-record it because it was an early one and is a little rough around the edges. I had limited equipment at the time. Some of the musical material is pretty good I think, but it needs a fresh recording with the latest orchestral samples. The orchestral sample libraries we have now are amazingly advanced to what we had in 1995. I'm currently re-recording some cues I did for one of Full Moon's Puppetmaster movies. Perseverance Records wants to release a Puppetmaster compilation, so I'm trying to get the cues prepared for that.
I scored a feature last year called Scout's Honor, originally it was called The Legend of William Tell. It's a kid's film: I think the score turned out nice and I'm happy with it. I believe it's coming out on DVD later this year. I hope they are still using my score, you never know about those things.
Going back to The Judy's days: Are you surprised at the attention that The Judy's still get, and the influences they made, 20 years later?
Yes. I don't know about any influences we may have made, but I'm amazed that it still means something to people. I get contacted by people and I know David does too -- it's great. The fact that someone would take the time to write and say thanks for the music after all these years is amazing.
Do you still keep in touch with David Bean and Dane Cessac (the other two members of The Judy’s)?
Oh yeah, I keep in touch with both of them. I just saw David this past weekend and talked with Dane (who lives in Austin) a couple of weeks ago.
What is your best memory of your time in The Judy's?
Doing the little regional tour opening for the B-52s was probably the most fun for me personally.
The million dollar question: When will The Judy's music be available on CD or digitally?
Very soon, we are working on it now. Hopefully within the next couple of months. We will have the CDs available through a website (wastedtalentrecords.com), iTunes, and hopefully through some stores. We also plan on having t-shirts and other things. After that, we are going to do a Washarama anniversary special edition which will be a multi disc set.
The two million dollar question: Will we ever see a reunion or at least a reunion concert?
We did a private reunion/benefit show a couple of years ago in Pearland. We did it in our old elementary school auditorium. I think it's possible we might do a handful of shows sometime this next year, but who knows. We've started working on some new material as well and we like throwing around the idea of doing a new album. I wouldn't make any promises though. Right now we just want to get the CD and website thing going.
Finally, our famous question: If you were a Houston landmark, what would you be?
The River Oaks Theater.
Links:
• Jeff Walton's website
• Judy's fansite
• Listen: The Judy's "Guyana Punch"
• Listen: The Judy's "Teenage Millionaire"
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I love The Judys. I remember using a fake ID to get into Fitzgeralds to hear them perform. I then worked my way all the way up to the edge of the stage, breaking a major sweat by dancing heavily to the awesome music with my best friend who was also a Judy's finatic. We were in fan heaven. I have all of their albums and still listen to them today. The Judys are a favorite memory of my high school days-the 80's. Glad to hear they are all doing well and are still making good music. PLEASE RE-UNITE AND HAVE A CONCERT SOMEWHERE. Judy's: How about my acre backyard in the hill country? We could charge admission!!! :)