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Perry Botkin Jr.
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Perry Botkin Jr. (April 16, 1933 – January 18, 2021)[1] was an American composer, producer, arranger, and musician.[2]
Key Information
Life and career
[edit]He was born in 1933 in New York City, the son of Perry Botkin Sr., who also was a successful musician and composer.
Botkin had a successful career in music for more than forty years. As an arranger, he worked with Bobby Darin, Harry Nilsson, Gary Crosby, The Lettermen, Ed Ames, Shelby Flint and Harpers Bizarre, among others. The film scores that he composed are similar to the music of his partner and counterpart, Barry De Vorzon.
The tune "Nadia's Theme", composed by Botkin and Barry De Vorzon, peaked at No. 6 in Canada[3] and No. 8 on the Billboard Hot 100 in 1976 and became the theme song for the long-running television soap opera The Young and the Restless. He was also a major contributor to Incredible Bongo Band, one of the most influential groups of all-time for its Bongo Rock album which is one of the most sampled from records, making it a major influence in the origins of Hip hop.[4]
In 1990, Botkin retired from the commercial music industry, and began self-producing CDs of electronic music. James Harbert, in the liner notes for the first of these recordings, says, "With these new musical works, Perry Botkin has achieved his musical goal. He has succeeded in being himself."
Death
[edit]Botkin died on January 18, 2021, at age 87, at Providence Saint Joseph Medical Center in Burbank, California.[5]
Awards
[edit]- 1971 - Academy Award nomination - Best Song, "Bless the Beasts and Children", with Barry DeVorzon
- 1977 - Grammy Award winner - Best Instrumental Arrangement - "Nadia's Theme (The Young and the Restless)", with Barry DeVorzon and Harry Betts
Works (partial)
[edit]Recordings
[edit]- 1957 - "Passion Flower" with Gil Garfield, as The Fraternity Brothers. (Verve, V-10081)
- 1964 - "Sabato Sera" / "La Prima Che Incontro" with Gil Garfield, as Gil Fields e I Fraternity Brothers. (Derby/CGD, DB 5074) Nominated on The Sanremo Music Festival 1964
- 1969 - "Love Is Blue" with Johnny Gibbs, Frank De Vol, Norman Percival, Hank Levine, Les Reed, Billy May, Bill Walker, Nelson Riddle, Pete King, Frank Comstock. (Reader's Digest, RDA 77-A)
- 1976 - "Nadia's Theme" with Barry DeVorzon. (A&M Records, AM 1856)
Recordings (arranger)
[edit]- Hollyridge Strings - The Beatles Songbook Vol.4 album (co-arranger/conductor (with Mort Garson)
- Incredible Bongo Band - Bongo Rock album
- Incredible Bongo Band - The Return of the Incredible Bongo Band album
- Bobby Darin - In a Broadway Bag album
- The Cascades - "Rhythm of the Rain"
- Robin Ward - "Wonderful Summer"
- Shelby Flint - "Angel on My Shoulder"
- The T-Bones - "No Matter What Shape (Your Stomach's In)"
- José Feliciano - "Feliz Navidad"
- Harry Nilsson - Pandemonium Shadow Show album
- Carly Simon - Playing Possum album
- Barbra Streisand - Stoney End album
- Maureen McGovern - Academy Award Performance album
- Checkmates Ltd. - Love Is All We Have to Give album, including "Black Pearl"
Films
[edit]- R. P. M. (1970) (with Barry DeVorzon)
- Bless the Beasts and Children (1971) (with Barry DeVorzon)
- Skyjacked (1972)
- They Only Kill Their Masters (1972)
- Lady Ice (1973)
- Your Three Minutes Are Up (1973)
- Goin' South (1978) (with Van Dyke Parks)
- Tarzan, the Ape Man (1981)
- Dance of the Dwarfs (1983)
- Silent Night, Deadly Night (1984)
- Weekend Warriors (1986)
Television
[edit]- ABC Movie of the Week (theme)
- The Young And The Restless (theme)
- Mork & Mindy (series)
- Happy Days (series)
- Laverne & Shirley (series)
- The Smothers Brothers Show (sitcom)
- The Beverly Hillbillies (sitcom)
- Quark (series)
- 3rd Degree (game show)
References
[edit]- ^ Oganesyan, Natalie (January 23, 2021). "Perry Botkin Jr., Grammy-Winning TV and Film Composer, Dies at 87". Variety. Retrieved March 21, 2021.
- ^ "Incredible Bongo Band (review)". CMJ New Music Monthly. October 2006. Retrieved June 26, 2011.
- ^ "RPM Top 100 Singles - December 11, 1976" (PDF).
- ^ "Sample This (film)". 2012. Retrieved February 7, 2021.
- ^ Beresford, Trilby (January 23, 2021). "Perry Botkin Jr., Grammy-Winning Arranger of "Nadia's Theme," Dies at 87". Hollywood Reporter. Retrieved January 22, 2021.
External links
[edit]
Perry Botkin Jr.
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Early Life
Family Background
Perry Botkin Jr. was born on April 16, 1933, in New York City, New York. He was the son of Perry Botkin Sr., a prominent composer, arranger, pianist, bandleader, and string musician whose career began in the 1920s and included recordings with Paul Whiteman and extensive work in radio and recordings with Al Jolson and Eddie Cantor.[5][6] Botkin Sr. was known for his versatility on guitar, banjo, and other string instruments, contributing to jazz and popular music ensembles during the swing era.[5] The family relocated to Los Angeles in 1936, immersing young Perry in Hollywood's burgeoning music scene. Coming from a musically inclined family, Botkin Jr. experienced early exposure to professional music environments through his father's career, which later influenced his own path in composition and arranging. Botkin Jr. had two siblings: a brother, Ted Ellis Botkin (1938–1985), and a sister, Molly.[6]Musical Education
Perry Botkin Jr. began developing his musical skills during his high school years in Los Angeles, where he joined a jazz quartet as a trombone player alongside future composer John Williams on piano.[3][7] This early ensemble experience provided formative training in jazz improvisation and ensemble playing, honing his abilities on the trombone and fostering collaborations that influenced his approach to music.[8] His proficiency extended to other instruments, including piano and bass, which he explored through school bands and informal practice.[9] Growing up in a musical family, Botkin received informal guidance from his father, Perry Botkin Sr., a professional guitarist and composer who had worked with artists like Bing Crosby, exposing him to professional recording techniques and composition basics at a young age.[2] This familial influence complemented his self-directed learning, transitioning his focus from performance to arranging and orchestration fundamentals.[10] After high school, he pursued formal education, attending Indiana University to further his instrumental and theoretical training.[2] Botkin later enrolled in the film scoring program at the University of Southern California's Thornton School of Music, where he studied composition, orchestration, and scoring techniques tailored to visual media.[3][11] This structured curriculum built on his earlier experiences, emphasizing practical skills in arranging for ensembles and integrating music with narrative, while also playing trombone in the West Point Black Band during this period.[12] The move to California with his family in 1936 had positioned him in the heart of the entertainment industry from childhood, providing ongoing opportunities for informal immersion in session work and jazz scenes that shaped his versatile skill set.[7]Professional Career
Arranging and Session Work
Perry Botkin Jr. began his professional music career in the 1950s as a trombonist and arranger, drawing on his early training in jazz ensembles. He quickly established himself in the Los Angeles recording scene, contributing as a session musician and providing orchestral arrangements for prominent pop and vocal artists during the 1950s and 1960s.[13] Notable collaborations included string and vocal backings for Bobby Darin on tracks like "Mame" from the 1966 album In a Broadway Bag, as well as work with Harry Nilsson, Gary Crosby, The Lettermen, Ed Ames on "My Cup Runneth Over," and Shelby Flint.[14][13] In the late 1960s, Botkin expanded into production and arrangement for psychedelic pop acts, most prominently with Harpers Bizarre. He arranged and conducted orchestral elements for their 1967 hit "Chattanooga Choo Choo," blending big-band influences with contemporary harmonies under producer Lenny Waronker, and contributed similar string and horn arrangements to tracks on albums like Feelin' Groovy (1966) and Anything Goes (1967).[15] These efforts showcased his ability to craft lush, innovative backings that elevated vocal performances in the pop genre.[2] Botkin's session work extended into the 1970s with his co-production of the Incredible Bongo Band's debut album Bongo Rock (1973), alongside Michael Viner, featuring Wrecking Crew musicians. He composed the track "Bongolia" and arranged the percussion-heavy covers, including a seminal version of "Apache," which became one of the most sampled recordings in hip-hop history due to its breakbeat grooves.[16][2] Over more than 40 years, Botkin amassed extensive session credits, often providing string arrangements and production for pop recordings that emphasized orchestral depth behind vocalists. Representative examples include his work enhancing the dramatic sweeps in Ed Ames' ballads and the harmonious layers for The Lettermen, contributing to the era's polished sound without overshadowing the lead performers.[13]Film Scoring
Perry Botkin Jr. composed original scores for several notable films in the 1970s, blending orchestral elements with contemporary influences to enhance narrative tension and emotional depth. His work on Bless the Beasts and Children (1971), directed by Stanley Kramer, included the poignant title theme co-written with Barry De Vorzon, which earned them an Academy Award nomination for Best Original Song at the 44th Academy Awards.[17] The score's evocative cues, featuring strings and subtle percussion, underscored the film's themes of youthful rebellion and loss, marking Botkin Jr.'s early prominence in cinematic music.[2] Botkin Jr. frequently collaborated with Barry De Vorzon on film themes, adapting instrumental pieces into lyrical songs that amplified dramatic impact, as seen in their joint efforts for Bless the Beasts and Children and subsequent projects like the soundtrack for R.P.M. (1970), where their contributions captured the era's social unrest through rhythmic and melodic innovation. These partnerships highlighted Botkin Jr.'s skill in bridging pop sensibilities with orchestral scoring. He also scored additional films including Skyjacked (1972), They Only Kill Their Masters (1972), and Goin' South (1978).[18][1] Later in his career, Botkin Jr.'s archival music gained renewed visibility through its inclusion in modern films. His composition "Bongolia," originally written for the Incredible Bongo Band's 1973 album Bongo Rock, was featured in Edgar Wright's Baby Driver (2017), providing a percussive, high-energy backdrop that synced with the film's action sequences and paid homage to his influential percussion-driven style.[13] This reuse underscored the enduring legacy of his earlier recordings in contemporary cinema.[19]Television Composition
Perry Botkin Jr. made significant contributions to television music through his composition of memorable theme songs for several iconic series, blending orchestral arrangements with catchy melodies that captured the era's cultural zeitgeist. His work emphasized emotional resonance and thematic simplicity, often drawing from his background in film scoring to create versatile pieces suitable for episodic storytelling.[1] One of Botkin Jr.'s most enduring television compositions is "Nadia's Theme," co-written with Barry De Vorzon in 1971 as incidental music originally titled "Cotton's Dream" for the film Bless the Beasts and Children. The piece was adopted in 1973 as the main theme for the soap opera The Young and the Restless, where it has remained in use, providing a poignant underscore to the show's dramatic narratives. Renamed "Nadia's Theme" in 1976 after its association with Olympic gymnast Nadia Comăneci's performances, the track achieved commercial success as a single, peaking at No. 8 on the Billboard Hot 100 that year. For this work, Botkin Jr. and De Vorzon received the Grammy Award for Best Instrumental Arrangement at the 20th Annual Grammy Awards in 1977.[8][20][21] Botkin Jr. also composed the upbeat, nostalgic theme for Happy Days, which aired from 1974 to 1984 and became synonymous with 1950s Americana through its whistled melody and light orchestration. He extended this style to spin-off series, creating the whimsical main theme for Mork & Mindy (1978–1982), which highlighted the show's comedic sci-fi elements with playful instrumentation. Additionally, his contributions included the theme for Laverne & Shirley (1976–1983), featuring a bouncy, friendship-evoking tune that complemented the sitcom's buddy dynamic. Other notable television themes include those for The Smothers Brothers Comedy Hour (1967–1969), Quark (1977–1978), and The Tortellis (1987). These themes, produced during a prolific period in his career, underscored Botkin Jr.'s ability to craft instantly recognizable music that enhanced television's narrative appeal.[1][3][2]Awards and Legacy
Major Awards
Perry Botkin Jr. received significant recognition for his compositional work, particularly through prestigious awards in the music industry. His most notable achievement was the Grammy Award for Best Instrumental Arrangement in 1977 for "Nadia's Theme," co-composed with Barry De Vorzon and arranger Harry Betts for the soap opera The Young and the Restless. Originally titled "Cotton's Dream" and created as incidental music for the 1971 film Bless the Beasts and Children, the piece was repurposed and became a chart-topping single, peaking at number eight on the Billboard Hot 100 and marking a commercial and critical peak in Botkin Jr.'s career by highlighting his talent for evocative, emotionally resonant orchestration.[10][2] In addition to this win, Botkin Jr. earned a Grammy nomination in 1972 for Best Original Score Written for a Motion Picture or a Television Special, shared with DeVorzon, for their work on Bless the Beasts and Children.[22] This nomination underscored his early contributions to film scoring, blending orchestral arrangements with thematic depth that influenced subsequent television and cinematic music.[1] Botkin Jr. also received an Academy Award nomination in 1972 for Best Original Song for "Bless the Beasts and Children," co-written with DeVorzon, at the 44th Academy Awards ceremony held on April 10, 1972.[17] The song, later popularized by The Carpenters, lost to Isaac Hayes's "Theme from Shaft" but represented a pivotal moment, elevating Botkin Jr.'s profile in Hollywood and demonstrating his versatility in crafting lyrics and melodies that resonated broadly.[2] These accolades collectively affirmed his status as a leading arranger and composer, with lasting impacts on popular media soundtracks.Industry Recognition
Perry Botkin Jr.'s arrangement of the 1973 album Bongo Rock by the Incredible Bongo Band has been widely recognized for its foundational influence on hip-hop music, particularly through the track "Apache," which features a prominent bongo drum break that became one of the genre's most sampled elements.[13] The documentary Sample This! (2012) details how DJ Kool Herc extended the percussion break from "Apache" during Bronx block parties in the 1970s, effectively birthing hip-hop's breakbeat technique, with Botkin's production work credited as a key catalyst.[23] This influence extended to numerous hip-hop artists, including A Tribe Called Quest, whose 1990 track "Can I Kick It?" sampled the bassline from "Apache," helping popularize the album's rhythms in mainstream rap.[24] Botkin was acknowledged as a key figure in the Wrecking Crew, the renowned collective of Los Angeles session musicians active in the 1960s and 1970s, where he contributed arrangements and performances on high-profile recordings. In 2007, he was inducted into the Musicians Hall of Fame and Museum as a member of the Wrecking Crew. His work with the group on Bongo Rock exemplified their innovative studio approach, blending rock, funk, and percussion in ways that later resonated across genres, earning posthumous nods in music industry retrospectives for elevating session artistry.[2] Following his death on January 18, 2021, Botkin received tributes in major industry publications, highlighting his enduring legacy in television and film scoring. Obituaries in Variety and The Hollywood Reporter praised his Grammy-winning contributions and the cultural ripple effects of his productions, such as Bongo Rock's role in hip-hop history.[7][8] In 1990, Botkin retired from commercial music to pursue experimental electronic productions, self-releasing CDs that showcased his shift toward ambient and synthesized soundscapes.[25] Notable among these was the 1993 album Combines: Five Electronic Essays, which reflected his innovative spirit beyond mainstream work and garnered niche appreciation in electronic music circles.[26]Death and Personal Life
Later Years
In 1990, Perry Botkin Jr. retired from the commercial music industry after a prolific career in arranging, film scoring, and television composition, choosing instead to focus on personal creative endeavors.[27][4] He shifted his attention to self-producing a series of electronic music albums, exploring experimental and ambient sounds through synthesizers and digital composition.[25] These works marked a departure from his earlier orchestral and pop-oriented output, allowing him to pursue innovative, introspective projects independently. Among his post-retirement releases, Botkin produced the album Combines: Five Electronic Essays in 1993, featuring extended tracks such as "Women Who Won't Give You the Time of Day" and "22 Machines," which blended modern classical elements with electronic textures.[26] He followed this with Combines 2 and Combines 3: Memories, Dreams & Other Abstractions, compiling them into a combined collection that highlighted his evolving interest in abstract soundscapes.[25][28] These self-released CDs, produced in limited runs, received niche appreciation for their avant-garde approach, as noted in liner notes by James Harbert praising Botkin's authentic voice.[4] Botkin spent his later decades in a quiet family life in Studio City, California, where he had resided since moving there with his family in 1936, maintaining the same neighborhood home for over eight decades.[2] He was married to Liza Botkin and was a father to son David, as well as a grandfather to Daniel Tyler Botkin, prioritizing personal stability amid his creative pursuits.[11] Public appearances were limited, though he occasionally participated in industry events, such as a 2016 interview at an American Society of Music Arrangers and Composers workshop discussing composition techniques.[29]Death
Perry Botkin Jr. died on January 18, 2021, at the age of 87.[7][8] He passed away at Providence Saint Joseph Medical Center in Burbank, California.[8][11] No cause of death was publicly disclosed.[8][11] His publicist announced the death shortly after it occurred.[7][8] Botkin was survived by his wife, Liza, son David, and grandson Daniel Tyler Botkin.[7][11] No details on funeral arrangements were made public.[7] Initial responses from the music industry highlighted Botkin's contributions, with BMI issuing a statement expressing sadness over his passing and noting that he would be missed for his musical achievements.[13] Longtime friend and writer John Scheinfeld described Botkin as "a magnificently talented composer, arranger, producer and story-teller."[30]Selected Works
Recordings as Arranger
Botkin Jr. arranged and conducted tracks for Bobby Darin's album Bobby Darin Sings The Shadow of Your Smile, released in 1966 by Atlantic Records.[28] He provided arrangements for Harry Nilsson's single "Everybody’s Talkin’," issued in 1968 on RCA Victor.[28] For The Lettermen, Botkin Jr. handled arranging duties on their live album The Lettermen!!!...And Live!, a 1967 Capitol Records release.[28] The Incredible Bongo Band's Bongo Rock (1973, Pride Records) credits Botkin Jr. as both producer and arranger, featuring percussion-heavy covers like "Apache."[28][14] Botkin Jr. arranged Shelby Flint's single "Angel on My Shoulder" (1966, Valiant Records).[14][31] He also arranged selections for Harpers Bizarre's debut album Feelin’ Groovy (1967, Warner Bros. Records), including the title track.[28]Film Contributions
Perry Botkin Jr. made significant contributions to film music through original scores and soundtrack elements, often collaborating with composer Barry De Vorzon on orchestral arrangements that blended dramatic tension with lyrical melodies. His work in the 1970s and 1980s emphasized character-driven narratives in genres ranging from adventure thrillers to comedies, earning recognition for evoking emotional resonance in key scenes.[7] One of his most notable scores was for Bless the Beasts and Children (1971, directed by Stanley Kramer), where Botkin and De Vorzon composed the music, including the instrumental cue "Cotton's Dream," later adapted and popularized as "Nadia's Theme" following its association with Olympic gymnast Nadia Comăneci; the title song "Bless the Beasts and Children" received an Academy Award nomination for Best Original Song.[32][2][17] Botkin composed the score for Skyjacked (1972, directed by John Guillermin), a high-altitude hijacking thriller starring Charlton Heston, featuring suspenseful motifs to heighten the film's tension.[33] For They Only Kill Their Masters (1972, directed by James Goldstone), he provided the original score to the mystery film led by James Garner and Katharine Ross, incorporating jazz-inflected elements to underscore the coastal California setting.[1] His contributions extended to Goin' South (1978, directed by Jack Nicholson), where Botkin scored the Western comedy, blending folk-inspired tunes with humorous undertones to complement the film's quirky tone.[2] Botkin composed the music for Tarzan, the Ape Man (1981, directed by John Derek), a remake starring Bo Derek, using lush, exotic orchestrations to evoke the jungle adventure.[1] In Lady Ice (1973, directed by Tom Gries), Botkin handled the score for the ice-skating thriller with Donald Sutherland, integrating rhythmic cues tied to the sport's action sequences. Later, archival elements of Botkin's work appeared in Baby Driver (2017, directed by Edgar Wright), where his original song "Bongolia" was featured on the soundtrack, bridging his earlier style with modern action cinema.[34][13]| Year | Film | Director | Role |
|---|---|---|---|
| 1970 | R.P.M. | Stanley Kramer | Composer (with Barry De Vorzon) |
| 1971 | Bless the Beasts and Children | Stanley Kramer | Composer (with Barry De Vorzon)[32] |
| 1972 | Skyjacked | John Guillermin | Composer |
| 1972 | They Only Kill Their Masters | James Goldstone | Composer |
| 1973 | Lady Ice | Tom Gries | Composer |
| 1978 | Goin' South | Jack Nicholson | Composer |
| 1981 | Tarzan, the Ape Man | John Derek | Composer |
| 1986 | Weekend Warriors | Bert Convy | Composer |
| 2017 | Baby Driver | Edgar Wright | Soundtrack ("Bongolia")[34] |