- Joined
- Aug 20, 2022
Gordon very clearly lays out the fact that they were using his work without properly paying him, among other things; this isn't just about "babysitting" him. Gordon was constantly getting the runaround, not getting what he needed to do the actual job, then getting last-minute announcements thrown at him without being consulted beforehand on whether or not it was even possible. Stratton hired an expert to do a job, only to literally ignore all of his actual expertise and throw everything into chaos.
Gordon was clearly getting gypped by a studio head resentful of the fact that the composer had gotten a bigger reputation from working on the series than he did.
The reason I bring this up is that while I was at id during the development of DOOM, I stayed in the office many, many hours myself (after all, that's where all of my transplanted music toys were located). As a result of long hours at the office, John and I were often there at the same wee hours of the night. John would only leave his office to nab a coke or run to the mens' room -- that is except when he had something special programmed and wanted someone to see it. Those kinds of things happen a lot around John, too. He is always coming up with some cool addition to his engines. Many times in those wee hours, I would come to a point where I couldn't make positive progress toward completing a song or a sound effect. I would go out into the then main room where a pool table sat and just roll the balls around the table. I could look into John's office and he would be sitting there in a world of his own, oblivious to anything else going on. When I worked on this song, I took a break at the pool table and saw John working away. That's when the name of this song hit me".
