The instrumental theme to the TV action series “S.W.A.T.” is tense, determined, and —like many things made in the mid-’70s — funky.

There were similar emotions swirling in the recording studio, as the song’s composer Barry De Vorzon spent nearly an hour finishing the rhythm track while 27 orchestral musicians were waiting in the other room, on the clock. He ruffled a few feathers that day, but once producer Aaron Spelling heard the finished product, TV history was made.

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De Vorzon told the story behind the song to Bart Herbison of Nashville Songwriters Association International.

Bart Herbison: I gotta tell you, Barry, I hear this doggone thing all the time.I love the record. I love everything about it. Take us back to when that song was born.

Barry De Vorzon: Well, I you know, I moved from LA, where I’ve enjoyed most of my career, to Santa Barbara, specifically, Montecito. And my wife and I were in Los Angeles at a party. And we bumped into Aaron Spelling, a very successful producer. We were friends. And I had never done a television show. We met outside this club and I said, “Aaron, you’ve had so many hit shows. But you’ve never had a hit song or theme from those shows. Think about giving me a shot. I’ll give you a hit.” While we both know no one can guarantee you a hit.

BH: I was gonna say, that’s bold. You were talking the talk, but you ended up walking the walk on this one.

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BDV: Well, here’s the reason I had a chance. At that time television themes were kind of big band or jazzy. They weren’t really contemporary or rock. Just none of that existed in television at that time. And that’s what I really brought to the table as a composer, someone who had a background in pop music and rock music…He said, “I’ll think about it.” And about two months later, I get a call from Aaron spelling’s office. “He says, Barry, I’m doing a new show going on mid-season, come to 20th (Century Fox) and take a look at it.”

I was so excited. I go into the screening room. I’m really anticipating it. And up comes this truck, and these guys bursting out of the doors with guns. (I think), “Oh, my goodness, why couldn’t it have been a girl and a guy, or two girls? I get stuck with the SWAT team?” And that’s a real tall order to write a hit about a SWAT team. So I was disappointed, I’ll be honest. I went home and for one week, I tried to write a hit about a SWAT team.

…Finally, I said, “I don’t think I can write a hit. But I’ll give him the most exciting thing I can come up with. And if I do that, maybe he’ll forget that it’s not a hit.” I just created this bombastic, pounding, wah-wah guitar, instrumental main theme, and, and I was quite pleased with it.

But as you know, people always underestimate what it takes to get a rhythm track to really work…I mean, I’ve known people to work days to get that rhythm track. So I called Aaron Spelling’s music director and said, “Look, this is a contemporary approach, could I have a session without the orchestra, just with the rhythm? And he laughed. He said, “Buddy, this is television. No.”

So I said, “Well, gee, that’s really going to be a problem.” He says, “I’ll tell you what I’ll do. I’ll give you an hour before the orchestra comes in.” Yeah. “I said, Okay. I’ll take anything I can get.”

So I went there, new studio, new engineer I’ve never worked with, and I’m out in the studio, working my tush off. And an hour goes by (Aaron Spelling’s music director) comes out and says, “All right, the orchestra is here. They’re in the coffee room. Get this to tape.” And I said “I don’t have it. I can’t do It if I don’t have it.”

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…So he said, “Oh, okay. So you’re taking over the session? Is that correct?” I said, “No, I don’t want to do that. But I’ve got nothing to go to tape.” He said, “It’s your responsibility, your session.”

…It took me another 45 minutes, with 27 musicians waiting in the coffee room getting paid. So when I finally got it, and I went, went into this control room, to put it down on tape, it was very chilly…I’m so stressed. I hear this music director say to the engineer during a 10 minute break “Run off a rough copy of the main title.” So I said, “Excuse me, but why?” He said, “Because Mr. Spelling wants to hear it.” And I said, “Look, I’ve spent weeks on this. You already know what I’ve done here today. When Mr. Spelling hears my theme, I want it to be finished. You are asking this man to take a rough mix off a 24-track (recording) in five minutes? And that’s what he’s going to hear? No.” This guy looks at me said, “Son. You’ve done your first and last television show for Spelling Productions.” I said, “Well, so be it.”

We finished the score. Everyone walked out without a goodbye. I stayed there with the engineer and mixed the main title and the end title. And then I went to my place in L.A. and called my wife. She says, “How did everything go?” (I said) “Listen, I’m drinking a double vodka right now. And I have never been this stressed in my entire life. I don’t know how it went, to be honest with you.”

So, the next day, I didn’t hear anything, which was not a good sign. And in the afternoon, I got a call from Len Goldberg, who was Aaron Spelling’s partner. Now, that was not a good sign. Because Aaron didn’t like confrontation. So usually, if someone is going to get the axe, it was Len who did it.

So I picked up the phone. He said, “Barry, I gotta tell you something. That is the greatest theme we’ve ever had for a show. Aaron is dancing around the office. He loves it… you went over budget, but this time, it was worth it. But you can’t do that anymore. This is television.” I said, “I promise. I’ll stay in the budget.”

… I wouldn’t settle for anything less than what I thought was my best. That theme went on to become number one in the nation.

About the series

In partnership with Nashville Songwriters Association International, the “Story Behind the Song” video interview series features Nashville-connected songwriters discussing one of their compositions. For full video interviews with all of our subjects, visit www.tennessean.com/music.

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