Creating the soundtrack for a beloved children’s show is no small feat. For Daniel Tiger’s Neighborhood, the music is as integral to the learning experience as the characters themselves. payoffsong.com delves into the creative process with James and Graeme from Voodoo Highway, the music production company behind the catchy and heartwarming tunes of this iconic PBS KIDS show. Discover how they craft the melodies that resonate with young audiences and parents alike, shaping the emotional landscape of Mister Rogers’ legacy for a new generation.
The Genesis of Voodoo Highway: A Musical Partnership Forged in Education
Voodoo Highway’s origin story is rooted in shared beginnings and a mutual ambition to make waves in the music industry. James recounts, “Brian and I are both alumni of the Music Industry Arts program at Fanshawe College. We knew each other from there.” Their paths converged again when James moved to Toronto, where Brian was already working at a major studio. Serendipitously, both were contemplating a similar leap of faith. “Brian was thinking about branching out and starting his own music production company, and it was perfect timing because I was looking to do the same thing,” James explains. Pooling their resources and vision, they established Voodoo Highway. As demand for their musical expertise grew, they needed to expand their team. “After a few years of really working hard to establish ourselves, we got to the point where we needed extra hands. That’s when I reached out to my longtime friend Graeme,” James shares. His history with Graeme, dating back to high school, assured him of a seamless fit within their growing company.
From Personal Passion to Professional Path: Composing for the Screen
For James, the aspiration to compose for film and television was a long-held dream. “Personally, composing for film and TV was a goal of mine from a very young age,” he states. His musical consumption reflected this ambition, “I listened to film soundtracks just as much as I listened to my favorite bands.” He cites iconic composers like John Williams, James Horner, and Danny Elfman as significant influences. His formal training on the organ further solidified this path. “I was primarily trained on the organ, and I loved playing movie and TV themes. Performing and listening to so many soundtracks helped me understand the language of film scoring, and it definitely gave me a strong foundation for this career.”
Graeme’s journey to composing took a slightly different route, initially sparked by visual arts. “When I was younger, I wanted to be a visual artist,” Graeme reveals. However, music soon took center stage. “Around age 11, my dad taught me some guitar chords on an old classical guitar. I loved it.” Simultaneously, he was immersed in the world of music production through his mother, a harpist. “My mother was releasing albums, and I watched her album-making process.” This exposure, coupled with jamming with friends, shifted his focus. “I started picturing myself on a musical path instead. But my interest in visual art never disappeared. It’s fitting that I now create music for animation! I really admire the artists who contribute to each show. This path lets me explore the fascinating connections between music and visual art.” His studio inclinations solidified during university. “By my final university years, I doubted I’d want to tour with bands as I got older. I loved studio work and recording my own music, so I considered who might pay me to do what I loved.” This led to producing for others and studio collaborations, eventually opening doors to scoring for various media. “Soon after, I got the chance to score ads, TV shows, and games. I fell in love with it – merging my artistic interests and trying to build a company from my passions was exciting.”
Childhood TV Inspirations: Shaping Musical Sensibilities
Reflecting on their formative years, both James and Graeme identify television shows that left a lasting impression, musically and otherwise. For James, Canadian classics and iconic cartoons were key. “Of course, Mister Rogers’ Neighborhood was a staple. And Mr. Dressup, its Canadian counterpart. Growing up in Canada, we had shows U.S. audiences missed, like Today’s Special and Degrassi Junior High.” Cartoon scores also played a significant role. “I was a big fan of cartoons like G.I. Joe and Transformers. I watched a lot of cartoons and still get inspiration from their scores. Who knew TV at a young age was career prep?” He also emphasizes a cinematic influence, “It’s not TV, but Star Wars movies were a huge childhood influence. They sparked my imagination like nothing else. They were my first real experience of film music’s power. Without those movies, I might not be in the arts.”
Graeme’s childhood favorites also included Mister Rogers’ Neighborhood, alongside other animated classics. “For me, The Smurfs, Care Bears, and Mister Rogers’ Neighborhood were classics. Later, Teenage Mutant Ninja Turtles, G.I. Joe, and Transformers – all the toy-related shows.” As he grew older, sitcoms entered the mix. “Saved by the Bell, The Wonder Years, and Full House. I loved Uncle Joey and Uncle Jesse from Full House. One did cartoon voices, the other made music for ads – that seemed so cool. Looking back, they really impacted my path.”
Crafting the Sound of Daniel Tiger’s Neighborhood: A Collaborative Process
The creation of music for Daniel Tiger’s Neighborhood is a meticulously collaborative effort. Graeme details the process, emphasizing the crucial role of the show’s core messages. “We often start each episode by discussing its overall message. The ‘strategy melody’ is key – it’s the musical solution to the episode’s conflict. We start by writing several melodic hooks for that strategy.” This hook selection is a collaborative decision with the production team. “Once the 9 Story team picks a hook, we write the songs. Those hooks become the song choruses. Since characters interact with the music – singing, dancing, illustrating lyrics visually – we write songs far before animation. We perform all character vocals to get song approval before animation even begins.” This pre-production is vital for seamless integration. “After song approval, the cast sings! Once animators are done, we get the episode back with animated musical numbers and then score the story itself.”
Favorite Episodes: Musical Opportunities in Extended Formats
Both James and Graeme express a fondness for the longer, special episodes of Daniel Tiger’s Neighborhood, citing the expanded creative possibilities they offer. James highlights, “I like the longer ‘special’ episodes, like Baby Margaret’s introduction, Daniel being king for a day, or the Tiger Family Trip. These let us stretch our musical muscles more. For Baby Margaret and Tiger Family Trip, I wrote intricate Broadway-like musical numbers, which was fun – working orchestrally and creating complex vocals, beyond typical strategy songs.”
Graeme concurs, “I’m with James. I’ve really enjoyed working on the specials. Thank You Day, Tiger Family Trip, and Won’t You Be Our Neighbor all stand out.”
Cherished Songs: From Originals to Fred Rogers’ Legacy
When asked about favorite songs, James points to the special episode musical numbers with pride. “I’m particularly proud of the Baby Margaret and Tiger Family Trip musical numbers. It was great to fulfill that creative desire.” He also values their adaptations of Fred Rogers’ songs. “‘It’s You I Like,’ ‘You Are Special,’ and ‘It’s Such A Good Feeling’ are Fred’s songs we adapted. We kept their original spirit while adding our musical spin. Sometimes, sheet music was unavailable, so I learned songs by ear from recordings. It was a fun challenge and a great education in Fred’s style.”
Graeme appreciates the collaborative nature of songwriting within Voodoo Highway. “It’s hard to pick favorites, but a bonus of our team is hearing what others create. Often, if I write the ‘A’ episode strategy song, I’m excited to hear what the other writer does with the same hook for the ‘B’ episode. Two artists with similar briefs create something so different – this show shows that. I’ve enjoyed hearing each version of the chorus melody I worked on. It’s always fun to see where collaborators take their version.”
Beyond Daniel Tiger: Personal Pursuits and Musical Exploration
Outside of their work on Daniel Tiger’s Neighborhood, James and Graeme maintain diverse interests and creative outlets. James is a passionate sports fan and a dedicated musician. “I’m a big Vancouver Canucks fan, so I love going to games with my wife and son. We’re a hockey family! And, maybe crazy, but I also make MORE music in my spare time. It’s healthy for composers to create personal music – to practice technique and have a creative outlet beyond specific sounds or visions. I’m currently writing and producing with other artists, which is a nice change from solo studio work. Lastly, I write stories and hope to write novels someday.”
Graeme enjoys a mix of artistic and outdoor activities. “I paint, cook, walk trails with my dog, and spend time with family. Like James, I have personal musical projects for the love of it. And I always check out new shows and movies.”
Musical Influences: A Broad Spectrum of Inspiration
Their musical influences are as diverse as their projects. James emphasizes versatility. “As film/TV composers, especially for animation, we must be versed in many genres. Music can shift from Mexican Hat Dance to hip hop to country in 10 seconds. So, I’ve tried to study many styles. My influences are wide-ranging. But, John Williams/James Horner are my film composer heroes, and Trent Reznor is my biggest modern production influence.”
Graeme’s influences span genres and eras. “I listen to film scores, modern electronic music, folk, and rock. Listing bands or composers would take forever! The Beatles are timeless for me. Jeff Buckley is another artist I’ve admired since starting instruments, and Olafur Arnalds’ ‘re:member’ is currently on repeat.”
Enduring Musical Pleasures: Beyond Fred Rogers
When asked about music they never tire of playing, James highlights the stylistic range within Daniel Tiger’s Neighborhood. “One of the best things about Daniel Tiger songs is playing with so many styles. But big band/swing is most fun. I love jazzy walking bass lines and playing with big brass sections. Outside of Daniel Tiger, I enjoy electronic music and have projects for that. And any chance to write in John Williams’ style is a happy day. That film music style made me want to do this, so playing in that world is a pleasure.”
Graeme finds enduring satisfaction in modern orchestral music. “I never tire of writing modern orchestral music, something I developed over the last decade. Its constantly evolving production aesthetics excite me. Hearing other composers create new musical landscapes with the same tools I use regularly fertilizes my own musical imagination.”
To explore more of Voodoo Highway’s work, visit their website. Catch Daniel Tiger’s Neighborhood daily on PBS KIDS (check local listings).
