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Preview: Sci-Fi Scores

Sci-Fi Scores

Mostly Sci-Fi and other such Genre Scores, but Not Limited to Such.

Updated: 2014-10-06T23:20:46.472-04:00


*Cricket, Cricket...*


If there is one thing I'm really good at, it's forgetting things. Truly. I'm the best at it. There are days I'd forget my own name if it wasn't sewn into my underwear! (j/k -- it's not really sewn in there, that would be scratchy!)

So anyway... yeah... it's been over a year since I last posted anything. Let alone shared anything. I feel like a dolt and a bum, but you know... life is life. It's busy, and I'm impatient. And I forget. A lot. I forget what I'm doing while I'm doing it sometimes. What can I say? I take a lot of pharmaceuticals... wow I spelled that right without spell-check, awesome... and so my brain is a bit swiss-cheese. I can recall the registry of the Stargazer (NCC-2893) or the number of ships blown to bits at Wolf 359 (39, thank you) but not anything important.

So I've dropped in to give a gift, since I'm uploading it for a friend anywhom. It's the expanded edition score of Star Trek V: The Final Frontier. The film itself was once reviled as the worst Star Trek film ever made, up until 2002's debacle Star Trek: Nemesis which was, somehow, even worse than William Shatner hunting for god as Jim Kirk up against the laughable villain played by C-grade actor Laurence Luckinbill as Spock's never-before-mentioned long-lost half-brother-from-another-mother... yeah, seriously, they went there. Blame Shatner, he directed the farce. Poor guy, he's so passionate and yet... sometimes that passion explodes back in his face.

Oddly enough, his Star Trek books (the first six, anywhom) are awesome. I've re-read those books 2 or 3 times each, and I *do not* re-read books. So... that says that. If you hated his death in Generations, or you wanted more after Star Trek VI... yeah, good stuff. First book was post-TUC, then books 2 and 3 where post-Generations. Second trilogy was all 24th century Kirk. But this is a music blog, so I'll shut up now about books.

So yeah, the film stunk. Final Frontier. Nemesis stunk too, but I'm not talking about it's music. But the music for crappy STV... well, it was a Jerry Goldsmith score. It's about the only thing people liked about the film then, and still is now. In recent years, there have been numerous expanded official scores being released by the new CBS bosses of the Star Trek merchandise properties. They've done the expanded Star Trek's 2, 3 and now here is 5. They've also done the latest J.J. Abrams expanded score, and a massive box-set ($150!) of Ron Jones complete work for Star Trek TNG which I shelled out for, because I want to encourage more such goodies.

I'll try and stop in more often. Try, being the key word. I try to do a lot of things and fail. I tried to fly once... it ended badly... no just kidding again.

But I doubt anyone reading this actually gives a hoot. You're here, if you're here at all, for a link to a file and for me to shut up and go back into the ether of the void of cyber-space from which I came.



- "I've done far worse than kill you; I've hurt you. And I wish to go on hurting you. I shall leave you as you left me; as you left her. Marooned for all eternity at the center of a dead planet. Buried alive... buried alive..."

In 1982, one of the greatest science fiction films of all time gave new life to the legend of the Star Trek franchise. Starring Ricardo Montalban as the iconic villain Khan, the film was the franchises fifth and likely final chance to strike it big. After surviving cancellation to have it's third season; after spawning a poorly-made animated kids series; after all but being the flagship for a fourth television broadcast network; after becoming a major motion picture that was panned poorly by critics and fans alike, everything finally came together in this low-budget sequel that has since become a cult-classic and the definition of franchise success.

One of the many elements of that films greatness was it's score. Composed by a then 28-year-old upstart named James Horner, a nobody filling the shoes of the lengendary Jerry Goldsmith, the score - like the film - was a dramatic departure from what had come before. It was another of the many risks taken in the film and the franchise. But like the man said - 'risk is our business' - and when it all came together, it all paid off. Many people credit the films young director, Nick Meyer, and the veteran main-stream producer given charge of a franchise he knew nothing about, Harve Bennett, for saving Star Trek. Without it's score though, would that success have been? Perhaps a third person also helped save Star Trek after all...

Now, more than half a century later, we will finally hear that complete score in all it's glory.

Head over to Film Score Monthly, who've announced it's pending release of the complete score in a non-limited edition. Meaning this is not a finite product that you'll pay an extreme price for.

Rumor has it this gift from the gods is courtesy of a new music executive over at Paramount who is quite enthusiastic about making such things available. Though a box-set of all the Trek film scores is impossible due to the legalities of six companies having their fingers in the pie, this could well be only the first of many new musical trips from the Star Trek universe. Either way, it's auditory ambrosia, and I'm thrilled to get it.

Salvation for Terminator...


Last night (Wednesday, May 21) I went to the midnight showing of Terminator Salvation. I'm pleased to report that the future of the Terminator franchise looks good, film wise. While I felt the story was trimmed down far too greatly to meet the needs of action and run-time, the action was truly so fantastic that it really held the film together. Judgment Day and the original are still far superior; but this was a welcomed improvment over Rise of the Machines. Bale was a superior Connor than Nick Stahl by miles. Sam Worthington stole the film to a great degree. Anton Yelchin made a decent Kyle Reese, worthy of succeding Michael Beihn.

As far as the music goes, I'm pleased to report that the Terminator drum-beat, heard in the commercials, was present on three occasions. At the opening, at the reveal of the best cameo in motion picture history, and at the end credits. That it's not included in the score truly infuriates me. That said, it's only one element of the theme. The true heart of the theme was, as I expected, absent in any true and intelligible form. I feel it likely it's lack of inclusion was based purely in financial motives, as McG truly does seem to appreciate the Terminator universe. There where many great nods to continuity throughout the film and he's clearly got his hands on the property.

As far as nostalgia...

It's what gets me and a lot of other people in the seats. So frankly, the studios need to pay more heed to it. Imagine Star Wars without it? Star Trek? Godfather? There is much talk of a Ghostbusters 3, and imagine it not being used? Would any of us not be miffed?

Just thought I'd add my two cents...

Hasta La Vista, Theme Song...


I'm currently listening to the score from the latest in the Terminator franchise of films, 2009's "Terminator Salvation" which opens in the USA for early showings this Thursday, May 21st. It will have some (for reasons beyond my comprehension) tough competition in the more family friendly fodder of the latest waste of film to star Ben Stiller. Nope, I'm not saying the flicks name. I know from box office experience that it will likely win the weekend due to being more family friendly, so I'm getting a head start on being upset that it beat the new Terminator flick for number one that memorial day weekend.Anyway, like I said, I'm currently listening to the score from TS, and... I'll be honest, it's a good score. It's not epic or sweeping thus far, as I've heard. But it's solid, and thankfully, it doesn't sound like a typical Danny Elfman composition for the most part. Don't get me wrong, Elfman has talent - but when it comes to genre stuff, he should be banished to an island and never allowed near it with a ten foot pole. That said, he's managed to hide his normal tones and tunes - mostly - from TS. That all said... it's lacking one very critical thing.The one thing that every single true Terminator fan wants. And has wanted. Since 2003's disappointment of Terminator 3, and the more recent Terminator TV series.The god damn mother fucking theme song!...Seriously. What. The. Fuck?There are not many films that have a sweeping and well loved theme song that become iconic. There really aren't. I mean, think of 10 and you've likely named them all. Star Wars. Star Trek. Godfather. Jurrasic Park. I can't go much further than that. Because there are not to many films with great iconic themes that are so beloved!When they didn't use it outside of the closing credits in Terminator 3: Rise of the Machines... I was miffed. But at the time, I glossed over it, because it was Arnold as the Terminator again after a 12 year long wait. I was young, naive, and able to gloss over such a (at the time) triviality as the theme song. When they where preparing for Terminator: The Sarah Connor Chronicles, I actually spoke with series compose Bear McCreary (one of my top 3 composers, btw) through e-mail and asked him, point blank: what was happening with the theme? He informed me they (FOX) where trying to secure the rights, and all those involved in production wanted to use it. Alas, all we ended up with was the thump-thump-thump-thump-thump drum beat intro.When I first heard substantial news of Terminator Salvation, director McG (shit name, right? He knows, he's not a pre-madonna, it's short of McGinty and a nickname he got as a kid because he's the third named Joe in his family, as I recall) first spoke of the film, he promptly addressed the themes. He said he loved them. He said he wanted them. When he hired Danny Elfman, he said he had instructed Elfman to use said themes.I rejoiced.I knew Elfman wouldn't use them constantly, I knew we would be lucky to have the opening and closing credits and maybe a specific moment near the climax of the film, but I relaxed as all seemed well and on track for the return of the great theme I'd loved since, literally, childhood.Yet here I am. Writing, ranting, and grinding my teeth as I listen to the score from Terminator Salvation and... do not hear the themes. None of them. Certainly not the familair "do-do-dooooooo, doo-doo-doooooooo" that so many of us love from the first two films. No, I'm listening to the latest Terminator score sans any Terminator themes! Again!I feel like pulling a William Shatner and, at the top of my lungs, screaming to the heavens like he did for Khan...McG!McG!McG!It's no use though. The film comes out in 5 days. There is nothing to be done except to feel a little bitter, a little betrayed, and a little more disenfranchised. And as I type those words, a little sickened too, as I just heard some classic Elfman chaos in track 7 that, to my ears, is nails on a chalkboa[...]

Star Trek (2009) - Original Motion Picture Score


I'm not sure what to say about this yet, as I've not even finished listening to it myself, and I've not seen the film. I know I like it, but I'm not sure on what level I like it, yet. As a Star Trek music conosieur, this is a brave new world. It's the first time in decades that a familiar composer has not been behind the music. I knew Jerry Goldsmith, I know his contemporaries, and I know what they do musically. It's familiar. This isn't. Michael Gianchino, I have very little to base an opinion off of.

Judge for yourself folks, just like with the coming film itself...


Star Trek XI - The Music Begins...


Wow... I really am a lazy bastard, aren't I? It's been a few months, once again, since last I updated. I've returned because I've just come into possession of something truly fantastic.How many of you have seen the newest trailer for the new Star Trek movie that opens this spring? Most fans are calling it Star Trek XI, as it's the eleventh feature film incarnation. Officially though, they're usurping the name of the classic 1960s series that began the greatest and most durable franchise phenomenon in the history of the entertainment industry. Which yes, makes me a little bitter. Give the film a subtitle and I'll shut up. Call it Star Trek: The Movie or something, I don't care. Just stop trying to get away with calling it just Star Trek. That name, my friends, is taken.So anyway... I'm on the fence about the film. I don't know what I feel. I wasn't a kid when TOS (The Original Series, duh!) was on TV. So I can't well claim that this new film is "raping my childhood" as so many fan-boys are. Yet at the same time, it irks the hell out of me to see someone else in those pointy Vulcan ears calling themselves Spock! The fact that this film will also feature the original, true Spock, the great Leonard Nimoy is a big help in keeping me from going rabid-dog on things.There is certainly a lot of energy about this new film. Weird thing is the energy is from outside the community of Trekkies. Normally, no one but us gives a rats ass about these films. Now it's sort of turned on it's head -- the outside world seems to give a frak, and the Trekkies are divided worse than ever. As if we needed more reason to be at odds with each other. TNG began that divide, and DS9 and VGR and ENT (if I have to explain all of those, you shouldn't be here!) only made the divide worse. That said I loved almost all of them and never got bogged down in those divides and arguments. Every show had it's merits and faults.Now though... I don't know. I just don't know how this new film fits. How the idea of new people as Kirk, Spock, McCoy, Scotty all fit into things. We've never faced this conundrum. In all of Star Trek history, there have been exactly two recasts. That's it. Considering there are 5 series, 10 feature films, and something like 700 hours of Star Trek... that's really saying something that only two characters have changed actors. Those beeing Saavik, originally played by Kirstie Alley in The Wrath of Khan and replaced (due to wanting too much money) by Robin Curtis in Search for Spock, and in Voyager, they brought in Susanna Thompson to play the Borg Queen twice, before returning Alice Krige to the role she owns in the series finale.So why the hell am I rambling on about Star Trek? Right, back to the new third theatrical trailer. If you've not seen it, it's not hard to find. Try for starters.OK, done? Heard that awesome trailer music, that reminds you a bit of the score for The Dark Knight?It's from a trailer music company called Two Steps From Hell and the track in question is titled "Freedom Fighters" from (apparently) their ablum Legend -- that all said, the company released a statement in response to the overwhelming response to the music stating it has never been released commercially and that Paramount obtained exclusive rights usage to the track, but that they may still release it on an album. Confused? So am I. Especially since I've obtained the track in question.I've also obtained the track from the second theatrical trailer. It's entitled, perhaps on purpose and perhaps ironically, "Down with the Enterprise" -- no I don't know if that means 'shoot them down' or 'down with my homies' as someone else asked me. I doubt it's coincedence though. Anyway, besides those two tracks, if you go into the movie website, you'll hear some background music. We don't yet know if it's a sample of the score to come or not. Either way, I've put all three tracks [...]



I've just today recieved my copy of the Two-Dic Collector's Edition Batman: The Animated Series score and having only yet listened to snipets thus far, I've got to say... if you have yet to purchase this set, do so, right now. I don't care about the economy, or the holidays, or how strapped for cash you are. This is worth it. I've got more or less all of the score tracks from this series that are available to have, in any manner. Trade, bought, shared, what have you. All of it combined does not live up to how truly fantastic in quality and selection the material on this set is. I'm blown away, especially considering how often I'm disappointed in such things.

I'll be writing a more detailed opinion, and (somehow) offering this material to you, though it's going to be problematic what with the volume of material when it comes to uploading... for now... go to and buy it. You'll thank me later.

Also, I'm aware this has fairly well become the "Batman Music" blog of late, but... it's just been a phenomenal year for the dark knight, what can I say? Starting in the new year I'll try to focus back on Sci-Fi. Likely to begin with the Terminator: Sarah Connor Chronicles score by prolific composer, Bear McCreary.

Out of Exile: Dark Knight Score Re-Qualified for Oscar Consideration!


Last month, the Academy (as in, 'I'd like to thank the Academy'?) ruled that the score for The Dark Knight was disqualified from Oscar consideration, because composers Hans Zimmer and James Newton Howard had listed five other individuals who helped them create the unique sounds for the score on the cue sheets. In other words, Zimmer and Howard did the stand-up nice thing of giving credit where credit was due, but not required to be given. For their good deed, the Academy screwed them over and disqualified the score for an Oscar because of some old rules on the books. They had done this before with 2005's Batman Begins and it seemed history was doomed to repeat itself.Thankfully, it seems that WB has it's Oscar battle brigade out in full force to support their tent-pole and the years highest grossing film. New information submitted by all effected parties - Zimmer, Howard, and the other five folks who helped them make the unique sounds they used - has convinced the Academy board in charge of such things to reverse it's decision. Thus, TDK's score is back in contention for an Oscar. The nominations are still 6 weeks away, and the actual awards ceramony 6 weeks after that, but this is one more step forward in the TDK Oscar crusade. For all of us score fans, it's a big feather in our cap.Also, in case you've been under a rock for a while and missed it, the 2-disc limited edition expanded score for TDK has been released. Head over to Amazon or anywhere else you might buy such from and snatch it up while you can. It's -- as you know -- exceedingly rare that a studio pays the fees required to put out an extended edition of a motion picture score. If not for TDK's box office revenue, it's likely this would not have occurred. It's one of the few commercial available expanded scores though, and it's financial success could convince studios of the viability of such releases. So buy, buy, buy!This is the time to put our money where our ears are, folks. We beg, plead, and cry for commercial expanded scores, and 99.9% of the time no one listens. So now that WB has, we have to put up or shut up. Amazon has it going for $47. Yeah, I know, a pretty penny for a score. If we buy it up though, we may open the flood gates and get more such releases in the future. So skimp, save, pinch pennies, and buy!Same for the article below, for Batman: The Animated Series 2-disc score. Put your money where your mouth is!UPDATE: I received my copy of the Limited Edition 2-Disc Expanded Score today (well, I didn't get the mail until tonight) and this is the first chance I've had to listen. The presentation of the set is exemplary. The outer box and the interior CD-holding inlays are of a material I can only describe as "leather-like" in feel. The CDs are presented within a 40-page color hard-bound book full of photographs from The Dark Knight. Sadly, no new information of interviews, comments, et cetera. Still, I'm quite pleased. I only wish my computer sound system was better (on an older system these days) so I could enjoy the music fully! Damn technology...As to why you don't have a link to listen yourself... honestly, I don't know when or if I'll upload it. I know it's hyper-hypocritical of me, but I want people to actually put their money out and buy this one. Why? Because it just might make an iota of a difference in whether or not we get future expanded score releases. So... I'll mull it over. I'm sure everyone has other sites they can locate it from. For me, for now, I just want to encourage everyone to actually pony up the dough for this occasion. It doesn't happen often enough.[...]

Batman: The Animated Series - Limited Edition 2-Disc Set


Hurry up and get over to LaLaLand Records where they have just released for order a 2-disc limited edition score of Batman: The Animated Series. I've known of this release for some time, back when it was just a rumor, and waited here at my computer an hour before it's exact release time - 3 PM EST/12 PM PST - so that I could place my order as soon as possible. By 3:46 PM EST, sources from LaLaLand say the autographed (by composers Lolita Ritmanos and Michael McCuistion) had already sold out. Hopefully, my 3:21 PM EST order will be signed.

The important thing, though, is the music itself. This is the first time, ever, in the 16 years since the series premiered that any of the musical score has been made commercially available. The 2-disc set is limited to only 3,000 copies, and it's expected to sell out within 12-24 hours, if previous rare releases by LaLaLand are any indications. So get your lazy asses over there, now, and order while you still can!

You may also want to grab a copy of prolific composer Bear McCreary's score from Terminator: The Sarah Connor Chronicles as I did. Bear's work is astounding, and I guarantee we'll be hearing his name during the Oscar ceremonies at some future point. His ground-breaking work on Battlestar Galactica has helped to re-define music scores across the industry, from the subtle to the overt.

I'll have a few review with details, track listing, and images, of both scores at some point post-December 16 (date of shipping for delivery). So stay tuned!

UPDATE: Amazingly, LaLaLand still has copies available for purchase. I'm also told by a source -- webmaster of the linked-to The Scores of Batman: The Animated Series -- that a second volume of B:TAS material is also ready to go, and that a third is in the works. So to get them, Volume 1 needs to sell, folks! Make it happen! I know so many people who have salivated over B:TAS scores for years... here is the chance! Take advantage!

Superman's Doomsday...


If you've been spending too much time in your Fortress of Solitude, you may not have heard that Warner Bros. recently announced it's plans for the future of the Superman franchise. Indeed, it's ambitions for the multitude of DC Comics properties in various stages of development by them. If you really want all of the details, you'll have to google them, but the highlights include the fact that the planned sequel to 2006's iffy Superman Returns is officially dead. Instead, WB and DC are concentrating on a complete 'reintroduction' of the character, in the same way that Marvel recently re-vamped the Incredible Hulk with Edward Norton this summer only a few years after the iffy Ang Lee/Eric Bana film from a few years ago. Likewise, the first effect of the box office mega-hit The Dark Knight (which just passed the $500 million mark this weekend, and has broken more box office records than any other film in history) is that WB and DC are going to try to adapt the "dark, real tone" of TDK to it's other properties.

What in the hell does that mean for Superman, an alien who can fly and shoot heat lasers from his eyes, and is indestructible unless you have a glowing green hunk or radioactive rock that's actually a chunk of his smashed home world? Who the hell knows. I just like the sound of it. What Christopher Nolan has done for comic book films is akin to what Frank Miller did for the character of Batman in the 1980's with his re-invention of the character in 'The Dark Knight Returns' - the ground-breaking graphic novel that 'gave Batman his balls back' after years stuck in Adam West and 50's comic book camp mode. Realism and darkness (likely of the villains) will now be a focus rather than wild fantasy without any explanation. Another important item is that the on-again, off-again Justice League live-action film has been likewise killed. Though it is planned to eventually do such a film, just how, when, and in what form is now in question.

So in lieu of the 'death' of one branch of the Superman franchise, and it's pending return in another form, I thought it might be appropriate to share the score from the fantastic recent animated feature Superman: Doomsday. The story for the direct-to-DVD film is, of course, Superman's apparent death at the hands of the creature known as Doomsday. What happens beyond that I'll not say, as, even though it's obvious Superman could never truly be perma-killed, it's more fun to watch the film than to hear me spell out the plot. It's out now, so go buy it, and give a listen to it's great original score.


Why So Spurious?


Ever since the digital release of the commercial score to the box office mega-hit 'The Dark Knight' two weeks prior to it's release, I've been waiting and wondering when an extended edition would find it's way to light. To be honest, I've only been into the blogosphere so briefly, I've never been witness to how long it usually takes. That said, the other night while on a now exclusive and closed to the public blog of soundtrack afficiandos, there it was: the extended edition. Or at least, that's what it might seem like to the less obsessive-compulsive. You see, for weeks now, I have been listening to the entire commercial release of 'The Dark Knight' on a near continous basis. Multiple times a day as I sit here, typing away, every day, for the better part of 5 or 6 weeks now. So it took me little more than 45 seconds of listening to the so-called 'exteded edition' to realize what it was; or rather what it wasn't.

I can't say why anyone would make a bogus extended edition. It seems to me a lot of work for nothing. Then again, if someone where making a profit from such a thing on the street, now then it might be worth the effort. You take the commercial release of 'The Dark Knight' and you mix it with the score from the films predecessor through a program such as NGWave, and there you go. Slap on a bogus label into a jewel case and set up shop somewhere, and you might make a few hundred dollars if you're really lucky and can avoid the authorities. The unsuspecting fool who purchased such spurious item from you goes home, pops it into his or her stereo, and hears what he or she believes is an authentic extended edition score.

Of 23 tracks, I found one of value. Just one. The end titles track, which was likely acquired through other means. If a theater where quiet enough at the end of the film, the right equipment could record such as the end titles played on screen. So I'm making that sole worthwhile track available now for all of you to download and add to your commercial edition. In the mean time, I'd advise everyone to avoid spreading around the false extended edition. It's faux cover image features Batman riding the Batpod. It's 23 tracks in length, roughly 100 minutes in duration. I found it split into two CDs. It's not the real thing, folks. Trust me, and pass on the warning.

Batman Begins, Extended Score...


In honor of this weeks pending release of The Dark Knight, the sequel to the critically-acclaimed 2005 Batman Begins, I've decided to share with everyone the expanded score from that original film. Unlike the commercial release, it's tracks are titled appropriate to scenes, and it - of course - contains all of the additional musical material left out on the CD. Why, oh why, do studios punish us by only releasing portions - often less than half - of the beautiful musical scores that acompany our favorite films and shows? I can only imagine how frustrating it must be to be a composer for the industry, and see your work chopped up into bits that fit well for a 45 minute commercial offering.

That said, enjoy this much more complete compilation...

The Dark Knight...


I have just obtained a copy of the original score to Christopher Nolan's The Dark Knight which opens in theatres July 18th. I have been waiting for this film all of my life, in one way or another. The early reviews of the film itself have compared it with "The Godfather, Part II" and other such highly regarded films. The Oscar buzz surrounding the late great Heath Ledger is massive, and began well prior to his untimely demise earlier this year. The film, from everything I have heard, read, seen, experienced, and been privy to, is surely to be an epic unlike anything we have seen before. I believe it will redefine the "comicbook" film from what it has been, to what it will be in it's wake. Serious drama, serious actors, and serious story-telling will take the place of the more "comic" aspects of things. I am dyeing of anticipation to see it at 12:01 AM on Friday the 18th of this month. All of this said, to be able to hear the musical counterpart to the film now, two weeks prior, is a privilege. A privilege I am pleased to share with all of you.A friend of mine wrote his detailed review of the scores tracks, and I can not improve upon such, so I will simply share it with you as a commentary to accompany it. It has been included in the ZIP file archive as an RTF (text) file. I urge you to read it. UPDATE: OK folks, third times a charm! The first copy I uploaded was lower-than-I-like quality, and corrupted the final track at 6 minutes. The second copy had better quality, but the final track was corrupt once more, this time at 12 minutes. Well hot off of a torrent, I've acquired a full and functional copy for you all. So... again... enjoy.Why So Serious? (9:14)I'm Not a Hero (6:35)Harvey Two-Face (6:17)Aggresive Expansion (4:36)Always a Catch (1:40)Blood on My Hands (2:17)A Little Push (2:43)Like a Dog Chasing Cars (5:03)I Am The Batman (2:00)And I Thought My Jokes Where Bad (2:29)Agent of Chaos (6:55)Introduce a Little Anarchy (3:43)Watch the World Burn (3:48)A Dark Knight (16:15)[...]

Another Something Small...


Composer Mike Verta, after a visit to ILM (Industrial Light & Magic - the SFX house) where he saw Star Trek XI being worked on, was inspired by the premise of the film, it's youthful and re-energized characters, to create his own take on the classic 1960's series original theme song. He has made it available for download for all, as it was done purely in fun and is in no way linked to Star Trek XI or any other venture. I think it's utterly fantastic. I'm sure you will too.

Something Small to Share...


Just something small I thought I would share with everyone. Since the second season Battlestar Galactica episode "Valley of Darkness" first aired a few years ago, I've been intrigued by a piece of music Kara 'Starbuck' Thrace played when she and Karl 'Helo' Agathon stopped by her apartment on the desolate and abandoned Caprica. The music was a solo piano piece, played apparently by Starbuck's father, and wasn't included on the season 2 soundtrack much to my disappointment. Normally, my research skills are second to none; I recently found out a plethora of personal information about an online friend of mine on a dare, much to his surprise (and mild horror at what you could do with only a name and single other personal detail). Yet I never knew until now that this piece of music was not originated by nBSG's prolific genius composer, Bear McCreary. In fact, it was a piece by an artist named Philip Glass, and was available if only I'd known of such. Now that I've found it, though, I feel compelled to share it. It's an unofficial addendum to the official soundtrack fo Battlestar Galactica season 2. Enjoy!

I Have Obtained My Holy Grail...


Batman: The Animated Series. Since I was a school boy when it debuted in 1992, I have loved this show. Though the reasons changed as I grew older, it has remained one of my favorite programs of all time. It has stood the test of time and come to be considered by the majority of Batman fans as perhaps the best incarnation of the dark knight ever created; beyond even the comics from which he originated. It shook the foundations of animation and changed the way people view "kids cartoons" forever. Part of how it did so was through it's beautiful original score, composed in large part by the late great talent of Shirley Walker. For years, obtaining any unadulterated excerpt of the score has been a near impossibility. What little has been released was done for publicity purposes, and has become primarily lost through the years. Even with the abundance of peer-to-peer programs, and the massive expanse that is the internet... some things simply remain out of reach. Or at least... they used to. Tonight... this morning, actually... I am beyond pleased to present to everyone, what has been my holy grail of entertainment scores. The largest portion of scores from Batman: The Animated Series that I have ever seen, heard, or obtained. Gotham Trouble (1:50)Joker Theme (0:54)Bad Joke (0:17)Night Search (1:31)Over the City (0:51)Mad Love (0:35)Big Trouble (3:50)Sad Romance (1:15)New Power (1:42)The Plan (1:40)Observation (1:59)Rescue (3:13)Trapped (2:28)Fight (2:43)Hero Again? (2:44)Sadness (0:32)Gotham Night (0:17)Ready for Action (2:09)Bad Guys (0:15)Robbery (0:48)Needing Help (2:49)Police (0:20)Finale (6:26)[...]

A Lead on Batman Animated Score!


I'm so very excited that I just had to post about this! I've got an honest-to-god lead on the score from Batman: The Animated Series (1992-1995)! No joke, no DVD-rips! Pure Shirley Walker gold from a very limited release of various parts of the shows score; an actual CD they did back in the day that was (of course) never sold in stores, but rather given to various media outlets. I've obtained track one of thirty so far, and by god... this might just be the ultimate auditory orgasm giver. Especially for a fan of BTAS and Shirley's fantastic score from the show. Once I obtain the entire thing, I will be posting it here pronto-post-haste for everyone, as I know how truly awesome and rare such a thing is and I simply must ensure as many people obtain a copy of it as possible so that it stops being a rarity of the likes of the holy grail. I'll also make sure larger outlets like La Leyenda have it as well. Screw 'exclusive' to my blog... I want this out there in the world so that everyone can enjoy it!

Everyone cross your fingers, dot your I's and cross your T's, and pray to whatever deity you believe in that I get my hands on this!

Return of the Procrastinator...


If I have one flaw (in truth, I have many) it is that I procrastinate. I put stuff off. I do tomorrow what I should have done last year. It's often mistaken for being lazy, some people try to pass it off as being 'too busy' but the cold hard truth is... it's a lack of motivation. I would simply rather do something else, I'm afraid. Still, I enjoy this, I truly do. It's just, I enjoy other things more. It's like sex and food. Who here, honestly, doesn't enjoy sex more than food? You certainly enjoy both, I'm sure. But if you're going to do one over the other... well, it's obvious what most people would choose. Same situation here. Only, no sex or food. But you get my point... Now, normally, I'd 'return' and share something big and rare with you. Some fantastic, out-of-this-world, super-rare score. I'm afraid that isn't going to happen today. I haven't obtained much new, and what I do have can mostly be found elsewhere. So I thought instead of re-posting things others have done, I would post something small that few have. In this particular case, that would be a small collection of - I believe 5 - variations on the Terminator 2: Judgment Day theme. I'm sure those of us who are Terminator fans have all seen Terminator: The Sarah Connor Chronicles, which is a new action-drama on FOX (worst. network. ever.) You may also have heard that Terminator 4 (better known as it's official title: Terminator Salvation: The Future Begins) is soon to start pre-production, with casting currently under way (Batman Begins' Christian Bale is confirmed as John Connor; James Brolin is rumored to be favored for the new Terminator). So with such revitalizations going on throughout the franchise, I thought it a good time to share these rare variations. One or two are techno, two I know are brilliant re-writes. Enjoy![...]

Rediscover the Undiscovered Country...


1991. The Cold War was over. The Iron Curtain had fallen. So it was only fitting that as the real thing came to an end, so did the fictional cold war between Star Trek's Federation and the Klingon Empire. With Gene Roddenberry's health poor, the powers that be at Paramount very wisely came to Leonard Nimoy to take the proverbial helm with things. Nimoy had previously directed Star Trek's III and IV to great success, but never before had a cast member made the transition to a role of such creative control and power as Nimoy did as Executive Producer of the 6th Star Trek film. Leonard hired Nicolas Meyer (director of Star Trek II: The Wrath of Khan) to direct, and together they orchestrated the final voyager of the original crew of the Enterprise on the shows 25th anniversary. The score to Star Trek VI: The Undiscovered Country stands out as unique through it's dark, brooding, ominous themes that resonate throughout, offset by it's more typical upbeat and hopeful elements. Composed by Cliff Eidelman, one of the only composers in Star Trek not to return and compose for other elements of the franchise, the score to TUC (as it's known in internet short-hand) is one of the few Star Trek scores that stands alone. It fits the film itself perfectly, in my humble opinion, and I've often wondered why Eidelman never returned to Star Trek. For the past 15 years, most of us have only ever heard the 13 tracks made available on the commercial album. Recently though, I discovered the expanded edition through my friend Jose at La Leyenda De Los Soundtracks. As far as I know, he is responsible for putting it on-line first, so credit goes to him. I've re-uploaded it so that we aren't mooching off of Jose's download link. Enjoy![...]

Battlestar Galactica Season 3...


Jose over at La Leyenda De Los Soundtracks has just put up the third season score for Battlestar Galactica (2003). The score was made available pre-release during an autograph signing with composer Bear McCreary back on October 9th. It is officially released later today, October 23rd, and I'll be buying my copy then. Early bird gets the worm, though! For the next few hours, this is still an 'unreleased' score. Either way though, it's fantastic music. Bear McCreary is the most innovative composers I've ever known of. He's ranked as one my top 3 composers (Jerry Goldsmith, Shirley Walker being the other 2). He's also a nice guy; responded to an e-mail I sent him once, something not many people in the business do.

Anyway, since La Leyenda has had to close to the public (subscribers only now - too many people where re-distributing the scores as their own without giving proper credit) I'm going to direct-link you guys to the download...

Oh, What A Week...


Oh, what a week I've had... Who would have ever thought that getting a new(er) computer to upgrade to would be such a monumental and frustrating chore? I thought I had some concept of this before I began such, and yet in hindsight now, I see I was sorely unprepared for the true scope of such an undertaking...It all began three weeks ago. A friend asked me to come and play an on-line game with him, like we once upon a time used to do. I was willing to oblige, but unable courtesy of antique hardware. So my friend decided to take it upon himself to catch me up some on the latest hardware. Well, sort of. One of his old computers (he goes through them like the seasons change) was more than suitable to get me up to spec, so he provided me with such. Thus began the frustration of data migration... You all know without me having to tell you, just how large a file collection can become - especially a soundtrack or even general music collection. Well I'm a collector of many things, so whatever number of gigabytes you have rolling around your head, quadruple it. Then double whatever you just came up with. That's me. And migrating that much data from a 5-year-old computer equipped with only USB 1, well... if you know technology, you know how long of an ordeal we're discussing. Hours upon hours upon hours, as my data snaked it's way up along a USB cord at a snail's pace, moving from it's comfortable home hard drives to a new naked external drive in the effort to save my most precious data. A week later, I'm finally just getting settled in on this new machine. Setting things to my preferences. Trying to remember oh so many password and login combinations that I'd had stored via auto-complete in my old machine. Still, I didn't want to keep with the negative trend of going more than a week without posting something new. So I scrounged together a score I'm quite fond of, even if it is a commercial release (translation: lacking in additional and/or rare content). One of those summer blockbusters of a few years ago, The Day After Tomorrow sounds somewhat like the title for a Bond movie. On the contrary though, as Global Warming became more of a central issue, this movie cashed in through the use of a awesome special effects, a 20-something heart-throb (Jake Gylenhaal) and some veteran talent (Dennis Quaid, Sela Ward).The score is by a fellow named Harold Kloser, whom though I can't for the life of me say I've heard of before to my off-the-top-of-my-head-knowledge, created a wonderful score with a brooding-yet-hopeful central theme. Have a download and a listen, and enjoy. ;)[...]

Big Chance to Get Away From It All...


McCoy: "Where are we going?"Kirk: "Wherever they went."McCoy: "Suppose they went nowhere."Kirk: "Then this will be your big chance to get away from it all."-- Star Trek II: The Wrath of KhanThat pretty much sums up where I've been at: nowhere. It's been two weeks since I last "blogged" simply because... well, I'm new to this, and I forgot. Call it attention deficit disorder, call it busy, call it lazy, or call me a procrastinator... any and/or all of those work and are apt to apply to me. Why? Well, why is the sky blue or the grass green? Ok, bad examples, as those actually do have answers when you get down to the science of it. Point is, asking me to explain why I am the way I am would be inviting a lecture. One you don't want to hear (or read as the case may be) and one I certainly don't want to supply. So... you'll just have to take some solace in the fact that I'm here, now, and come bearing gifts. Well, a gift actually. Singular. But it's a good one for all you Sci-Fi Score fans out there in the internet etherland!In the fall of 1995, the FOX network did something they're well known for; they picked up a risky high-concept show that would become a cult classic. At the end of that season, in the spring of 1996, they would do what they're notorious for; cancelling said risky high-concept show due to a variety of reasons (idiocy, impatience, incompetence, arrogance). Still, like oh so many beloved-but-cancelled FOX shows, it was 'the little show that could'. Could do what? Survive. Even in the barren depths of cancellation, far from the cut-off point for standard syndication (24 out of a required minimum 75 episodes) the show would cling to the ribs of those who had inhaled it during it's run and eventually find some rebirth (or perhaps re-breath if we want to keep with the silliness) through the Sci-Fi Channel, and finally, years later, release upon DVD.What was this show? Well, in internet short-hand, you might think someone is speaking about a car, but you'd be wrong. When someone says SAAB in a sci-fi context, it's not the automobile they're referencing, but dynamic duo Glen Morgan and James Wong's short-lived love-child, Space: Above & Beyond. Morgan and Wong, one of the best creative duos I've known of, are most-well-known for their work on The X-Files. SAAB was their baby, though. The aforelabeled risky high-concept of the show was simple on the surface; space marines. No, we're not talking Starship Troopers style of space marines. We're talking realistic and bold, fresh and unique. Something actual marines could be proud of. Set in 2063, the show followed the primary 6 members of the 58th Squadron, the Wildcards. Five of them team members and the sixth, their CO, Colonel McQueen. From various backgrounds, the 58th found themselves on the front lines of a brave new world; interstellar war with the first known alien race. Now, I could sit here and lament how that, if FOX has simply shown some patience and flexibility, SAAB might have survived longer than a mere one season. In my opinion, if a show doesn't achieve ratings success in a particular day and/or time, the smart idea would be to move the show to another day and/or time to see if it achieves an audience there. Maybe even do that more than once before flushing such an investment down the toilet. This is FOX, though. Any genre fan knows from the get-go; if it's on FOX, don't get attached to it. Outside of The X-Files, no genre show has lasted on the network. Despite this, they've traditiona[...]

Never Quite Understood Blogs...


I've never quite understood blogs before... honestly I can't say I do now that I'm doing one, either. LOL. Most people 'blog' about their life, their job, their beliefs, whatever else. They say it's therapeutic, and I don't doubt that; but who in the hell wants to read about other peoples lives like that? Seriously! So I won't bore you all with such ramblings. I'll just point you to some more awesome Sci-Fi Scores! These are not my own uploads, but rather ones I ran across myself. So I can't take any credit for releasing them, nor would I -- I'm just letting everyone know of them and where to find them! My logic being, the more people who have this stuff, the better; if only six people have it, it can be destroyed or deleted or what not. If a thousand people have it, it's that much harder to get rid of! That's been my philosophy with rare scores, but until now I've had no outlet to practice what I preach and share them with others.Over at From Unknown Origins I happened across a rare score (actually, three - but I had the other two) from Star Trek: Enterprise. I know, I know, that was the worst of the Star Trek series and it lead to the demise of the franchise pretty much, but this particular score I'm pointing you towards (or rather, two scores in one download) is primarily from one of the few good episodes of the show: "In a Mirror, Darkly" - the season 4 duology which was done totally in the Mirror Universe, and offered us a chilling view of an alternate reality. The episode was also the first and only time in 40 years of Star Trek that they created alternate opening titles for the show, specifically for those two episodes. While that theme has, of course, been available to download since the episode aired, the score for the entire two-parter contains a higher-quality copy as well as all the rest of the duologies music.In addition to "In a Mirror, Darkly" this download also has the score for the Enterprise finale episode "These Are the Voyages..." which is widely considered the worst. finale. ever. Still, it had a few moments of good music - especially the end track which featured elements of the famed Star Trek theme. And since it's included in the "In a Mirror, Darkly" download file... you don't have much choice but to download it anyway! Both scores are the work of veteran Trek composer Dennis McCarthy who also scored the opening theme to Trek-Sibling Deep Space 9 as well as the seventh feature film, Generations (of which I'm looking for the expanded non-SFX score of!). The download link is about 25% of the way down the page, so to save you time, here is a direct link... that link doesn't work, just let me know; I've got the score myself so I can make an upload of it.Also, if you're a Trek music fan and want the scores for Enterprise episodes "Canamar" and "Regeneration" they're both over there as well. I've seen them on other pages, though, so I do not know if those two are exclusive or not. If you want them, you know where to go find them. Thanks to From Unknown Origins for "In a Mirror, Darkly" and "These Are the Voyages..." scores!EDIT: Finally got around to uploading the score to replace the original dead link. Sorry for the delay, but as I mentioned in a previous entry, I'm a procrastinator! I almost delayed putting it up longer, under my copy of Enterprise season 4 comes from Amazon, so that I could generate proper titles for all the tr[...]

I Thought I Was Alone...


Two weeks ago, I thought I was alone. I thought I was... well... weird because unlike the majority, I don't really care that much for music with lyrics in it. Instead, I prefer my music in instrumental format; naked and untainted - devoid of the words of others telling you what you should think or feel as you listen. I don't want to be told a literal story with my music: I want to discover the story within the notes, to devise as many stories as I can from each title. In a nutshell, I don't want to be ordered to "hit you, baby, one more time" or anything else of the kind. In this day and age, the only such music that gives you that right in my personal experience is that of the score; motion picture or televised. The added bonus of such works being that, if you choose, you can easily connect them in your mind to the visuals and dialogue, faces and stories, of the productions they are created for. You receive the best of both worlds - both being able to imagine and create your own story, your own feelings, and/or being able to envision and follow those stories and feelings laid down by others.Two weeks ago, I thought I was alone. Then I found you all. Through La Leyenda De Los Soundtracks I discovered not just a massive cache of untold riches, a gold mine of scores - many extended beyond their limited commercial releases - like I had never dreamed existed. As I ventured beyond it's bounds, I found it was but one member of a community I feel I have been searching for. Though I have only explored the surface depths of this rich and wonderful world, I have found that - to my surprise - I have scores to share. Somehow, I have obtained a small handful of scores that it seems others have not. So I created this blog, in order to join the community; to share and enrich you all, as you have me. It is with that in mind that I post my first release, which I know from personal experience to be something highly coveted...In 1992, Bruce W. Timm and Paul Dini created their own unique vision of Batman. In doing so, they combined all of the right elements in just the right way, and accomplished something no one expected: a definitive portrayal of the Bat and his universe. Amongst all the variations upon Batman over the decades, from the first comics, the 1940's serials, the camp of the 1960's Adam West and 1970's Superfriends, to Frank Miller's legendary restoration of Batman's edge, Tim Burton's gothic experiment, Joel Schumacher's destructive touch, and finally Christopher Nolan's salvation, one incarnation of Batman has emerged above them all, to be held in high regard by a large majority of bat-fans as the ultimate and unchallenged champion. This was Batman: The Animated Series also known as 'The Adventures of Batman and Robin'. This series gave birth to the character of Harley Quinn, the Joker's bubbly-bimbo girl sidekick - and the first and only character created outside the comics to then be incorporated into them - as well as the definitive portrayal of the Joker by (of all people) Mark Hamill (Luke Skywalker of Star Wars) and began the decades-plus reign of Kevin Conroy as the voice of Batman. Though re-invented briefly as 'The New Batman Adventures' AKA 'Batman: Gotham Knights' and parent to 'Batman Beyond' and, in a sense, the 'Superman' animated series and 'Justice League' series which followed in it's footsteps, it is the original 89 episodes of 'The Animated Series' which continues to dominate after 15 years[...]