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Section Header
Amazing Stories
(1985)
1999 Varèse

2006 Intrada
Anthology 1

2006 Intrada
Anthology 2

2007 Intrada
Anthology 3

Composed and Conducted by:
John Williams
Various

2006-2007 Anthologies Produced by:
Douglass Fake

1999 Re-Recording Conducted by:
Joel McNeely
John Debney

1999 Re-Recording Performed by:
The Royal Scottish National Orchestra

1999 Re-Recording Produced by:
Robert Townson

Labels and Dates:
Varèse Sarabande
(May 18th, 1999)

Intrada Records (Anthology 1)
(May 12th, 2006)

Intrada Records (Anthology 2)
(August 29th, 2006)

Intrada Records (Anthology 3)
(June 12th, 2007)

Also See:
SpaceCamp
Indiana Jones and the Last Crusade

Audio Clips:
1999 Re-Recording:

1. Main Title (0:31):
WMA (204K)  MP3 (254K)
Real Audio (179K)

10. Jonathan Begins to Draw (0:29):
WMA (193K)  MP3 (239K)
Real Audio (168K)

11. The Landing (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

17. Dorothy (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)


2006 Anthology 1:

CD1: 1. Amazing Stories Main Title (0:29):
WMA (193K)  MP3 (239K)
Real Audio (168K)

CD1: Alamo Jobe: 10. First Chase (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

CD2: Without Diana: 9. Park (1946) (0:29):
WMA (193K)  MP3 (239K)
Real Audio (168K)

CD2: Mummy, Daddy: 17. Kung-Fu Mummy (0:31):
WMA (200K)  MP3 (254K)
Real Audio (179K)


2006 Anthology 2:

CD1: Boo!: 6. Zombie Attack/Each Other (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

CD1: Thanksgiving: 34. Dora's Gifts/Calvin Returns (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

CD2: No Day at the Beach: 36. No Day at the Beach (0:29):
WMA (191K)  MP3 (239K)
Real Audio (168K)

CD2: Santa '85: 43. From the Sky Above the House (0:31):
WMA (202K)  MP3 (254K)
Real Audio (179K)


2007 Anthology 3:

CD1: Go to the Head of the Class: 3. Curse of Dolkite (0:32):
WMA (213K)  MP3 (269K)
Real Audio (189K)

CD1: Go to the Head of the Class: 5. Cemetery (0:33):
WMA (213K)  MP3 (269K)
Real Audio (189K)

CD2: The Mission: 26. The Mission (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

CD2: 37. Amazing Stories End Credits (0:28):
WMA (182K)  MP3 (224K)
Real Audio (158K)

Availability:
The 1999 Varèse Sarabande album is a regular U.S. release, available commercially in stores. The three anthology sets from Intrada in 2006 and 2007 were limited to 3,000 copies each. Despite anticipation that demand for these sets would be feverish, neither of the first two anthologies sold out in the first year of release.

Awards:
  None.









Amazing Stories
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Buy it... on the 1999 Varèse Sarabande re-recording if you only have a passing, casual interest in this series and its wildly varying musical styles.

Avoid it... on the second Intrada anthology set if you seek the highlights of the series in original form, most of which appear on the first and (mostly) third anthologies.



Williams
Amazing Stories: (John Williams, Various) A great concept with poor execution, the "Amazing Stories" television series of the mid-1980's was a model of wild inconsistency, and it was that variance that led Steven Spielberg's idea to an unfortunate end after only NBC's initial commitment of 40+ episodes over two seasons. Nobody would argue that "Amazing Stories" offered some of the best science fiction and fantasy television ever seen, but for every brilliant episode directed by one of Hollywood's greatest minds, there was a surprisingly stale dud. Such was the inevitable fate of an idea that allowed for each episode to contain a different director and crew; the quantity of episodes was the show's greatest weakness. Had the number per season been cut in half, with only the truly best entries offered, "Amazing Stories" may have survived several seasons longer. As the episodes have aged, though, the standout stories have continued to linger in the memories of viewers who were originally caught up in all the hype of the series' debut. Both the list of directors and composers contributing to the series were extraordinarily impressive. That list of composers alone includes most of Hollywood's big names today, some of whom obscure at the time. Spielberg had always insisted on a significant budget for the music of each episode, employing his usual partner, John Williams, for the title music and two scores for memorable episodes. The opportunity to write short scores (usually 15 to 20 minutes at most) with 45 or so studio musicians was too much fun for most composers to resist, and most standard director/composer collaborations extended to "Amazing Stories" episodes. The locations and ensemble of each episodic recording differed significantly; for the standout episode of "The Mission," John Williams utilized 66 musicians, an unheard of sum for the television medium at the time. In other cases, lesser known composers employed only their own array of synthesizers for the task, sometimes recording their work far from Hollywood. As you would expect, the sound quality of each episodic score was highly varied, as was, of course, the actual style presented by each composer.

In the end, most listeners still equate "Amazing Stories" with John Williams, and his impact on the series cannot be debated. Williams approached the project as though it was a feature Spielberg film, providing all the complexity of character typical to his work. His adventure writing for the series' title theme is as wondrous in tone as any of his major scores of the 80's. Demand for a recording of this theme on CD led the Varèse Sarabande label to commission a recording of the title music, as well as two episodic scores, by the Royal Scottish National Orchestra under the direction of Joel McNeely and John Debney. This 1999 recording may not have stirred up as much interest as the other recordings of the RSNO pressed by Varèse in the late 90's, but for many years it was the only souvenir on CD from the series. In the mid-2000's, Intrada Records would unlock the vaults containing all the master tapes for the show's actual music and produced, over the years of 2006 and 2007, three 2-CD anthologies of that material. This review will cover all three of those anthologies first, and will follow up with the Varèse re-recording at its conclusion. While Doug Fake at Intrada must have been delighted by his access to pristine master tapes for the entire series upon his efforts to produce the anthologies, his task of arranging all the vastly differing episodic scores into listenable packages must have been an adventure all in itself. The anthologies don't seem to have any particular scheme of arrangement in relation to composers or the recording or air dates of the music or episodes. In fact, the only distinction one could make about the presentation of the scores throughout the three Intrada products is that they were arranged to sell best, holding off on the two strong hour-long episodes' scores (by Williams and Alan Silvestri) until the third product. The Intrada anthologies offer nearly everything a listener could wish for from the series, though it should be noted that one of the two episodics by Danny Elfman and Steve Bartek, as well as music by the often underachieving Brad Fiedel, was left off of the sets. Additional Elfman material can be found on his "Music for a Darkened Theatre: Volume Two," however. The remaining scores missing from Intrada's albums were composed by names you likely won't find in the rest of your film music collection.

John Williams composed several different versions of the title theme, short bumper music at commercial breaks, and end titles. The first Intrada anthology from 2006 opens with the most famous version of Williams' title theme, recorded with the full 60+ ensemble from the recording session of "The Mission." From there, we hear Williams' score for the first (and famous) episode, "Ghost Train." Smaller in stature, the score resembles Williams' softer character scores of the 80's, with a surprisingly anti-climactic conclusion during the train's arrival. It is the only episodic score to utilize the title theme of the series, delicately weaving it into the score in full once and in short references throughout. "Alamo Jobe," the series' third episode, was the lone entry by James Horner. His music here is a curious cross between his standard 80's action motifs and the instrumentation that would be so prevalent in his The Mask of Zorro score (and sequel). With flavor from harmonica, acoustic guitar, and castanets, this episodic work would be among the most interesting to hear performed by a full ensemble. For "Gather Ye Acorns," series regular Bruce Broughton would create a very slight Americana tone led by harmonica and woodwind, with a jaunty rhythm led by piano highlighting the end. Two source cues, including some blazing rock music in "1985," interrupt the proceedings, but definitely wake you up. The engrossing, Emmy-winning episode of "The Doll" features an understated effort by Georges Delerue, another series regular. Strings, woodwinds, harp, and celeste eventually build to a lovely thematic statement during the episode's final scene of realization. Composer Billy Goldenberg was among the most active in the series, having worked with Spielberg in his early efforts of the 70's (before meeting Williams). For "The Amazing Falsworth," Goldenberg creates a chillingly dissonant score, with strange textures and manipulations revolving around a solo piano representing the story's primary character. David Shire, whose presence was also heard multiple times on the show, provided "Moving Day" with an interesting musical battle between the orchestral (earth) and synthetic (alien). While the final two tracks bring the best of these elements together, the sick alien march in "That's Alturis" is quite memorable.

While Delerue receives most of his attention for his other scores in the series, his work for "Without Diana" is superior. The last score recorded for the series, it opens with the great old swinging style of Delerue jazz and concludes with a lush and melodic series of thematic statements typical to the composer's romantic sensibilities. The often discussed "Mummy, Daddy" episode and score features an early Danny Elfman with the assistance of Steve Bartek in their prime era of creativity. It's vintage Elfman comedy, with a touch of Beetlejuice and Tales from Crypt in its crisp recording of percussive specialties. Highlighted by organ and harmonica, this thirteen minutes will be a delight for any Elfman collector. For Clint Eastwood's "Vanessa in the Garden" episode, Lennie Niehaus offers a conservative score more lushly robust than many of his more famous works. Concluding the first anthology set is Broughton's "Welcome to My Nightmare," a score much different from his other entries in the series. An awkward balance between Herrmannesque horror and keyboarded romance, it's easier to appreciate than it is to enjoy. The second anthology, released later in 2006, continued the same format Intrada presented on the first product. After a variant on Williams' title theme, the Joe Dante/Jerry Goldsmith collaboration continues with "Boo!" Coming at a time when Goldsmith was at the height of his synthetic endeavors, the composer turned down the usual 45 player offer and only used 13 to create a largely electronic score not in the ranks of his best. A standard, pretty family theme for woodwind and keyboard is really all that ties this score to Goldsmith's usual tendencies. An even smaller ensemble was employed by Billy Goldenberg for "What if...?" His chamber orchestra cues and synthetic keyboarding are overshadowed by one wild rock track. Delerue's overrated score for "Ben and Dorothy" features mostly strings and acoustic guitar. Its final few minutes are memorably attractive, but the score as a whole is too subdued for a solo listen. The first of two scores by Craig Safan on these sets exists for "The Main Attraction," the second episode of the series. For the anti-high school jock story, Safan uses a parody of a school marching band as his title theme and an equally comical parody of movie love themes for the nerdy ending.

Some very early work by David Newman is heard next in "Such Interesting Neighbors," a score with pieces removed from the aired episode. An electronic harpsichord provides decent sci-fi attitude, though the overall score is short on style. Bruce Broughton returns for "Thanksgiving," perhaps the highlight of the second set. Containing unique instrumentation for series, including the only use of small choir, the score offers significant creativity and beauty throughout. Opening the second CD of the second anthology is "Hell Toupee" by the illustrious David Shire. It's one of the better comedy entries, with several interesting motifs and funny synthetics, though the score was awkwardly recorded in mono sound for its first half and stereo for its second half, ruining its flow. Johnny Mandel's only contribution to the series is "One for the Road," with sparse constructs, but appropriately funny instrumentation in its employment of tack piano, banjo, and woodwinds for the episode's era. For the hysterical "Remote Control Man" episode, 80's cult composer Arthur B. Rubinstein creatively pulls inspiration from several places, including famous tv themes and his personal favorite from Wagner's classic work. John Addison, nearing retirement at the time, wrote two scores for the series' second season, including "The Griebble," an innocuous, pleasant, and upbeat orchestral comedy piece. In stark contrast to this style is Leonard Rosenman's highly layered orchestral battle cues, some overtly brutal, for "No Day at the Beach." Another highlight of the album, these cues unfortunately dissolve into mundane underscore in the remainder of his score. Thomas Newman had only been composing for a year when he offered his lone entry to the series for "Santa '85," a score that would foreshadow many of the composer's techniques in years to come. Already showing promise in his handling of percussion (which dominates these cues), Newman also leads with three pianos in performances of the episode's attractively heartfelt theme. The second anthology would conclude once again with Williams' "End Credits" music for the series, though a "Christmas Version" of his Amblin logo, heard in its original performance at the end of the first anthology, would be offered appropriately (given Newman's music just prior).

The third and final anthology set from Intrada opens with yet another variant of the opening title, this one containing slight synthetic effects. This set would contain both the outstanding hour-long episodes' scores (all other shows in the series were 30 minutes in length). The second season's "Go to the Head of the Class" would reunite some of the cast and crew from the still popular Back to the Future. With Robert Zemeckis directing, Christopher Lloyd acting, and Alan Silvestri composing, it's not surprising that one of the more frivolous motifs from the famous film --the ascending pairs of notes, usually led by piano-- makes a few appearances in this episode. This is one of the few scores in the series with its own theme, debuting with a menacing organ of religiously classical attitude in "Cemetery." Silvestri's work here is entirely synthetic, but he uses such a broad library of sounds that you hardly notice; the macho "Curse of Dolkite" cue, with its super cool rock rhythm in a spooky atmosphere, is a surprising highlight of all three sets. Snazzy sound effects litter the score, effectively mirroring the wild attitude of the episode. Following is Craig Safan's "The Wedding Ring," which adapts a 1946 song about Atlantic City into both song and score formats. It's paired with an engaging orchestral style of high comedy spirit for an entertaining result. Michael Kamen, who himself was not yet famous at the time, composed for "Mirror, Mirror," an episode with considerable score. It's highlighted by a fantastic opening horror sequence (not much of it was used in the episode, though) and an equally wild finish. The final entry by Bruce Broughton on the sets is for "Mr. Magic," for which he composed a series of rather obnoxious modern lounge band pieces. On the second CD, Billy Goldenberg's "Secret Cinema" is an extremely inconsistent piece for the cause of paranoia, ranging from orchestral simplicity to modern pop, and from to carnival music to synthetic horror. Television scoring legend Fred Steiner would lend his services to "Life on Death Row," with music consisting of mostly textured contemplation until a memorably grim finale for layered strings and percussion.

John Addison once again lightens the series with his jaunty and entertaining pieces for orchestra and electric harpsichord in "The Pumpkin Competition," a score among the best comedy entries. For "Grandpa's Ghost," the final episode of the first season, little known Pat Metheny provides very light electronic keyboarding for the tender episode. It's soothing, but underwhelming. Generally considered to be the best episode of the series (and featuring the most impressive cast at the time) was "The Mission," the first season's hour-long episode directed by Spielberg. To accompany the story of the damaged World War II bomber and the imagination of a belly gunner stranded beneath the plane, Spielberg allowed John Williams the full 66 member ensemble that would also record the title music for the series. Williams delivers with a score that is widely known to be the series' best, if only because the composer used his standard 80's style of action and drama in its most lush and full incarnations for the episode. Tense drama from Williams culminates to a spectacular final track that uses progressions with strong hints of marches to come in Inidana Jones and the Last Crusade before erupting into the kind of magically heroic explosions of theme that only Williams could convey at the time. Some of the cues Williams recorded for this episode were ultimately dropped from the show, though Intrada's presentation here, as with all the episodic scores, is complete. Because of the presence of both this pivotal Williams score and Silvestri's entertaining entry, the third anthology is easily the best of Intrada's sets. The first anthology ranks second, for it offers the other Williams score and the highlight from Delerue's contributions (in addition to the only Horner and Elfman representation). The second anthology definitely falls behind the other two, with Goldsmith's entry failing to muster much interest. All three sets are absolute masterpieces in production, however; Doug Fake has spared no expense in his efforts to provide an outstanding mastering and arrangement of this mass of music, with extremely detailed liner notes to walk you through most of the details. Sound quality is strong on most (the only disappointment comes with the mono recordings of part of Shire's "Hell Toupee").

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Interestingly, however, the anthology sets don't tend to be viable as a continuous listening experience. They are the kind of sets that remind of the John Beal collection of trailer music from Sonic Images; each individual piece merits curiosity and could potentially entertain you. But the style of each episodic score varies so greatly that you will find yourself picking out highlights for your own collection of "Amazing Stories" music. In each case, they are an intellectual attraction, but for mainstream listeners, none of the single sets will likely be an option. That is, in part, why the sets are each limited to 3,000 copies and marketed to the hardcore film music collectors. More appealing to people with only a moderate interest in the "Amazing Stories" scores, and casual John Williams collectors in particular, is still the Varèse Sarabande re-recording from 1999. The production quality of this Varèse collaboration with the RSNO is equal to their others, with outstanding arrangements and sound quality. Joel McNeely conducts the Williams portions with precision, evoking the same magical zeal of the original recording. The availability of "The Mission" and the opening and closing titles guarantees the usefulness of this product, though the selection of the second score for re-recording is suspect. "Dorothy and Ben" was not Georges Delerue's best entry in the series, and while the episode may be better remembered by the mass populous, there are several other episodic scores from the series that would have made this a far better album. John Debney's conducting is adequate, but there isn't much outside of the closing minutes to remember. The Varèse album is the safest "Amazing Stories" product to recommend, whether you're an avid film score collector or not, because it offers the best Williams material and obviously boasts an impressive performance by a fuller ensemble in clear, digital sound quality. From there, the third Intrada anthology is the next step. The music from "Amazing Stories" will forever be remembered as one of the greatest collections of artistic minds ever put into the same production, and these albums from Varèse and Intrada together provide the superior treatment the series deserves.
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    Varèse Sarabande Re-Recording: ****
    Intrada Anthology 1: ****
    Intrada Anthology 2: ***
    Intrada Anthology 3: ****

Bias Check:For John Williams reviews at Filmtracks, the average editorial rating is 3.74 (in 69 reviews)
and the average viewer rating is 3.59 (in 336,253 votes). The maximum rating is 5 stars.





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 Track Listings (1999 Varèse Sarabande Album): Total Time: 41:27


• 1. Main Title (John Williams)* (1:08)

The Mission: (John Williams)*
• 2. The Mission (0:32)
• 3. The Jinxed One (1:14)
• 4. Broken Landing Gear (2:05)
• 5. The Captain's Frustration (2:52)
• 6. The Parachute (3:02)
• 7. The Control Tower (1:11)
• 8. I'm Father Kay (1:25)
• 9. Good-byes (2:22)
• 10. Jonathan Begins to Draw (6:02)
• 11. The Landing (5:12)
Dorothy and Ben: (Georges Delerue)**
• 12. Twenty Three Thousand Dollars (0:53)
• 13. Wrinkles (0:46)
• 14. Be Quiet (2:36)
• 15. Ben Leaves (0:27)
• 16. Face Changes (1:16)
• 17. Dorothy (6:29)

• 18. End Title (John Williams)* (0:31)

* Conducted by Joel McNeely
** Conducted by John Debney




 Track Listings (2006 Intrada Anthology 1): Total Time: 135:04


CD 1: (64:31)

• 1. Amazing Stories Main Title (John Williams) (1:02)

"Ghost Train" (John Williams): (15:45)
• 2. Ohpa's Arrival (0:30)
• 3. Greeting Ohpa (1:17)
• 4. Ohpa's Tales (3:44)
• 5. Ohpa Remembers (2:25)
• 6. The Ticket (3:05)
• 7. The Train Arrives (4:17)

"Alamo Jobe" (James Horner): (10:01)
• 8. The Battle/Jobe Runs (3:01)
• 9. Travis Dies (0:51)
• 10. First Chase (3:43)
• 11. Antique Shop (2:16)

"Gather Ye Acorns" (Bruce Broughton): (18:37)
• 12. The Boy/The Gnome (4:34)
• 13. 1938 Radio Source (1:42)
• 14. Jonathan's Room/The Car (0:48)
• 15. Nothin' But a Bum/1955/Tumbleweed Connection (2:50)
• 16. Regrets (1:27)
• 17. 1985 (0:51)
• 18. Gas Station Source (2:58)
• 19. Holy Moly!/Sow Ye Wild Oats (3:06)

"The Doll" (Georges Delerue): (10:09)
• 20. Doll Shop Sign (1:08)
• 21. Toy Carousel/Doll on Floor/Well, Miss... (3:12)
• 22. A School Teacher (0:46)
• 23. An Occasional Model (0:36)
• 24. She's Not Married/An O.S. Clunk/Door Opens (1:54)
• 25. John Walks to Mantle (2:17)

"The Amazing Falsworth" (Billy Goldenberg): (8:47)
• 26. Falsworth/Strangling/Retrospect (3:30)
• 27. Leering/Frigity-Feet (0:30)
• 28. Top Floor/Lights (0:53)
• 29. All in the Fingers/Lunge (3:07)
• 30. Falsworth (E.T.) (0:36)


CD 2: (70:33)

• 1. Amazing Stories Bumper #1 (John Williams) (0:04)

"Moving Day" (David Shire): (13:41)
• 2. Alan's Dream (1:20)
• 3. It's Not the Same/Discovering the Room (1:37)
• 4. My God! (2:40)
• 5. Tonight/That's Alturis (2:30)
• 6. Your Ring (2:14)
• 7. Departure (2:01)
• 8. Finale (0:57)

"Without Diana" (Georges Delerue): (12:39)
• 9. Park (1946) (1:44)
• 10. Only Eight/Forest Walk (2:30)
• 11. Sorry Policeman/Not by George Alone (2:33)
• 12. George in Doorway /Diana's Story (2:20)
• 13. George Will Be (3:22)

"Mummy, Daddy" (Danny Elfman and Steve Bartek): (13:26)
• 14. Mummy Movie/Baby Chase/Gas Station (3:21)
• 15. Country Source (0:26)
• 16. Gun Shot/Stinger/Swamp/Old Man/Real Mummy (3:35)
• 17. Kung-Fu Mummy (1:00)
• 18. Motorcycle/Caught (1:23)
• 19. Lynching/Horse Ride (1:05)
• 20. Corridors/Caught Again (0:27)
• 21. Baby/Finale (1:30)

"Vanessa in the Garden" (Lennie Niehaus): (13:23)
• 22. It's Lovely/Whoa, Rock, Whoa/I Hurt Vanessa (1:47)
• 23. Beautiful Portrait/Humming from the Garden (4:09)
• 24. Vanessa's Laughter/A Summer's Day/Do It Together/Create a Life (4:07)
• 25. Vanessa (Piano - With Orchestra Coda) (3:19)

"Welcome to My Nightmare" (Bruce Broughton): (16:04)
• 26. Harry Wakes Up (2:00)
• 27. Harry Takes a Shower/Horror Movie/Kate (1:57)
• 28. Fraternity of the Undead/Bad Milk (1:41)
• 29. Harry & Kate (0:39)
• 30. Harry's Prayer/The Comet Theatre/Harry at the Movies (7:24)
• 31. Back Home (2:13)

• 32. Amazing Stories End Credits (John Williams) (0:29)
• 33. Amblin Logo (John Williams) (0:15)




 Track Listings (2006 Intrada Anthology 2): Total Time: 154:31


CD 1: (78:03)

• 1. Amazing Stories Main Title - Alternate #1 (John Williams) (1:03)

"Boo!" (Jerry Goldsmith): (12:13)
• 2. The House/Sheena (0:36)
• 3. Those People/Practice/Strange Feelings (2:57)
• 4. Sharp Teeth/Let's Scare 'Em (1:50)
• 5. What Fun/It's O.K./Jungle Zombie (1:57)
• 6. Zombie Attack/Each Other (1:21)
• 7. The Bike (0:26)
• 8. The Jewelry (1:12)
• 9. Catch Us/No Fall (1:35)

"What If...?" (Billy Goldenberg): (12:32)
• 10. Bubbles/Nails/Kitchen Odyssey (4:34)
• 11. Obnoxious (1:47)
• 12. Pregnant Lady (0:57)
• 13. Crossing Guard/Steve/Born (5:04)

"Dorothy and Ben" (Georges Delerue): (10:10)
• 14. Twenty Three Thousand Dollars (0:47)
• 15. Wrinkles (0:38)
• 16. Be Quiet/Ben Leaves (2:45)
• 17. Face Changes (0:59)
• 18. Dorothy (4:49)

"Main Attraction" (Craig Safan): (12:09)
• 19. Brad's March/Brad's Parking Space (1:58)
• 20. Shirley (1:42)
• 21. Meteor/Brad's Fear/Attracting/Attractions (4:10)
• 22. Brad Runs/Locker Room/Brad's Honor (2:07)
• 23. Magnetic Love (2:01)

"Such Interesting Neighbors" (David Newman): (17:13)
• 24. Al Driving Home (1:30)
• 25. Water Vibrates (0:51)
• 26. Through the Window/Off to Meet the Neighbors/Glad to Know You/Rose Eater (5:21)
• 27. May Have Something (0:41)
• 28. Microwave and Meatloaf/Off Kilter (2:54)
• 29. Heat Seeker on Al (0:43)
• 30. Emotional (2:31)
• 31. Wide Eyed Reaction (2:23)

"Thanksgiving" (Bruce Broughton): (12:14)
• 32. Momma's Breath/The Package (2:39)
• 33. Dora's Message (2:12)
• 34. Dora's Gifts/Calvin Returns (2:33)
• 35. Chicken Preferred/Turkey (4:42)


CD 2: (76:28)

• 1. Amazing Stories Bumper #2 (John Williams) (00:04)

"Hell Toupee" (David Shire): (13:41)
• 2. I'm Harry Valentine (0:30)
• 3. Can't Remember/ÉAs a Woman (2:47)
• 4. Hell Toupee (0:17)
• 5. Scratched Head/The Escape (2:00)
• 6. Toupee Shop/Change Your Life (1:49)
• 7. What is It?/The Chase (5:10)
• 8. Finale (0:53)

"One for the Road" (Johnny Mandel): (8:40)
• 9. Brainstorm (0:42)
• 10. Free Drinks All Around (0:30)
• 11. The Cupboard Was Bare/Pass the Oil (1:58)
• 12. To Your Health (2:06)
• 13. The Banquet (1:36)
• 14. The Bridge (1:02)
• 15. Reincarnation (0:30)

"Remote Control Man" (Arthur B. Rubinstein): (12:53)
• 16. Walter (1:47)
• 17. From the Forties (0:34)
• 18. Right Away (0:51)
• 19. Super Over Source (0:50)
• 20. Neon Signs and Fog (1:15)
• 21. Something Just for You/Queen and Mrs. Cleaver (4:00)
• 22. Simmons (0:45)
• 23. Enjoying Yourself? (0:24)
• 24. No Mice (0:35)
• 25. To Bed (0:58)
• 26. Pop Off (0:28)

"The Griebble" (John Addison): (15:43)
• 27. Off to Work; Tidying Up (1:40)
• 28. Daily Soap (1:00)
• 29. First Encounter/Is it Dangerous? (3:44)
• 30. Lamp Eater (1:08)
• 31. Nummy, Nummy (1:36)
• 32. Hardware Dump (2:10)
• 33. Gun Threat (0:58)
• 34. Friends (1:10)
• 35. Revelation (1:54)

"No Day at the Beach" (Leonard Rosenman): (11:04)
• 36. No Day at the Beach/Picking Up Cards/Turkey in the Face (2:06)
• 37. Hey Casey/Get Some Sleep (1:32)
• 38. Battle Stations (0:25)
• 39. Gun Fire (0:22)
• 40. Charging Pill Box (1:54)
• 41. Dead Arnold (0:16)
• 42. He Never Got Off the Boat (4:11)

"Santa '85" (Thomas Newman): (13:05)
• 43. From the Sky Above the House/From the House to the Within/From the Chimney and in Through the Window (5:42)
• 44. Caught by the Law (1:42)
• 45. The Reindeer/No Fingerprints/From the Jail to the Chase to Left Off (5:18)
• 46. The Ray Gun (0:50)
• 47. By Candlelight (0:28)

• 48. Amazing Stories End Credits (John Williams) (0:29)
• 49. AMBLIN Logo (Christmas Version) (John Williams) (0:15)




 Track Listings (2007 Intrada Anthology 3): Total Time: 157:34


CD 1: (78:54)

• 1. Amazing Stories Main Title - Alternate #2 (John Williams) (1:03)

"Go to the Head of the Class" (Alan Silvestri): (26:58)
• 2. David (1:18)
• 3. Curse of Dolkite (2:52)
• 4. What's Dolkite (0:13)
• 5. Cemetery (3:00)
• 6. Caretaker/Til Death Do Us Part (2:00)
• 7. Crypt/Fingertip (6:38)
• 8. House of Beanes (1:18)
• 9. Flashlight (1:55)
• 10. Forever (6:40)
• 11. Late for School (0:46)
• 12. Sore Throat (0:21)

"The Wedding Ring" (Craig Safan): (12:51)
• 13. On the Boardwalk in Atlantic City (1:14)
• 14. Sad Lois (1:01)
• 15. Too Tired (1:36)
• 16. Custer's Eyeballs/The Ring/Lois Transforms (2:58)
• 17. Waxed Horrors (1:07)
• 18. Sexy Lois/Knife Show (1:15)
• 19. Love You to Death/The Curse Goes On (3:27)

"Mirror, Mirror" (Michael Kamen): (24:56)
• 20. Zombies (6:12)
• 21. Nightmare/Learn to Type (2:18)
• 22. First Scare (3:47)
• 23. Run/Eye Opener (1:18)
• 24. The Next Morning (0:42)
• 25. Phantom of the Parking Lot (0:48)
• 26. Jail/Karen/Hoz In the Mirror (5:35)
• 27. We'll Shoot It Here/In the Eye (3:20)
• 28. The Eye Bridge/Death (0:37)

"Mr. Magic" (Bruce Broughton): (12:50)
• 29. Reel Magic (1:23)
• 30. Lou Bundles (2:20)
• 31. Coffee Shop Magic/Meet the Cards/More Reel Magic (2:02)
• 32. The Cards Do It (2:12)
• 33. Lou's New Act/The Card's Wedding (1:19)
• 34. Something's Wrong/I'll Show You Magic/Lou's Goodbye (3:22)


CD 2: (78:40)

• 1. Amazing Stories Bumper #1 (John Williams) (00:04)

"Secret Cinema" (Billy Goldenberg): (7:56)
• 2. Strange Evening (1:56)
• 3. Real Pal/Doctor Schreck (0:31)
• 4. Secret Cinema (0:35)
• 5. Calliope (1:15)
• 6. Secret Playoff (0:32)
• 7. Through the Heart/What's That Music? (1:26)
• 8. Step-Child/Pie Eyed (1:18)

"Life On Death Row" (Fred Steiner): (13:57)
• 9. Death Row (1:33)
• 10. Jailbreak/Healing Hands (4:31)
• 11. Healing Motif/Healing All (3:08)
• 12. Death Walk/Resurrection (5:20)

"The Pumpkin Competition" (John Addison): (14:29)
• 13. Pumpkin Girls (0:52)
• 14. It's a Fix (0:30)
• 15. No Family/You Can Win (2:01)
• 16. Big Pea (0:52)
• 17. Growth Payment/Night Growth Part 1 (2:50)
• 18. Night Growth Part 2 (1:13)
• 19. The Wager/Rope and Ladder (2:29)
• 20. Off to the Fair/Late Arrival (2:44)
• 21. Alma Defeated (0:38)

"Grandpa's Ghost" (Pat Metheny): (11:06)
• 22. Come In Edward/I Like Fish/A Great Story/Grandpa is Dead (6:04)
• 23. Grandpa Comes Back (1:12)
• 24. Be Mine Always (1:22)
• 25. Grandma Dies (2:23)

"The Mission" (John Williams): (29:55)
• 26. The Mission (0:35)
• 27. The Jinxed One (1:49)
• 28. Off We Go (1:09)
• 29. Broken Landing Gear (1:44)
• 30. Friendly Persuasion/Trapped (1:22)
• 31. The Captain's Frustration (2:30)
• 32. Amazing Stories Act Break/Fade In (0:20)
• 33. The Parachute/The Control Tower (4:00)
• 34. I'm Father McKay (1:31)
• 35. Goodbyes (2:50)
• 36. Jonathan Begins to Draw/The Landing (10:39)

• 37. Amazing Stories End Credits (John Williams) (0:29)
• 38. AMBLIN Logo (Alternate) (John Williams) (0:15)




 Notes and Quotes:  


The insert of the 1999 Varèse Sarabande album includes notes by producer Robert Townson and an "Amazing Stories Episode Guide," which chronologically lists the name of every episode, its air date, its director, and its composer. All three of the Intrada anthology sets include excellent notes about each episode and score represented, as well as anecdotes, quotes, pictures, and general information about the series. None of the anthologies includes, curiously, an episode list.





   
  All artwork and sound clips from Amazing Stories are Copyright © 1999, Varèse Sarabande, Intrada Records (Anthology 1), Intrada Records (Anthology 2), Intrada Records (Anthology 3). The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 6/11/99 and last updated 10/5/07. Review Version 5.1 (PHP). Copyright © 1999-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.