|
|
|
|
|
Amazing Stories
|
|
|
|
|
| |
Composed and Conducted by:
2006-2007 Anthologies Produced by:
Douglass Fake
1999 Re-Recording Conducted by:
Joel McNeely
John Debney
1999 Re-Recording Performed by:
1999 Re-Recording Produced by:
Robert Townson
|
|
LABELS & RELEASE DATES
| |
|
|
|
ALBUM 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.
|
|
ALSO SEE
| |
|
|
|
|
|
|
|
|
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.
BUY IT
 | | 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").
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.
@Amazon.com: CD or
Download
- 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 3.68
(in 91 reviews)
and the average viewer rating is 3.54
(in 360,201 votes). The maximum rating is 5 stars.
|
Audio Samples
▼
• 1999 Re-Recording:
• 2006 Anthology 1:
|
CD1: 1. Amazing Stories Main Title (0:29) |
MP3 (239K)
WMA (193K)
Real Audio (168K)
| | CD1: Alamo Jobe: 10. First Chase (0:32) |
MP3 (269K)
WMA (213K)
Real Audio (189K)
| | CD2: Without Diana: 9. Park (1946) (0:29) |
MP3 (239K)
WMA (193K)
Real Audio (168K)
| | CD2: Mummy, Daddy: 17. Kung-Fu Mummy (0:31) |
MP3 (254K)
WMA (200K)
Real Audio (179K)
|
• 2006 Anthology 2:
|
CD1: Boo!: 6. Zombie Attack/Each Other (0:32) |
MP3 (269K)
WMA (213K)
Real Audio (189K)
| | CD1: Thanksgiving: 34. Dora's Gifts/Calvin Returns (0:30) |
MP3 (254K)
WMA (200K)
Real Audio (179K)
| | CD2: No Day at the Beach: 36. No Day at the Beach (0:29) |
MP3 (239K)
WMA (191K)
Real Audio (168K)
| | CD2: Santa '85: 43. From the Sky Above the House (0:31) |
MP3 (254K)
WMA (202K)
Real Audio (179K)
|
• 2007 Anthology 3:
|
CD1: Go to the Head of the Class: 3. Curse of Dolkite (0:32) |
MP3 (269K)
WMA (213K)
Real Audio (189K)
| | CD1: Go to the Head of the Class: 5. Cemetery (0:33) |
MP3 (269K)
WMA (213K)
Real Audio (189K)
| | CD2: The Mission: 26. The Mission (0:30) |
MP3 (254K)
WMA (200K)
Real Audio (179K)
| | CD2: 37. Amazing Stories End Credits (0:28) |
MP3 (224K)
WMA (182K)
Real Audio (158K)
|
| | |
|
| 1999 Varèse Sarabande Album Tracks ▼ | 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
|
| 2006 Intrada Anthology 1 Tracks ▼ | 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)
| |
|
| 2006 Intrada Anthology 2 Tracks ▼ | 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/As 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)
| |
|
| 2007 Intrada Anthology 3 Tracks ▼ | 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)
| |
|
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.
|
