Review: Amazing Stories - Anthology One (1985-1987)
Label: Intrada Records
Catalogue Nr.: Intrada Special Collection Vol. 32
Steven Spielberg presents his daunting attempt to revive the anthology format on TV but which ultimately became his personal burial ground for ideas that proofed to be too small for the big screen... Amazing Stories. This series is basically a string of short stories without any connection, told within a length of usually 20, rarely even 45 minutes per episode. All kinds of weird situations, characters and circumstances created a mixed bag of stories that were sometimes ridiculously funny, sometimes weird and stunning or just plain sentimental. A huge bunch of episodes were directed by the crème della crème of Hollywood with names such as Martin Scorsese, Clint Eastwood, Robert Zemeckis, Joe Dante, Tobe Hooper, Irvin Kershner and of course Spielberg himself. They gave every episode a usually strong identity but as varied as the episodes are, the quality also differs a lot, usually from quite good to unconvincing. Dropping down to place 35 in the ratings after only one year surely was not something to be proud of, especially after all the enormous creative and financial expenses consumed by the project but several Emmy nominations and a couple of wins certainly indicated the artistic potential involved with the series. 21 years later, the series remains an oddity, waiting for a reincarnation on DVD which is about to happen in 2006.
To coincidence with the DVD release, Universal has finally allowed our heroes at Intrada Records to access the studio vault in order to salvage the original stereo scoring session elements of the entire music from the series. Not one, not two but three (!) massive 2-CD sets are dedicated to the music from Amazing Stories and when I read the announcement, I was in shock about the size of Intrada's prestige project which stands as the most massive restoration of TV music ever. Maybe a very reasonable question is now arousing to some readers: Why on earth would a puny TV-weakling like Amazing Stories require such a landmark restoration? Let me answer this question with some names, some of which may somehow sound familiar: John Williams, Jerry Goldsmith James Horner, Georges Delerue, Bruce Broughton, Danny Elfman, Alan Silvestri, Michael Kamen, Thomas Newman, David Newman, Brad Fiedel, David Shire, Billy Goldenberg, Craig Safan, Fred Steiner, Lennie Niehaus, Leonard Rosenman... swallow that! What an amazing list! The importance of the size of Intrada's enormous salvation project should be crystal clear by now. Each of the first class directors also brought his personal favourite composer on board, so all of the above mentioned, fairly familiar filmmusic personas provided a wealth of highly distinctive episode scores, even featuring an often decent-sized orchestral ensemble which was largely unusual for 80's TV music. The resulting scores are as varied as the stories and usually of very high quality which makes them the most worthwhile aspect of the entire series.
Despite the plethora of a-list composers involved with the series, the undoubted star of them has to be Spielberg's John Williams. His theme and two episode scores for the show would be his last venture into TV land and ultimately his best music ever composed for the small screen. The main theme already is classic Williams. While the intro-sequence follows a history of story telling from the stone age to modern TV, John Williams musically celebrates the joy of amazing stories with a rousing composition that starts with somewhat clumsy horns and percussion for the stone age and quickly develops into thrilling fanfares with a nicely heroic touch, a lot of Williams-ism from his beloved fantasy scores and an exciting coda, all that within one amazing minute only! The end credits on the second disc are a nice, piano-driven reprise of the theme.
The first disc continues with the maestro's music for the Steven Spielberg directed pilot episode of the show about a nameless old man (only referred to as Ohpa by his little grand son and excellently performed by Roberts Blossom) who accidentally caused a devastating train crash as a kid. Now he is convinced that the train will come back for him one day when the time comes. There is only one problem: His son build the new family house right on the former railroad track, exactly where the Highball Express is supposed to come back. The episode is very emotional tale and demanded a sensible score with a small but joyful little ostinato-like motif often performed by flute for the old man and a gentle, noble theme for the relationship with his grandson. Both form the core of the score and are introduced in "Ohpa's Arrival" when we see the family driving to their new home. A more lush, emotional rendition of both themes follows when the little boy is "Greeting Ohpa" with a big hug but suddenly, the music indicates that something is wrong as the old man is making odd figures with his hands and Williams gives odd pitch shifts to the formerly joyful motif. The one and only use of the serie's main theme in an episode score can be heard at the beginning of the track "Ohpa's Tales" where it is performed on a lonely clarinet followed by suspenseful, haunting variations of the episode themes as Ohpa is telling his grandson of Highball Express. A perfectly scored moment comes when the old man lays his head on a piece of the former railroad track to listen. The camera moves forward to his face, building tension as Williams is raising strings and horns in a disturbing way with lots of tension, musically resembling the coming train by scoring something that we never see and only imagine. "Ohpa Remembers" comes with a new, haunting theme for the train itself as Ohpa is telling the story how he caused the terrible accident. Spielberg visually resembles the drama of E.T. (1982) when the doctor arrives to anaesthetise the old man and struggling begins while Williams integrates odd, fading synthesizer sounds which is clearly placing the score into his brief synth-experimentation period during the 80's. When "The Train Arrives", Williams is using the train theme again and constructs a warm and emotional farewell cue of the remaining two themes. A nicely comic, nutcracker-like moment for horns comes in as we see the train drivers going into the kitchen and wondering about the strange devices. Swelling strings build into the ostinato-motif which is fading away as the train is leaving with the old man.
Williams' pilot episode score is among his smaller, romantic scores and free of bombast while showing his usual attention for perfect music at the right time even when it is for TV. There are lots of nicely constructed moments with fine, little themes and the use of the serie's main theme make it a very special contribution to the series. Only the brief usage of the synthesizer is rather odd. The score as a whole is certainly not a crucial necessity but a nice missing link between 1984 and 1987 in his filmography.
Score as heard in the episode: 80%
Score as heard on CD: 76%
The first disc continues with another musical gem, this time from academy award winning composer James Horner who delivers an adventurous score in the vein of his outstanding music for Krull (1983) or Star Trek: The Wrath Of Khan (1982) combined with strong influences from Dimitri Tiomkin's score for The Alamo (1960), accompanying the story about a young boy trapped within the terrible Alamo battle when his dying commander sends him on a mission to bring a message to general Leffert. When Jobe moves out, some mysterious merging of our time with the past happens and the puzzled boy is transported to present day's San Antonio. Horner scored "The Battle / (...)" with exciting, Mexican flavoured action music full of trumpets and guitars while introducing his heroic theme for the episode on restrained horns and harmonica, acknowledging the hopeless defence of the fort. "(...) / Jobe Runs" receives a big, dramatic statement of the theme before the hopeless mood returns for harmonica as Jobe's commander "Travis Dies". After Jobe enters our modern times, most of his encounters and experiences are left unscored until a dude steals his cap and Jobe accidentally shoots at a car. This is the moment when "The First Chase" starts and Horner comes back in with strings nervously fiddling in the distance as the police is going after Jobe until he spots a horse and jumps on it. This is the moment when the ensemble suddenly builds up and Horner unleashes his magnificent, fully adventurous music that follows the chase sequence with pure joy. The orchestra almost seems too small for such great adventure music. After Jobe delivered the message to a descendant of general Leffert, he realized that his destiny is dying in the battle, so he returns to the fort and Horner ends the score with the necessary melancholy.
One of the shorter scores on this double disc release is also the most exciting one as it brings back some of early Horner's brilliance that may entertain even the biggest Horner-haters. The chase and the battle cue are nicely adventurous pieces with some playful interludes and a great main theme. After the 10 minutes of Alamo Jobe score are over, you will certainly end up humming the theme all day long.
Score as heard in the episode: 84%
Score as heard on CD: 82%
Naturally, Intrada's most favourite composer Bruce Broughton is joining the party with no less than four episode scores, one being for the Mark Hamill starring episode Gather Ye Acorns about a young boy who is into collecting comic books and all kinds of stuff, much to the dismissal of his parents who want him becoming a hard working doctor instead of a lazy bum. One day, a tree troll appears and tells the boy to follow his dreams by keeping all the stuff he collected because it is going to pay off later. Several years pass, the boy has grown up and became a bum just like his parents expected but still owns all his stuff. He is convinced that the troll was wrong but the tide turns very soon after he meets a lady who is also into collecting things. Was the troll right after all? Broughton, who started his career with scoring for TV, delivered one of the lengthiest scores of the series which clocks in at nearly 19 minutes and makes a perfect companion piece to the Horner score heard before because of the harmonica, guitars and the nostalgic country feel that Broughton brings to it. A lovely motif for "The Boy / (...)" performed by solo flute and typical Broughton woodwind-writing starts the score. Humorous mickey-mousing states the Troll's arrival and a quirky, playful little motif comes in that represents "(...) / The Gnome" himself. The passing of time is described musically by various source cues, the first being "1938 Radio Source" with laid back blues for the early days. Harmonica and guitar return in "Jonathan's Room / The Car" before Broughton switches the tone in "Nothin' But A Bum / 1955 / Tumbleweed Connection" to more suspenseful music for low piano and woodwinds with the lovely boy's theme occasionally shining through and the motif for the gnome returns. Bouncy music for piano and flute comes with "Regrets" which suddenly drops to a depressive harmonica ending. An interesting period cue is "1985" with a strong rock sound featuring e-guitars and percussion while "Gas Station Source" is a nice little piece of country source music. Trademark Broughton woodwinds return for the positive ending with some gentle, unobtrusive mickey-mousing, a nice piano statement of the boy's theme and a funny flute coda.
Albeit not as full of events as the previous effort, Broughton's second score for the series still offers a nice, nostalgic country sound with a lovely theme for the boy, occasional mickey-mousing as well as some cool source music. Its a little musical praise of childish innocence and all of those who never really grew up. Truly lovely.
Score as heard in the episode: 77%
Score as heard on CD: 73%
Another, very intimate score for the touching episode The Doll comes from the late French scoring genius Georges Delerue. In this episode, John Lithgow delivers an Emmy award winning performance of John Walters, a shy and lonely man in midlife crisis who stops at the doll shop of German toy maker Liebemacher to buy a little present for his niece. He finds a handmade doll and develops feelings for the toy which ultimately changes his loveless life. Delerue composed a total of three scores for the show with The Doll coming second. This score is another instance that shows his skills as a master of lovely, gentle music. "Doll Shop Sign" briefly opens with a grumpy tone on low woodwinds for Walters before the warm doll theme for harps, celesta and strings comes in. "Toy Carousel / Doll On Floor / Well, Miss..." begins with a lovely, charming celesta melody that is soon joined by strings and flute as Walters explores the store. More gentle celesta comes with "A School Teacher" while "An Occasional Model" offers subtle harp playing. "She's Not Married / An O.S. Clunk / Door Opens" opens with a slightly suspenseful tone before the doll theme comes back in. "John Walks To Mantle" is already the last cue of this score which brings some delicate solo flute playing and strings which develop into a warm finale.
Delerue once again brings only the best to this episode with a score that is perfectly supporting John Lithgow's performance. Both the episode and its score, especially when enjoyed together, are certainly among the highlights of the show.
Score as heard in the episode: 79%
Score as heard on CD: 75%
A surprising effort and complete 180 degrees turn from the previous scores comes from Spielberg's former composer of choice, Billy Goldenberg, for the disturbing thriller episode The Amazing Falsworth. The episode starts with a graphic scene in which a woman is strangled with piano wire. Meanwhile, professional psychic Falsworth is presenting an amazed audience some of his amazing powers until he suddenly senses the presence of the killer in the audience. Goldenberg effectively utilizes the piano here with a quiet theme that echoes a circus feeling while high played strings always creep around in the distance, acknowledging the murder's obsession with piano wire. "Falsworth / (...)" starts quiet with the piano theme until tremolo strings start creeping in and the murder is "(...) / strangling / (...)" his victim while painful, dissonant orchestral sounds and weird, creepy vocals create terror in "(...) / Retrospect". "Leering / Frigity-Feet" is another terrifying cue where the moaning vocals dominate. The piano theme returns, accompanied by a short wonder ball effect and lots of tension in "Top Floor / Lights". More suspense and a tension build up of the theme into another painful dissonant outburst follows with "All In The Fingers / Lunge" which carries a terrifying second half with lots of tremolo strings. A elegiac variation of the "Falsworth" theme ends the effective score.
Billy Goldenberg's short murder mystery score is certainly not easily listening but still very impressive thriller music. The composer's usage of dissonant colours and weird instrumentation is highest quality and the nice piano theme is very fitting for the main character. Still, a lot is getting lost when you don't know the episode which makes it one of the more complicated affairs of the release.
Score as heard in the episode: 82%
Score as heard on CD: 66%
Imagine you are 17 years old student and have just fallen in love for the first time when your parents tell you they have to move. Pretty heavy, but as if that's not enough, they don't want to move to another town but your actual home planet Alturis, 65 billion miles from earth. Such news must hit like an asteroid and that's what happens to young Alan Webster in Moving Day, one of the last episodes of the show. Composer David Shire collaborated with electronic musician Craig Huxley on this episode score which results in one of the more synth-ladden works of the show to reflect on the families outer space origin Alturis while there is still an orchestral approach for young Al's emotional limbo. The opening of the episode shows the planet Alturis in "Alan's Dream" where David Shire offers his wild, electronic opening and introduces the otherworldly alien theme for the strange environment. "It's Not The Same / Discovering The Room" is another solely synthetic cue starts with the sad love theme for the couple and goes into a cheesy suspense cue with the alien-theme slightly shining through. More synths to follow in "My God!" though this time in a very restrained, subtle way with a scaled-down reprise of the opening cue and alien-theme at the end. First solid orchestral writing comes at the beginning of "Tonight / That's Alturis" with sad tones for strings and horns before the synths take over once more. The end of the cue offers the score's undoubted highlight in the form of a funny march with a cheesy usage of the theremin as Alan imagines his parents as nasty aliens. The orchestra and the love theme for solo flute returns in "Your Ring" which has a nice, lush string statement of the romantic melody at the end while "Departure" opens with a gentle variation of the alien theme and furthermore makes use of the theme for a build up as the family is leaving. "Finale" ends the journey with more romantic colours for orchestra and synths as well as a brief reprise of the opening cue.
This is a very unique episode score with an interesting mixture of synthetic colours for the alien origins of the family and calm, orchestral tones for Alan's earthly emotions. Craig Huxley's electronic stuff does not sound as heavily dated as one might expect though it might still take some time to get used to Shire's approach which is nicely fitting the episode.
Score as heard in the episode: 77%
Score as heard on CD: 69%
Awared with an Emmy for outstanding achievement in Make-up, this one is more on the sentimental side again with an incredible emotional impact. Therefore, it is another perfect opportunity for Georges Delerue and his skills in writing outright emotional music for the touching story about a war returnee visiting a park with his family and trying to settle with his bewildered daughter. While playing in the park though, the little girl mysteriously disappears. 40 years later, we see the old man mourning the death of his wife when his daughter miraculously returns and looks the same like 40 years ago when he last saw her playing in the park. Delerue opens with a jazzy period piece for the unclouded impressions of the sunny day in the "Park". He continues in "Only Eight / Forrest Walk" with gentle, colourful woodwinds and a solo flute, nicely re-creating the beauty of the nature that is luring the girl into the forest. Near the end of the cue, he is switching to a disturbing tone as the girl notices that she is lost. "Sorry Policeman / Not By George Alone" takes a tragic, mourning tone when the police search for the girl ends without result and as we move 40 forward in time, Delerue offers some lonely violin and woodwinds for the old man who is afraid of loosing his sick wife and being alone in the world. The cue ends at a surprisingly positive note when someone is knocking at the door and the father finds Diana. "George In Doorway / Diana's Story" accompanies their walk through the house and Diana's apologize to her father by gentle guitars and touching strings. An ultimate tear-squeezer comes when Diana sings a song for her father and Delerue carefully follows the voice of the girl with gentle strings. Delerue ends the score with a sad, emotional rush in "George Will Be".
If Delerue's drama score for The Doll from the first season was only good, this one has to be among the best drama scores of the series. What a tear-squeezer this is you can't help but love it. The episode is highly recommended as well because watching it will make the score even more powerful despite the episode's heavy sentimentality.
Score as heard in the episode: 83%
Score as heard on CD: 81%
As the comic highlight of the first season, this episode virtually demanded a zany score by someone like Danny Elfman. The episode follows an actor in a mummy costume shooting a b-horror flick on location in a swamp where in former times, a nasty mummy named Ra Amin Ka went on a killing spree in that area. As the actor receives message that his wife is about to give birth, he jumps into the car... still wearing his scary costume. On his way to the hospital, he makes some nasty encounters with furious locals and a really pissed Ra Amin Ka, who really dislikes daddies faking mummies. Bronson Pinchot delivers a hilarious performance as the horror-flick director who looks suspiciously like a young Steven Spielberg. Elfman and Bartek delivered an insanely funny score by picking up on some musical horror clichés and turning them into cartoonish music by adding a fun array of instruments such as organ, harmonica and jew's harp. All that is spiced with a nice set of themes including one that clearly stands for the poor bastard in the mummy costume while another one comes in for the real mummy. The swamp introduction and set of the "Mummy Movie / (...)" is scored with some nice dark, gothic fanfares before the actor jumps his car and the comic "(...) / Baby Chase / (...)" turns everything into a funny orchestral race that slows down when the actor's car is running out of fuel. A nice, cliched scary cue follows as he scares a guy at a "(...) / Gas Station". Some unused "Country Source" music follows before insane chase music returns in "Gun Shot / Stinger / (...) with fiddle, harmonica and a hilariously boingy jew's harp as some crazy redneck's are trying to shot at the actor. Creepy organ comes in when the actor escapes into the "(...) / Swamp / (...)" where he meets a blind "(...) / old man / (...)" and a gothic fanfare with organ and theremin comes in when the real Ra Amin Ka appears. Jew's harp opens "Kung-Fu Mummy", a hilarious fight scene between the actor and the real mummy where Elfman follows the weird Kung-Fu moves of the actor with a set of quick fanares. The level of insanity is constantly increasing like in the bouncy "Motorcycle / Caught" which opens with a cool rattler and crazy harmonica stuff as the poor costumed guy is caught by the angry locals. His escape is scored even more insane with the bouncy music in "Lynching / Horse Ride". A comic lullaby for celesta with occasional wrong notes for trumpets represents the actor's reunion with the family in "Baby / (...)" which also offers some comic music for the real mummy's "(...) / Finale".
Besides James Horner's adventurous score for Alamo Jobe, Elfman's score for Mummy, Daddy is carrying a surprisingly high entertainment value and is a lot of fun to listen to. This crazy little composition with its mixture of careful Carl Stalling touches and clichéd orchestral horror gothic could simply to go on forever.
Score as heard in the episode: 84%
Score as heard on CD: 80%
Clint Eastwood directed this episode which stars Harvey Keitel as a painter who is loosing all inspiration after the death of his beloved wife and muse. He starts to believe that his art is somehow able to bring her back which provides him with a new faith in life and his creativity. Clint Eastwood's composer of choice at the time (long before he was trying to compose his own scores) was Lennie Niehaus. According to the liner notes, Niehaus focused this very symphonic episode score on variations of Wagner's "Song to the Evening Star", a theme from his opera Tannhaeuser, to reflect on Vanessa's character. An unclouded version of the tune is introducing the couple with "It's Lovely / (...)" while Vanessa's accident follows in "(...) / Whoa, Rock, Whoa / I Hurt Vanessa", scored with a grim, dramatically powerful variation for the entire ensemble. The artist's pain is expressed musically with low strings and horns as heard in "Beautiful Portrait / (...)" which first turns into mysterious switching between flute and strings at the beginning of "(...) / Humming From The Garden" but then goes into a lush version of wagner's tune for strings and piano. A great symphonic swelling with some mozart-esque string accompaniment comes right in the middle of "Vanessa's Laughter / A Summer's Day / Do It Together / Create A Life" while a piano version of the Wagner tune for "Vanessa" already marks the end of this episode score.
Lennie Niehaus shows some excellent skills in construncting symphonic music by adapting the Wagner-tune for his score. Still a beautiful work despite the lack of original thematic material.
Score as heard in the episode: 79%
Score as heard on CD: 71%
Ever wanted to be in your favourite movie? For Harry, a teenaged horror flick nerd, this dream becomes reality in this Amazing Stories episode. Where other boys use a clock radio to wake up, Harry is using the shower scene from Psycho. His obsession with horror movies often leads to some weird visions like zombies emerging from garbage cans which completely takes him out of real life. Naturally, his parents are worried while Kate, a girl with a crush on Harry, is constantly let down by the boy. One day though, he visits a special movie theatre which sucks him right into his favourite film Psycho and that's when the nightmare begins that will ultimately change his whole life. Bruce Broughton immediately understood that such a wink at the horror genre, which even made great comic use of Alfred Hitchcock's suspense classic, would not work without some really heavy Bernhard Herrmann influenced music. This is evident especially in the construction of the cues and the string writing, though Broughton still managed to integrate his own voice into the pastiche. "Harry Wakes Up" is the Psycho wake-up call which starts with suspenseful lurking strings and a tortured violin continuing until the big staccato scare accentuates Harry screaming in his bed. A similar situation comes when "Harry Takes A Shower / (...)" while the last part of the cue offers the first statement of the warm love theme ala Broughton for "(...) / Kate". More musical horror pastiches follow with "Fraternity of the Undead / Bad Milk" which carries some trademark Broughton action music that would later become integral elements in scores like Lost In Space (1998). The love theme returns with a brief statement in "Harry & Kate" before he gets to "(...) / The Cometh Theatre / (...)" which transports him to the infamous Bates Motel. What follows now in "(...) / Harry At The Movies" is a seven minute suspense feast with lots of winks to the classic Bernhard Herrmann score and a constant build up as Harry starts to panic while Mrs. Bates is going after him. Mysterious tones accompany his return and when he is finally "Back Home", a playful variation of the love theme comes in which gets more romantic with a big fanfare coda as he finally decides to date Kate.
Bruce Broughton's Herrmann-pastiche is certainly not without problems since it offers a lot of ironic winks that are so focused on individual situations that a lot of the humour hidden within this score will be lost when it is separated from the episode.
Score as heard in the episode: 68%
Score as heard on CD: 60%
I am certainly not exaggerating by saying that Intrada's Amazing Stories anthology is simply the most amazing release of music composed for TV ever. They earned themselves a medal for breaking into Universal's vault and releasing all these nice little filmmusic gems. On the long run, this major release could proof to be the first important step towards more releases from the universal vault. All episode scores are presented in their complete chronological form and all important composers are there including some bumpers and logo music as bonus. Nitpickers heavily complained about a typo on the back cover where it wrongly says Vanessa In The Garden runs from track 15 to 25 and some people were spotting non-existing sound anomalies. My advice: don't listen to these people because they completely missed the point of this release: bringing some of the best TV music ever into your CD player! If there is one reason for criticism, it would be the liner notes about the individual episode scores because they could have been a little more detailed but then again, this would have made this review even more useless, so what the hell am I complaining about?! By the way, this baby is a limited edition of 3000 copies which is likely to sell quickly especially once the DVD comes out, so don't wait too long!
Presentation by the Label: 98%
The first of three Amazing Stories Anthology 2-CD sets brings us some long forgotten musical gems from lots of well-known icons like John Williams, Bruce Broughton, Georges Delerue, James Horner and Danny Elfman as well as some fine efforts from not so well-known but still very talented persons like Billy Goldenberg, David Shire or Lennie Niehaus. Highlights of this volume are without doubt John William's score for the pilot episode Ghost Train, James Horner's exciting adventure ride for Alamo Jobe, Danny Elfman's outright comic score for Mummy, Daddy as well as Georges Delerue's incredibly touching tear-squeezer for Without Diana. Even tough all that was not composed for Cinema, it is still very good, so don't hesitate to invest your money into some of the best orchestral TV music from the 80's that is not just all electronic beeping.
Review by Andreas Creutzburg
01. John Williams - Main Title (01:06)
John Williams - Season One, Pilot Ep.: Ghost Train (15:45)
02. Ohpa's Arrival (00:31)
03. Greeting Ohpa (01:17)
04. Ohpa's Tales (03:44)
05. Ohpa Remembers (02:25)
06. The Ticket (03:06)
07. The Train Arrives (04:17)
James Horner - Season One, Ep. 3: Alamo Jobe (10:01)
08. The Battle / Jobe Runs (03:01)
09. Travis Dies (00:51)
10. First Chase (03:43)
11. Antique Shop (02:16)
Bruce Broughton - Season One, Ep. 15: Gather Ye Acorns (18:37)
12. The Boy / The Gnome (04:34)
13. 1938 Radio Source (01:42)
14. Jonathan's Room / The Car (00:48)
15. Nothin' But A Bum / 1955 / Tumbleweed Connection (02:50)
16. Regrets (01:27)
17. 1985 (00:51)
18. Gas Station Source (02:58)
19. Holy Moly! / Sow Ye Wild Oats (03:06)
Georges Delerue - Season One, Ep. 22: The Doll (10:09)
20. Doll Shop Sign (01:08)
21. Toy Carousel / Doll On Floor / Well, Miss... (03:12)
22. A School Teacher (00:46)
23. An Occasional Model (00:36)
24. She's Not Married / An O.S. Clunk / Door Opens (01:54)
25. John Walks to Mantle (02:17)
Billy Goldenberg - Season One, Ep. 6: The Amazing Falsworth (8:47)
26. Falsworth / Strangling / Retrospect (03:30)
27. Leering / Frigity-Feet (00:30)
28. Top Floor / Lights (00:53)
29. All The Fingers / Lunge (03:07)
30. Falsworth (E.T.) (00:36)
01. John Williams - Bumper #1 (00:04)
David Shire - Season Two, Ep. 20: Moving Day (13:41)
02. Alan's Dream (01:20)
03. It's Not The Same / Discovering The Room (01:37)
04. My God! (02:40)
05. Tonight / That's Alturis (02:30)
06. Your Ring (02:14)
07. Departure (02:01)
08. Finale (00:57)
Georges Delerue - Season Two, Ep. 19: Without Diana (12:39)
09. Park (1946) (01:44)
10. Only Eight / Forest Walk (02:30)
11. Sorry Policeman / Not By George Alone (02:33)
12. George In Doorway / Diana's Story (02:20)
13. George Will Be (03:22)
Danny Elfman, Steve Bartek - Season One, Ep. 4: Mummy, Daddy (13:26)
14. Mummy Movie / Baby Chase / Gas Station (03:21)
15. Country Source (00:26)
16. Gun Shot / Stinger / Swamp / Old Man / Real Mummy (03:35)
17. Kung-Fu Mummy (01:00)
18. Motorcycle / Caught (01:23)
19. Lynching / Horse Ride (01:25)
20. Corridors / Caught Again (00:27)
21. Baby / Finale (1:30)
Lennie Niehaus - Season One, Ep. 12: Vanessa In The Garden (13:23)
22. It's Lovely / Whoa, Rock, Whoa / I Hurt Vanessa (01:47)
23. Beautiful Portrait / Humming From The Garden (04:09)
24. Vanessa's Laughter / A Summer's Day / Do It Together (04:07)
25. Vanessa (Piano - With Orchestra Coda) (03:19)
Bruce Broughton - Season Two, Ep. 4: Welcome To My Nightmare (16:04)
26. Harry Wakes Up (02:00)
27. Harry Takes A Shower / Horror Movie / Kate (01:57)
28. Fraternity Of The Undead / Bad Milk (01:41)
29. Harry & Kate (00:39)
30. Harry's Prayer / The Comet Theatre / Harry At The Movies (07:24)
31. Back Home (02:13)
32. John Williams - End Credits (00:29)
33. John Williams - AMBLIN Logo (00:15)