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Keep in mind I am not a LLLR employee and I'm only going by things I have seen online, but it appears to be a combo of:
What MV wants on a set and who puts the set together. Take the "Wonder Woman" TV series set for example. Neil Bulk posted at the Intrada forum, with a more in-depth response about how the set was put together after some comments from Roger:
Hi Roger!
Thanks for the kind words about this set.
I wish I had a good story about how I got involved with this set, but basically MV Gerhard and Matt Verboys of La-La Land Records asked me to produce it. I've done a lot of TV stuff for them, so maybe they thought I was a natural. I was happy for the work and I'm pleased with the final release.
It was always planned as a 3 CD set. Our original goal was to do a disc per season. This proved troublesome though as we couldn't find any music, beyond the original pilot film for season one. Even that didn't turn up right away. At first all we could find for "The New, Original Wonder Woman" was a mono music stem. I had it transferred and it sounded just like you'd think: potted and not pleasant. A little more searching revealed a set of nine 35mm mag reels of the scoring sessions. They were transferred and perfect. But we couldn't find anything else from season one. We did a really deep scan of the archive (I remember it took awhile to get the results) and nothing turned up. I made the decision then to put "The New, Original Wonder Woman" and "The Return of Wonder Woman" on one disc and run both in complete form. They're really important shows for the series. The first obviously launched it and the second re-launched it on a new network with a revised premise. In that way, we could use the lack of season one material as an advantage.
For season two, we had more luck. We couldn't find everything from that season, but we found enough to fill a disc of season two music. Once I knew what shows we had available, I watched them all (in HD!) to determine which ones I found interesting enough to include on this set. I also decided at this point not to do two parters for this release, as I wanted as much variety as possible and space was limited. Maybe if this does well and we get to do a volume 2 we'll include some of those.
Season three has the most variety because it had the most composers and I wanted to be sure that everyone who scored a Wonder Woman show was represented on this set. I was familiar with many of these shows already because I'd seen them in the last few years on MeTV, prior to working on this set. I remember watching "Going, Going, Gone" on TV and realizing the final cue was definitely by Angela Morley. I also remembered "Spaced Out" utilized the blaster beam, so I wanted that included. "Skateboard Chase" by Johnny Harris is possibly the most memorable cue of the entire series (the sequence is certainly memorable) and I wanted that on here, too. Robert O. Ragland only scored one episode of the show, that decision was easy to make and "The Man Who Could Not Die" was the last episode filmed and seemed like a fitting end to the set. "The Deadly Sting" (also by Johnny Harris) was included because the tapes had to be transferred (the main and end titles plus bumper were recorded at these sessions) and the cue "The Big Fight" was used throughout season three for the "Next Week on Wonder Woman" promos.
Whittling these scores down to fit on a CD was a challenge I'm not used to. Usually the albums I produce are everything composed, but that couldn't be an option for discs 2 and 3 and I had to come up with a methodology that would make sense and to make sure I was using my time efficiently (why mix a cue if it wasn't going to be on the CD?). So once things were edited I listened again for what I thought was the most interesting, what was the most redundant and what could be shortened. I also listened to make sure I had every "Wonder Woman" vocal in the right place. Once this was all figured out, I made a track list and stuck with it.
I'm sure there's more but that's all I can think of for now. If you have anymore questions, feel free to ask!
Neil
No doubt any teases will come after they return from Christmas/New Year's vacation. You'll just have to be patient for probably at least thirty days.
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Posted: |
Nov 29, 2017 - 5:16 PM
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By: |
ZerOne
(Member)
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yes! Restless is my favorite scored episode from the show. Would love a complete score for that one! And I really hope they include the REAL "Body Painting". The track called "Body Painting" on that Rounder Records score cd (which was such a half-arsed release, btw!) is actually NOT from the body paint scene...! It`s from Giles` dream!
In Rounder Records' Defense, there was actual body paint in Giles' dream too, as Giles had that short vision with Buffy having some kind of blue mud or something like that on her face and that would later be his clue to identify the first slayer as the villain. Though I did also associate the cue more with the Tara/Willow dream scene. But the "Body Paint" one on that release is actually also a favorite of mine.
Also, I do really love the Rounder Records release. They did release a score soundtrack to the show when I already thought the days of new Buffy merchandise were over and there are also a lot of great cues on it too. But I do expect more from La La Land, because I feel like they put so much love and labor into their soundtracks, so yeah if it was just another record company, I probably wouldn't be quite as excited about this.
30 days sounds like FOREVER right now!
I guess, just keep yourself busy and then time goes by quicker. You did the same thing when you were waiting for the Black Friday announcement. I think the only reason why I was so sad about the January release is actually that I know i won't be able to get the soundtrack before February, but well, as long as I don't die before the actual release, I guess, it'll be fine. So keep your demons and vampires away from me. My blood needs to remain warm for that Buffy release.
Keep in mind I am not a LLLR employee and I'm only going by things I have seen online, but it appears to be a combo of:
What MV wants on a set and who puts the set together.
Thanks for the read, it was fairly interesting, much appreciated the sharing of it.
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You should get an advanced promo copy. Just sayin'.
;-)
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I'm making a journey back through BtVS, starting with season two, for some episodes. Kind of hard to do considering what his ex wife has said about Joss.
This is for people who have the DVD's or use Hulu+. I don't want to link to any unlawfully loaded videos this time.
"Halloween"
By: Christophe Beck
The cue in the start when Buffy is fighting a vampire, with early styling of the ideas from the fight music in the two-part finale.
The music as Buffy and Willow talk in the bathroom. There's more in the Halloween store.
The short bit with snare at school. It picks back up after they leave school.
The cue as Buffy looks at a photo of herself.
The cue as Xander barricades the house.
The cue as Angel fights a vampire.
And more. Beck was doing good here. A second tier score.
Xander: "A black eye heals, but cowardice has an unlimited shelf life."
"Go Fish"
By: Shawn K. Clement & Sean Murray
The cue as Angel attacks a swim team member in an alley.
The cue as Buffy spies on a swim team member and Willow interrogates Jonathan.
"Bag Eggs" (12)
By: Shawn K. Clement & Sean Murray
The cue as students under the influence of the egg creatures grab axes and head under the school; there are three more cues like it later in the episode.
"Becoming: Part I"
By: Christophe Beck
Most of the good stuff is covered by the promos. Some short stingers are there.
Missing good stuff:
A reprisal of the theme after the opening credits.
A short rendition of the Buffy/Angel love theme, which turns dark around the end, as Buffy goes out and encounters Kendra.
Buffy's first fight while her first Watcher. With some sad music around the end.
The music for when the vampire comes into the school and commits suicide to bring angel's message.
The piano music as Kendra gives Buffy her stake (a theme for Kendra?).
The incantation reading in the library and fight music with Angel. A short bit not part of the larger fight cue on the season two promo.
Special note: the fight music has some extra music in it not on the promo track. The promo track is better. It's a re-recording in the episode.
Spike: "It's a big rock. Can't wait to tell my friends -- they don't have a rock this big."
"Becoming: Part II"
By: Christophe Beck
The opening cue as Buffy escapes from the police.
The split during an argument between Buffy and her mother.
The Jenny theme as Drusilla trick Giles.
The cue as Buffy makes her way to Angel and gets surprised by Xander.
The cue as Angel begins the incantation and over at the hospital Willow begins her spell. Reprising material from the fight music at the end of Part I.
Special note: the episode cuts off the end of the Buffy/Angel love theme from the season two promo, so crossfade the song.
Spike: "We like to talk big, vampires do 'I'm going to destroy the world'; it's just tough-guy talk. Strutting around with your friends over a pint of blood. The truth is, I like this world; you've got dog racing, Manchester United, and you've got people. Billions of people walking around like Happy Meals with legs."
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Posted: |
Nov 30, 2017 - 4:15 PM
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By: |
acathla
(Member)
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^
All great cues/scenes!
I am actually gonna start rewatching season 2 again.
(I have since the summer watched all the seasons backwards for some reason, 7, 6, 5, 4, 3 etc  ).
Cant wait to pay even closer attention to these cues you mention!
Season 2 (Beck) is the reason I started to find interest in score music. Never paid attention to it before and I even couldnt believe how people actually found that kind of music interesting. Or even worse, how could they actually release "background music" on CD???
Today, score music is like 80% of what I'm listening to! haha!
I love all the cues you mention from the Becoming episodes!
I also love the cue right after the opening credits (Becoming, part 2) when Buffy enters the hospital to find her friends. It's a hint of the Buffy/Angel love theme, but a bit darker.
Some of the cues in your list is actually in the season 2 promo CD:
The Jenny theme from when Drusilla tricks Giles' mind. It's called "Vision of Jenny". Love this darker version!
And the little piano piece from when Buffy and Joyce has their fight in the kitchen is amazing.
I think it's the Buffy/Joyce theme. It also appears in "Ted" when Joyce finds a new boyfriend.
It's called "Accused". 
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"Lie to Me"
By: Shawn K. Clement & Sean Murray
Highlights:
The low-key material as Buffy and angel speak about Drusilla, leading to a meet with an old friend.
The cue around the closing as Buffy goes back for the body. Kind of Beck like.
And the closing cue.
Cordelia: "I just don't see why everybody's always picking on Marie Antoinette. I can so relate to her. She worked really hard to look that good and people just don't appreciate that kind of effort. And I know the peasants were all depressed."
Xander: "I think you mean oppressed."
Cordelia: "What ever. They were cranky. So they were like, 'Let's loose some heads'. Egh. That's fair. And Marie Antoinette cared about them. She was gonna let them have cake."
Teacher: "Yes, ah, well, that's a very interesting perspective."
"The Dark Age"
By: Christophe Beck
Highlights:
The part of the cue in the opening when a man trying to see Giles, is chased. It's not part of the cue that opens the episode, even though the music continues.
The fight music at the E.R. parking lot.
The music as Giles makes a phone call late at night. It plays around with the theme from the episode score.
The rendition of the Jenny/Giles love theme in the library.
The fight music in Ethan's rental. It's short though and after that it's suspense stuff.
The somber Jenny/Giles love theme arrangement around the end. I list cues and some stick out more than others; this is one. Surprised it wasn't on the promo.
Special note: the season two promo combined the opening cue and the cue after the opening credits, switching them around. And other parts of the episode score. I find that opening bit annoying. The edit job works.
"What's My Line? Part I"
By: Shawn K. Clement & Sean Murray
Highlights:
The music for Kendra's entrance at the airport.
The pleasant piano and cello music as Buffy is ice skating. One of the few synth cues that didn't stick out as a sore thumb as a piece made with synths.
The piano, strings, and clarinet(?) piece as Buffy and Angel kiss at the ice ring.
Xander: "Is murder a crime?" (after Cordelia says means things to him)
Buffy: "Do I like shrubs?"
Xander: "That's between you and your God."
Xander: "But HoHo's are a vital part of my cognitive process!"
Xander: "Well, she didn't go home. I let the phone ring a few hundred times before I remembered her mom is out of town."
Giles: "Oh, well maybe Buffy unplugged the phone."
Xander: "No, it's a statistical impossibility for ah sixteen year old to unplug her phone."
Willow nods to Giles
"What's My Line? Part II"
By: Shawn K. Clement & Sean Murray
Highlights:
The two cues (two scenes) for when Angel is imprisoned in the storage cage.
The good-bye cue with Buffy and Kendra.
Wait -- when did Giles find out this was about a cure for Drusilla?
Buffy: "I don't take orders. I do things my way."
Kendra: "No wonder you died."
Buffy: "Get a load of the She-Giles."
Xander: "Angel's our friend. Except I don't like him."
(really, a lot of good quotes in this season)
"Ted"
By: Christophe Beck
Highlights:
The sneaking around music over at the office Ted works at. I just like his sneaking-around music.
The fight music between Buffy and Ted. It's like an earlier version of the music from later in an episode earlier up; part of which is re-used later in this episode.
The dark low-key stuff at the police station as Buffy is being interrogated.
And maybe the closing cue with Giles and Jenny. The load cut off early.
Ted -- the original Bill Gates.
Special note: the promo also had another episode job. It also removed part of a cue.
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"When She Was Bad"
By: Beck
The opening recap music.
The black preacher vampire giving a speech about the small boy. The material is covered in a cue on the season two promo, but it's nice to have more variation of good material.
The synth sound with acoustic guitar as Buffy thinks in a area of the school. What a lazy-fair school -- students have so much time to just sit around and talk, walk around and talk.
Buffy's hallucination of Giles trying to kill her and turning out to be the Master.
Another variation on the material from the season two score promo, this time with some synth choir as the black preacher and the anointed boy watch vampires dig something up.
Another variation, with a darker opening as Cordelia is imprisoned, with a variation on the piano material from another episode ("Amends").
The fight music at the location where the vampires are attempting to bring the Master back to life.
The piece as Buffy smashes the remains of the Master. Kind of a proto Buffy/Angel love theme piece, only with the Buffy part.
The closing cue. A variation of a theme later heard. Is that song crossfaded into it? Maybe there's more to that cue.
Hiring Beck was a wise decision. And I'm glad he was kept over Clement & Murray.
Special Note: the cue on the promo appears to be another edit job, unless the cue had to be re-done if the scenes were re-edited. Right after the opening part of the cue, for example, in the episode, there's some good lower-key material missing. Most of the promo cue appears to not be used in the episode.
Snyder: "You really have faith in those kids, don't you?"
Giles: "Yes I do."
Snyder: "Weird."
"Some Assembly Required"
By: Adam Fields
Additional by: Christophe Beck
The uneasy piano cue as some kid leaves his house and his mom ignores him. Doesn't come off as a Beck cue. There's more when Buffy visits that house later in the episode.
The piano piece as the dead zombie brother speaks. Pretty sure this is a Beck piece.
The cue as the zombie's brother talks to Buffy.
The piano music as the zombie brother watches the football game. Clearly a Beck cue, reminiscent of the Buffy/Angel love theme.
The fight music at the end. It's a little cheesy sounding. I think it might be a Beck cue, because of the piano work at the end (unless that was edited on) and the orchestration.
The closing music as Buffy and Angel talk in a cemetery late at night, with part of the Buffy/Angel love theme -- it's not there fully yet.
I don't know what happened here. I assume Fields was hired to score the whole episode before
Beck was hired after Murphy's score was rejected for "When She Was Bad" and perhaps
Fields was chosen in haste. Presumably Joss wasn't happy and had Beck re-score some after a rush replacement on the first episode.
I e-mailed to ask Fields about this one time and he couldn't recall. I offered to give him a link to the episode to see if he could recognize how much of his music was in there. He didn't seem particularly interested. I don't think it was a pleasant experience for him.
Xander: "You ever think that the world is a giant game of musical chairs and the music stops we're the only ones who don't have a chair?" (to Willow)
"School Hard"
By: Shawn K. Clement & Sean Murray
The fight music in the alley behind the Bronze. That short bit about thirty seconds before, would be a nice way to open the cue.
The very short Thomas Newman-ish piece as we se time pass on a wall clock. Sounds like it's faded out early, like there might be more to the cue.
The tense music and fight music in the school at night.
The action material as Buffy is in the celling and falls out.
The string music for Spike and Drusilla at the factory around the end.
Probably the strongest score for the duo.
Spike and Drusilla's first episode.
I don't get it -- if the Principal knows the truth about vampires, why did he think ignoring the Slayer and going out a window would work?
Continuity contradiction: Spike says the last Slayer he killed begged for her life. And he's only killed two. The first was in the Boxer Rebellion, and the second was the black slayer in the subway in the 1970's (seen in another episode). Neither begged for their life (we saw both deaths later on).
Willow: "We can't run, that would be wrong. Can we hide?"
"Inca Mummy Girl"
By: Beck
The presenter's speech about the Inca mummy girl at the display.
The music as Buffy, Willow and Xander pick up the foreign exchange student.
The music for the Inca girls talk with Buffy in Buffy's bedroom. It would be nice to follow this cue up with the two exotic percussion pieces earlier in the episode.
The music as Buffy and Willow go hunting for Xander the Inca girl. Leads to some fight music and some dramatic material.
Poor Jonathan is always getting it in so many episodes. He's still a background person.
Special Note: the cue on the season two score promo is also another edit job. The end of it is from earlier in the episode. The cue still has it in the episode, but it's a different performance.
Willow: "Why are you suddenly so worried about looking like an idiot? That came out wrong." (to Xander)
"Surprise"
By: Beck
The Buffy/Angel love theme as they make out. Can't have enough Buffy/Angel love theme, in my opinion. Barely 17 and making out with a dead guy over two hundred years old.
The music for Drusilla and the flowers.
The fight music at a building, while Jenny waits in a car.
The Buffy/Angel love theme rendition with the piano underneath as they walk to a cargo ship. It's a weird combo; sounds like Beck with Mark Snow piano work underneath. There's more of the love theme at the pier after a couple of minutes. Some fight music also.
The music in Buffy's dream.
The music for the box opening to reveal the Judge.
And the music as Buffy and Angel finally do it.
Special Note: the cue on the promo must be edited as part of the opening doesn't appear on the promo. Or maybe that's an additional bit added to it.
Xander: "You ready to get down you funky party weasel?" (to Giles)
"Innocence"
By: Beck
The music as Xander and Cordelia make out.
Another nice rendition of the Buffy/Angel love theme as Buffy goes to an enters Angel's apartment.
The kind of somber piano music as Xander and Willow have a private conversation.
More Buffy/Angel love theme, only sad and uneasy, in the library. As Buffy runs away, a variation of the end of the Buffy/Angel love theme from the season two finale, is heard; that's the end that was cut off to crossfade the song.
And yet more Buffy/Angel love theme as Buffy sulks in her bedroom.
The military-style like music as Xander, Cordelia, Oz and Willow sneak up to a military base. And the following separate cue as Xander and Cordelia break in.
The sad piano music at Buffy's birthday with just her and her mom.
Special Note: the TV version of the "Dreaming Of" cue is different; the dream part is very much on spot, but the last part isn't and there's an extension with some action music.
Spike: "I know you haven't been in the game for a while, mate, but we still do kill people." (to Angelus)
Xander: "I'm seventeen -- looking at Linoleum makes me want to have sex."
The Judge: "What's that do?"
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No loads found for "Reptile Boy" (Clement/Murray) and "Passion" (Beck). But as I said -- I wont' be doing all of them. I'll be stopping at season seven, by the way. I didn't like that season and don't wish to see it again.
"Phases"
By: Shawn K. Clement & Sean Murray
Nothing.
The score is really just a bunch of low-key meandering material that comes and goes without much of anything to offer.
"Bewitched, Bothered and Bewildered"
By: Beck
The cemetery fight music shortly in the opening.
The short plucky bit as Xander confronts Cordelia.
The music as Amy casts the spell for Xander.
More plucky music is escaping from girls after he realizes the spell has gone wrong. It's a variation of the Dead Guys With Bombs cue from another episode. There's more a few minutes after that. Some more in the library when confesses to Giles; this version also has a short saxophone romance piece as Buffy throws herself at Xander.
The short cue as Cordelia's friends attack her.
The cue as the female students break into a large fight outside the school.
More Buffy Rat material not in the cue on the promo.
The short dramatic bit as Xander and Cordelia run from Joyce with a knife.
The bit as the women are breaking into the basement/Oz hunts for the Buffy Rat/and Amy does the corrective spell.
Special Notes: the Buffy Rat cue is broken into pieces in the episode; the promo made the smart decision to put them as one cue.
The Mob Rush cue on the promo is an edit or two different scenes; works marvelously. It's not like those nonsensical crossfades on some official releases.
"Killed by Death"
By: Shawn K. Clement & Sean Murray
Nothing.
Sounds like the two were taking pages from Beck's scoring book. But it's not the same.
The direction for the extra mopping the floor in the hospital: "Okay, not pretend like you've never mopped a floor before and don't know what you're doing. Action!"
Xander: "Take a walk, over bite."
Xander: "You don't know how to kill this thing?"
Buffy: "I thought I might try violence."
"I Only Have Eyes for You"
By: Beck
The Jenny/Giles love theme version when Willow gives Giles something Jenny's.
The music as Giles witnesses the murder.
The cafeteria snakes music.
The music as they run from the school from the unidentified flying bugs (turned out to be wasps). Part of a longer cue, though.
The music as Buffy is doing the speech with Angel under the influence of the ghost. The use of the Buffy/Angel love theme is very nice.
The piano music at the end as Buffy talks to Giles.
Another extra mopping the floor whose direction was to act like he's never mopped a floor before.
A very well written episode. Damn near the entire season is perfect; it's building, it's foreshadowing, interplay and consequences -- damn fine television.
Xander: "'Something weird is going on' -- isn't that our school motto?"
Xander: "I defined something? Accurately? I guess I'm done with the book learning."
Xander: "Oh yeah, baby, it's snake-a-licious in here."
That concludes season two.
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I did say I'd stop at season seven...
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) 
