The volume is low, to various degrees, on all the loads. Sound quality sucks.
"Steele Away with Me" (Part 1 and Part 2)
1:36 in. Including some James Bond parody music. This is like the fourth or fifth TV series I have covered that had an episode to do James bond-like scoring ("Buffy the Vampire Slayer" wsa another, and I think "the Fall Guy" had one, too; for example).
22:35 in. James Bond vibes.
41:48 in. More James Bond parody music (in the last half of the cue).
55:05 in. More James Bond parody music.
114:15/1:19:27/1:21:48 in. More James Bond parody music.
Prominently guest-starring Doris Roberts. Man, she looked old back then, she looked old in the 1990's, and she looked old in the 2000'. She spent a long time looking old. And she was in her 50's when this aired. Apparently the producers liked her, as she became a regular character from this point onward.
* = After the commercial break, there is some disco music. I didn't know Warren ever did any. Didn't care for it, but still I thought I should point it out.
"Red Holt Steele"
34:02 in. And after the commercial break.
"Altared Steele" (not a typo)
Another out-of-contest quote...
Laura: "It's coming! It's coming! A Little further, just a little further!"
"A Steele at Any Price"
15:51 in. Lightly tossed salad and steeled eggs.
"Love Among the Steele"
15:05 in. Classy (for lack of a better word) car chase music.
About 30:00 in. And the cue after the commercial break.
For the guys here: 8:51 in. You're welcome.
"Steele Knuckles and Glass Jaws"
39:20 in. "Rocky"-ish montage music.
"My Fair Steele"
1:40 in. Disco-ish piece with a drum machine and a sax'.
34:30 in. And the cue after the commercial break.
Warren experiments some with synths and a drum machine in this score. some of the synths sound cheesy and out-of-date even back then*.
32:56/35:14 in. And the pizzicato string piece after the commercial break (first cue).
"High Flying Steele"
5:01 in. Also using a water chime.
"Blood Is Thicker Than Steele"
1:38 in. Some funky goodness.
11:59/13:01 in. More funky goodness. More after the commercial break.
34:55 in. More after the commercial break.
In fact, most of the score is funky. Good fun.
"Steele Sweet on You"
1:38 in. Oh, good, more funky goodness. Sweet, two episodes in a row.
4:10 in. Continued funky goodness.
12:43 in. Steele more funky goodness. Continues after the commercial break. I like when cues, intentionally or not, keep going after a commercial break; that way they just fit together for a CD release.
34:38 in. And the cue after the commercial break.
That's all but six cues.
"Elegy in Steele"
2:07 in. Damn that's cool.
"Small Town Steele"
30:10 in. And the cue after the commercial break.
23:32 in. Joining a cue already in progress.
"Dreams of Steele"
9:50 in. And after the commercial break.
NO [GOOD] LOAD FOUND.
"Woman of Steele"
8:59 in. There is a brief lull and it continues.
21:28 in. And the cue after the commercial break could probably be tagged onto this.
1:38 in. I've said it before with Warren and I'll say it again: Remember when TV scoring could sound like this???
That's nearly the entire score.
Listening to this episode score, I had to bring up the sad reminder that there weren't even any episode scores nominated for any awards during the show's run.
Warren is steele scoring the show.
The opening credits have been updated with synths and a beat.
The sound is low on all the loads (and cropped, but that doesn't matter).
"Steele at It"
1:02 in. Timpani and lower octave piano for a stranger in Laura's place.
14:28 in. Exciting action-esque music.
28:12 in. Bouncy montage piece with a solo trumpet(?) playing over it.
38:30 in. With a funky beat underneath it. then some chase music with frantic strings and timpani.
"Second Base Steele"
14:26 in. For the guys here...*
Obligatory baseball episode.
* = LOL, did you see that? Mr. Actor there was sneaking a peak of the rear end of things...
Another out-of-context quote...
"There's always room for one more nut."
"Blue Blooded Steele"
7:44 in. Is "funky" a good way to describe this?
I know I've been skipping mention guest-stars on this series, but I do want to point out that Efrem Zimbalist, Jr. -- who voiced Alfred the butler to Kevin Conroy's Batman over a few shows -- does indeed look like he could play Alfred in real life. That would have been a good opportunity.
"Steele Your Heart Away"
19:57 in. And the cue after the commercial break.
Looks like "Murder, She Wrote" isn't the only one who went to Ireland for a ratings boost.
When I hear the theme Warren created for the episode, am I the only one who hears this?: https://www.youtube.com/watch?v=j4cB_cFxvVc
"A Pocketful of Steele"
34:41/36:47/39:11/40:53 in. I'm not going to double check, but I'm sure they all work together and could be a mini suite.
1:02 in. Steele ethnically flavoring the music.
Steele traveling overseas.
"Cast in Steele"
12:46 in. Going Postal.
NO [GOOD] LOAD FOUND.
"Breath of Steele"
"Let's Steele a Plot"
" Gourmet Steele"
By: Arthur Kempel
This is, of course, Kempel's only effort for the series.
A good effort.
Krebbs: "It's bad enough to be kidnapped, but to be returned?"
"Stronger Than Steele"
1:08 in. Including a "Superman" (Williams) parody for the fake TV series "Atomic Man".
10:04 in. "Atomic Man" episode music.
Yes, I did check to see if at least one name on the end credits of "Atomic Man" were real; nope. And no composer credited in the fake end credits. ;-)
"I took my scepter in my hand, and it felt good."
"Have I Got a Steele For You"
2:02 in. Funky?
Laura: "I just don't like seeing you get hurt."
Remington: "Well, in that area we agree; it is better to give than to receive."
"Springtime for Steele"
34:15 in. Joining a cue already in progress for the action material.
Laura: "'Spare the rubber?'"
Remington: "I can't be clever all the time, Laura."
"Steele in the Family"
14:25 in. And that short bit after the commercial break could be tagged on.
Special note to the rather amiable bad guy played by the late beard-O Jack Bannon.
"Weekend at Bernie's, "Remington Steele" style.
Girl in a Cheerleader Outfit: "He sees the opening, he slithers threw the line, and then he penetrates the hole! There he goes, he scores!"
12:20 in. And the short bit after the commercial break can maybe be tagged onto the end.
"Now You Steele It, Now You Don't"
16:25 in. Joining a cue already in progress.
1:09 in. Reminds me of "North by Northwest", with a touch of "Vertigo".
10:44 in. Same as above. And it's not coincidental, as later in the episode Laura comments on how a house reminds her (in feelings) of the house from "Psycho".
40:48 in. Including the stabbing music from "Psycho".
Remington: "...he leans into her and gives her a big big..."
"Steele in the Chips"
31:45/32:29 in. Also parodying the music from "It's a Mad, Mad, Mad, Mad World".
37:27 in. Also parodying the music from "It's a Mad, Mad, Mad, Mad World".
"Steele of Approval"
That's all of season three.
"Steele Searching: Part 1"
https://www.youtube.com/watch?v=YjnkNCr5Pz8 (sped up some)
7:35/8:40/10:06 in. And the cue after the commercial break.
About 28:35 in.
About 37:20 in.
"Steele Searching: Part 2"
https://www.youtube.com/watch?v=wqt8KESxrpE (sped up some)
* Listening to Warren's action material, it makes me think it would have been nice of he and Ken Harrison traded out on "MacGyver" for an episode or two.
1:25 in. Over-the-top serious brassy music for serious F.B.I. agents.
8:08 in. Over three minutes.
19:51 in. And the cue after the commercial break.
A delicious example (and there are plenty!) of a composer going above and beyond the needs of the episode. Makes you want to balfe all over the place hearing today's modern television scoring.
Guest-starring Nana Visitor.
Laura: "You ... you--"
Remington: "Sly devil?"
Obligatory shitty boxing episode.
36:10 in. Action cue with a drum machine.
"Corn Fed Steele"
By: Don Nemitz
This is, of course, Nemitz's only effort for the series.
Nemitz' career is made up mostly of orchestrating (if his IMDb credits are correct, he hasn't orchestrated since 2010; mostly for Debney until that point). This work is 1/4th is scoring credits on IMDb. Warren was busy and let him score the episode; he orchestrated for him on the series.
Here is an archived page of my interview with him, from my currently defunct Rejected Film Scores website: https://web.archive.org/web/20140906234035/rejectedfilmscores.150m.com/donnemitzinterview.html
Krebbs: On being interrupted from kissing the sheriff, "Darn. Now I know how they feel when I do it to them."
6:59 in. Funky-ish snooping around music.
Warren parodies score from "Gone with the Wind" in the closing cue (not cited).
"Coffee, Tea or Steele"
Guest-starring Terry O'Quinn.
"Dancer, Prancer, Donner and Steele"
There's barely any score in the episode.
"Steele on the Air"
11:24 in. The warped death music (can't recall the name of it).
Almost no score in it anyway.
10:15 in. And the cue after the commercial break.
Guest-starring Louie Anderson. I wonder if this was intended as a back-door pilot for him.
1:25/11:44 in. Bouncy piano, woodwinds, and a solo trumpet playing over it.
"Santa Claus is Coming to Steele"
"Steele Blue Yonder"
19:29 in. More music to steele by.
"Steele in the Spotlight"
11:21 in. And the short bit just like it after the commercial break.
I think that's the entire or nearly entire score I mentioned, so I might as well say the whole thing should be released.
"Steele at Your Service"
"Steele in the Running"
1:44 in. Kick drum beat with racing strings and some brass.
8:35 in. Light adventurous swimming contest music.
10:01 in. Bicycle racing music with trepidation.
25:43 in. Joining a cue already in progress.
35:27 in. About 37:55 in -- that's some neat stuff.
"Beg, Borrow or Steele"
Laura: "Does anybody aside me have a set of keys to your place?
Remington: "Most of the people I know wouldn't need a set of keys to my place."
"Steele Alive and Kicking"
10:40 in. I know it's very short, but it's just so good.
"Bonds of Steele"
That's all of season four. One season remaining and it's a short one, but I am out of time for today to do it.
"The Steele That Wouldn't Die" (Part 1 and 2)
19:00 in. Chase music.
39:11 in. And the cue after the commercial break.
43:12 in. Reminds me of the self-nicknamed "Jeep Travel Music" from "MacGyver" (Harrison).
"Steele Hanging in There: Part 1"
"Steele Hanging in There: Part 2"
Guest-starring another Trek person, Colm Meany.
An out-of-context quote...
Remington: "Anthony, old chap, I seem to have split your shaft."
"Steeled with a Kiss: Part 1"
Steel traveling to Ireland. And one of the people in the episode has a last name of Babcock...
"Steeled with a Kiss: Part 2" (series finale)
There has been, of course, no release of any of the scoring. Through some unspecified thing, Warren no longer has tapes of any of his work for anything. Warren retired early from scoring and is pursuing a career in acting. His latest credit is an upcoming TV movie called "The Sanctuary" (no composer is listed on IMDb for it yet).
Sadly, the interview I did with him years ago, was not archived on any website, so I can't link to it, but I can post excerpts where he talked about the show (see down below).
And that's it. There were no TV movies.
In 2013 the studio announced a reboot pilot, which would follow Laura's daughter, giving an opening for Laura to return. Brosnon, however, didn't appear to want to return as Remington Steele again. Planned as a half-hour comedy (yeah, they didn't really get it), Ruben Fleischer was set to direct it and Jay Scherick and David Ronn (The Smurfs, The Smurfs 2) were the writers.
For what ever reason (perhaps hiring a guy that makes comedies, or hiring writers from the SMURFS CGI FILMS), not too long after that, it was thankfully shit-canned and not filmed.
Steel quiet on the western front about any more attempts, but given all the reboots of old series, it wouldn't surprise me if they tried to bring the original show back.
Check out the IMDb Trivia page for what happened to the original show (the word "doomed" is appropriate):
When asking how he got into scoring...
I got Remington Steele because of my relationship with Henry through that organization. At the time he got me hired to do that series he had not even heard a note of my music and just made his decision on what he knew of me as a person solely and took a big risk. When he was talked into doing Remington Steele he told its' creator that he didn't want to do a weekly series...in fact he didn't even want to do the background music for the pilot itself, just the opening and closing themes. He told them to hire me to do the background score and if the series sold I was to be its' weekly composer...it sold and that's how I got the show for the 4 ½ years it aired (and is still airing today, throughout the world. I just found out yesterday that WE TV is running it Monday-Friday at 8:00pm in many of its' markets...).
When asking how his favorite work on series...
All of them...they all were different and offered me different things...but, in truth, I would have to say the first two seasons of REMINGTON STEELE because in those days each episode was based on a feature film so I was tasked with bringing to life the style of the original score so one day I was doing Carmen and the next day I was doing Erich Wolfgang Korngold and the next Elmer Bernstein, etc. That was enormously fun because of the research I got to do, the various orchestras I got to work with.
Brought up in a question about another TV show, so unrelated...
There was an episode of Remington Steele whose opening scene reminded me of a movie that had this amazing chord changes and intense and mesmerizing sax solo going on over them...so I copied the idea and hired my band and recorded the music. The first that happened was on the day of the session. I would often go up to one of the musicians to explain to them what I was looking for if I wasn't able to do it fully in the notes on the page, a certain feel or phrasing I was looking for that I had to tell/show them and not just write it out in notes. So on this day I went to my Sax player (who shall remain nameless in case he hears/reads this and starts laughing at me again) and I start to tell him what I want but he just looks at me likes he's totally confused and I'm nuts...so then I ask him if he has seen the movie I'm imitating because that's the style of the sole I want him to play and he and the rest of the band start to laugh because it turned out he was that Sax player on that session...needless to say, he knew exactly what I was looking for. The next thing was when I happened to be on the set a couple of weeks later and Stephanie Zimbalist came up to compliment me on having done such an amazing take off on that opening scene from that movie...having a grandfather who was an amazing violinist and her own background in music I should have known she would recognize it immediately but she swore she'd keep my secret, kissed me on the cheek and walked away...I've had a crush on her ever since...lol
More about Mancini...
It was all thanks to Henry Mancini's faith in me as a person without any knowledge of my work as a composer. Each year when he re-recorded the opening and closing theme music he would reiterate to the producer that I was the only person for them to use on the show and I was.
This turned out to the "first" interview with him. He said he did one a long time ago, but it never surfaced, so defacto my interview is the first.
You may want to check out Dana Kaproff's music to "Cagney and Lacey" (yes, it's in the list of shows I've done). You'll probably enjoy that, too.
Oh, and also jmarc, you may wish to check out David Bell's work on "Murder, She Wrote" (which I covered) and Bruce Babcock work in general.