La La Land Records, who have previously released the expanded editions of the scores of Batman, Batman Returns, Batman Forever, plus the first volume of Batman The Animated Series, will unveil, during the next comic con, a second volume with more music from TAS, this time being a 4 cd set, Since the first volume has long been sold out, it will also be re-released, but excluding two tracks from the original release (which I'd the wager are The Gotham City Overture and Music for the Bat). So, what episodes do you hope will be included in this 4cd set?
OMG yes! I've been wanting this for so long! Great news. Great episode picks too... can't wait to hear Feats of Clay especially, one of my favorites among the BTAS scores.
"While working on Vol 2 a number of episodes of the first "65" got the axe and will be featured on Vol 3: Robin's Reckoning Parts 1 and 2, Day of the Samurai and The Clock King to name a few. Our plan is to have Vol 3 out next year (possibly another 4 disc set). That would be all the music we would release from the first 65. We are also contemplating releasing an empty box when vol 3 comes out so people can put all 3 volumes inside. It would be like $5 (or around there) if people wanted to buy it separately or free with purchase of Vol 3...something like that. Then we would focus on the "Adventures of Batman and Robin" and "The New Batman Adventures." Hopefully, Superman TAS, Justice League (TAS and Unlimited) and the two BTAS animated direct to DVD movies (Subzero and Batwoman) will also see the light of day in the next few years. This is some of the finest music written for television. It's been a joy and honor to bring these out and we hope to continue to mine this incredible slate of superhero music. We are also looking into stuff like Animaniacs and Tiny Toons. The ealry 90's was truly the 2nd Golden Age of Animation at Warners Bros. We are doing our part to preserve that legacy. MV" Posted on filmscoremonthly.
Me either. I'm more excited for this than Zimmer's score for The Dark Knight Rises. [YT]ZsxCMPQzqvk[/YT]
I can't wait and i hope the next one features "The Forgotten" my favorite score from my favorite episode
I wish more music soundtracks from other cartoon shows were released, I don't know call me crazy but I'm always humming the music to 80's G.I.Joe, Transformers, He-Man shows.
I know Volume 1 came out in '08' but I missed it then and wanted to talk about it now that I've heard it. It was amazing listening to the scores seperate from the episodes. It also brought me back to watching the show for the first time or anytime when I was kid. Like I'm sure it did for most that grew up with this show. You don't hear music like this these days for Batman let alone other superheroes. Walker and Co. really captured the attitude and essence of the show as well as creating a variety of different tones and musical flavors for each episode. It never felt like it ran out of ideas or if the Batman theme was running on fumes. Each score is very creative and captures the heart & core of each episode perfectly,imo. It also captured the essence of Batman in general. It does what Zimmer and co. failed to do with TDK trilogy scores and that's tell a story. "It's Never Too Late" had me in tears with a few tracks b/c of Stromwell being saved by his friend from being hit by a train. As well as the material with his ill son being in the hospital b/c of using Stromwell's own drugs that were being put out on the streets. And when his friend who saved Stromwell from the train returns (now a priest) to have Stromwell leave his wicked ways. I found the music from this episode the most emotional on this volume. The music especially from this episode is what Batman needs none of that MV/RC sound design nonsense that we get today. "Birds of a Feather" is a very operatic score that had me thinking of Burton's BR and Fleischer's Superman cartoons just like the episode itself. "Two-face Part 1" was a very haunting score. It really nailed the troubled psychology of Harvey Dent/ Two-face. The theme is even creepy at times. You can't help but feel bad for Harvey b/c of the path he will eventually take. It gives Harvey a sense of doom and that he was destined to be Two-Face. I even feel worse for Bruce/Batman when hearing that theme b/c he can't (eventhough he tries to) save his best friend from corruption and a life of crime no matter how hard he tries. "Two face Part 2" was a very operatic and emotional score. I love the operatic music with Batman on his batcycle. The track "The Great Equalizer" is very dramatic and has this climatic feel. Like it's Batman's last chance to save Dent from the path he's headed in. it also gives hope that Dent will overcome his split personality. I can go on and on. I can't say enough about how well written and thought out these scores are. Walker and her team's music is just a stroke of genius, imo. I can't wait to listen to volume 2. That has a lot of goodies i've been wanting to hear seperate from the show for many years. Another thing I kind of wish they put every track from every episode (on the V1 album) on it b/c "The Last Laugh" missed the track where Bruce pulls an April Fools joke on Alfred at the end. "Pretty Poison" missed the track where Dent was taken to the the hospital after being poisoned. As well as the track when Bruce was telling an unconcious Harvey to "fight it". And when Isley tried to kiss Wayne and he has a flashback of her kissing Dent at the Rose Cafe. I wish "Christmas with the Joker" added the saxophone music (of "Tidings of Comfort and Joy") the homeless guy was playing as Batman and Robin were patrolling. They just cut that iece out in the middle of the track. They also missed the part where Joker went to a commercial break as Batman and Robin were fighting against those observatory cannons. It also missed the short piece that was playing at the end of "It's A Wonderful life" just before Grayson asked Bruce what he thought of the movie. "Two Face part 1" missed the music where Gordon and Dent approach a police raid against Thorne's men in some building at the beginning of the ep. As well as the short piece that played when Candice (sp?) was eavesdropping on Harvey's therapy session. I don't know if it had the music where Dent almost attacked Bruce at an event when Dent finds out that Thorne's men were cut loose. "Two Face part 2" I think missed the music where Two face was looking out of his car window at Grace's apartment and then pulls back up his window. "Vendetta" episode missed the music that was playing at the end after Bullock tells the press and every criminal on the news "that Bullock's back and ready to kick butt" and Batman smiles as Walker's Batman theme plays triumphantly in the background. It's a shame that piece didn't make it. I can't recall if any other episodes were missing any tracks. Though those tracks were missing I'm still thankful for LLLR for releasing any music period from this amazing show.
Nope, don't agree with that. Zimmer's score tells a great story. I think it's better than Elfman's, too. Much better.
I also forgot to mention the music during this scene was missing on the "Vendetta" score of B:TAS V1 2CD. (just in case the picture gets deleted I'm talking about the scene where batman interrogates Thorne about "Spider" Conway's kidnapping.) To me Zimmer's Bat scores have been mostly about mood and atmosphere. It hardly tells a story, imo. Let alone a "great" story. It only sets the mood of the film that it's dark, bleak, and depressing, but not much else. I can already tell that by just looking at the cinamatography and footage of TDK trilogy that they're dark and depressing movies. No need for Zimmer and co. to bang us in the head with it over and over. His TDKR score was very distracting in a few scenes even the quiter moments b/c of how loud the mixing was. On top of that it feels more like an MV/RCP score (which sounds like tons of action blockbuster scores in the past 17+ years) than a batman score. At the end of the day the scores are mostly sound design that only succeeds at setting the mood. Those scores don't tell much of a story to me. If I want to hear Batscores that tell great stories I listen to Elfman's, Walker's and Co., and Goldenthal. I'll listen to Zimmer's bat scores if I'm in the mood for trailer music and his predictable action and drama scoring methods with his simplistic ostinato approach.
Just got done listening to Vol. 2. It's a lot to take in on first listen (and it will probably continue to be after repeated listens afterall it's nearly 5 hours of music), but overall I enjoyed it very much. It brought back many great childhood memories of the show itself. The easter eggs were also nice. Can't wait for volume 3, b/c there's still quite a portion of great scores missing.
I've been having the scores to Vol. 1 and 2 in my head for the past few days ever since I started listening to Vol.1 three weeks ago. These scores really stay with me. Today after listening to Vol. 1 in honor of the show's 20th anniversary. I kept hearing two face's theme constantly in my head today. That theme really is haunting in the same way "Big Bad Harv" taunts and haunts Dent. It really made me realise even more how much Walker nailed that character musically. It really gets into the troubled psychology of Dent. The theme is chilling, menacing, and yet tragic. Every time I hear this theme I feel like I'm getting inside Harvey's head. I always can't help but feel bad for the character when I hear this theme. As well as Clayface when I hear his theme. The beauty of Two-face's theme is that it can do many things like be sinister as well as dramatic, sympathetic, and emotional (especially during the Grace scenes). I can talk about these scores all day, which is sadly something I can't do with Zimmer's batman scores. Though I plan on talking about Vol. 2 more ( after I give it another listen) since nobody else has or will up here. But that's what I love about Walker and Co. themes and scores they take me on a musical journey through the characters and story. The music is definitely the heart and soul of this show. Though the animation is great (most of the time) I don't think the show would be as effective without the music. Thank you Walker (RIP) and co. for writing timeless scores (to a brilliant show) that not only captures the essence of what Timm and co. were trying to do (and succeeded) but the essence of batman itself. These scores really helps me get a better understanding of the characters and story as much as I would watching the show itself. Happy 20th anniversary B:TAS.
The past few days I've been listening to the batman scores I own. Everything from Nelson Riddle's Batman the Movie, I know this isn't a score but a song album Batman '89' Prince, Elfman's Batman '89' and Batman Returns scores, and Walker and co. B:TAS Vol 1 & 2 scores. I plan on listening to Walker's B:MOTP, Goldenthal's Batman Forever tomorrow if I can. As well as "sigh" Zimmer's and JNH Batman Begins and The Dark Knight scores. I still don't own Zimmer's TDKR score yet fortunately. I also plan on listening to Batman:Gotham Knight. Anyways back to B:TAS Vol. 2. The scores to these shows are marvelous, which is more than I can say for Zimmer's bat scores. I'll go ahead and give some of my thoughts on a few of the scores. "Beware The Gray Ghost" is not only a great episode but the score to it captures the feel of a serial and film noir as the show itself does. It kicks off the album already on a high note. The theme for the Gray Ghost is very daring and brooding in a heroic way. The theme for the "toy cars" is very threatening and listening it makes me feel like I'm being chased down. It's a very exciting theme and captures the thrill and danger of being chased, imo. "The Cat and the Claw Part 1 and 2" scores are outstanding. Both scores ( like most of the episode's scores in general) feel like it was written for a movie and not a cartoon on network tv. The track "The Catwoman" starts off with catwoman's theme, which is very cat like and sneaky capturing the feel of a cat burglar. When Batman and Catwoman face off and play a game of cat and mouse. Catwoman's theme is played almost like a dance between Batman and Catwoman. It's very energetic and playful. Catwoman's theme is very different from Elfman's own catwoman theme for BR, which is a good thing. Yet both themes fit the character , imo. And I can't even remember a single note of Zimmer's catwoman theme if she had a theme at all. Red Claw's theme is very vicious and threatening . It really showcases that she and her group of terrorists are the main threat against Batman instead of Catwoman. It's played very menacingly as Red Claw's goons go after Catwoman in "Batman Rescues Catwoman" and "The Train". Theres another theme that plays as Catwoman takes photos and one of Red Claw's goons takes the camera from her. As well as when Batman and Catwoman get loose from the ropes they're tied in as the "plague" start to spread. That theme sort of to me captures the companionship and partnership between Batman and Catwoman with them both teaming up to foil Red Claw's plan. "Bat Draft" is a very thrilling track capturing the suspense of Batman trying to destroy the "plague" and risking his life at the process. The last few seconds of "More Than You'll Ever Know" is touching and heartbreaking as the last scene itself when Batman handcuffs catwoman. You can tell it hurts batman arresting catwoman more than it does catwoman. The music nailed that perfectly. "Nothing To Fear" opens very suspiciously like danger is approaching. Scarecrow's theme is more maniacal and less threatening than some of the other villain themes. It plays more to Scarecrow's psychology and his joy of watching people in fear. This episode's score feels like it's written for a batman movie with Scarecrow in it. That's how great it is. In fact it's way better than what Zimmer's given Scarecrow (sound design noises) for Batman Begins, imo. I'm not sure the character even got a theme in BB. I like the use Elfman's Batman theme as well as Walker's own Batman theme towards the climax. There's another theme that plays to Batman's fear it's used excellently (as well as Walker's batman theme as both themes compete against eachother till one's victorious) at the end as Batman overcomes his fear. That fear theme for batman is very powerful and haunting, imo. Gotta love the cue that wraps up the score to this episode. It's very touching and tragic as Bruce visit's parents grave and we see a silhouette of batman's shadow as he leaves. The use of Walker's Batman theme is very emotional and effective at the end. Excellent score and episode. "Heart Of Ice" really isn't Mr. Freeze's theme it's more of Nora Fries' theme and Freeze's feelings for her. It's bittersweet, tragic, and a little melancholic. It works well with the image of Nora Fries twirling like a ballet dancer in his crystal ball replica of her. It captures Freeze's heart and emotion what little he has left of it anyway especially in the last track "Arkham Asylum". You can't help but feel sorry for Freeze. I like the action music in "The Iceman Cometh Again/Cold As Ice" it's very exciting especially the bit with the batmobile chase. Listening to that bit I can't help but be on the edge of my seat as Batman takes on Freeze for the first time.
Disc 2 of B:TAS Vol 2. The main theme (which is basically for Batman's appointment to Crime Alley on the anniversary of the day his parents were taken from him) that carries most of the episode in "Appointment In Crime Alley" feels very urgent and critical, which is necessary b/c the episode is centered around this appointment and Crime Alley. The theme highlights Batman's situation that he's trying reach his destination on time but encounters many situations that are preventing him from doing so. The theme is one of the first things that come to my mind when I think about this episode. Leslie Thompkins also has a theme thats hopeful and moving. It really captures Bruce's and Lesley's relationship what little we know of it on the show, imo. The music as Batman saves a trolley adds the right amount of anxiety in the scene. Listening to that track always has me curious if Batman's going to save everyone on the trolley. That's how gripping that particular cue is for me. "Mad As A Hatter" opens very grim but then becomes more playful as Jervis Tetch A.K.A. Mad Hatter successfully controls mices or guinea pigs with a mind controlling device. The theme that's usually associated with Mad Hatter that opens the episode "Perchance To Dream" makes short appearances here. The theme is very mischievious, jolly, and even whimsical. It fits the Hatter's persona like a glove. The theme that gets more use is the more solemn and not so pleasant theme associated with Mad Hatter and his true intentions. It's captures Mad Hatter's more darker side. That theme goes through a workout in this score. The score and the episode itself is a lot of fun. The main theme of "The Strange Secret of Bruce Wayne" is dark, suspicious, and mysterious. The theme does a really good job giving me the impression or feeling of someone digging in your mind for information you don't want anybody to know about you. The theme emphasizes the secrets of Dr. Strange's patients that they don't want anyone to know about. And of course Strange uses that dark secret to blackmail his patients into giving 'em their money. It's also a theme for Dr. Strange. It's used as Strange escapes Joker, Two-face and Penguin after Batman switched the recording revealing his identity. I liked how Joker, Two- face, and the Penguin's theme makes a brief appearance as they are reintroduced in "The Diabolical Plan". Probably everybody's least favorite episode (Though I enjoy it.)"I've Got Batman In My Basement" opens with Penguin's theme which for a villain theme is very pleasant, elegant, and luxurious. Therefore makes it a little disturbing. The theme once again fits this Penguin nicely. Despite the design of the penguin resembling DeVito's Penguin. The theme is very different from Elfman's own Penguin theme for BR, which was like DeVito's interpretation gloomy, sinister, and tragic. Walker's Penguin theme kind of reminds me of the theme to Burgess Meredith's Penguin from the 60s show. At least with the type of instrument that's used. The theme for Penguins vulture is very striking, menacing, and bird like with the screeching violins I believe. You know hearing that theme (kind of like in Jaws) danger is approaching. The music in this episode adds the right amount suspense and adventure in the show. Feat Of Clay Part 1 opens kind of like an old school matinee gangster movie which makes sense b/c the story's antagonist is a movie star. "Mr Fox's Resignation" is the highlight track of part one for me, the music goes in many directions. It feels like it was again written for a big screen action movie. It really adds a lot of tension and suspense in the actual scene. "Creation Of Clayface" is a very vicious and threatening track that capitalizes the horrifying torture and suffering of Hagen being turned into Clayface. As a large amount of face cream chemicals is being pour into his mouth and throat. Listening to this track it's amazing its written for an animated show that's mostly aimed at kids. It almost sounds like something written for an R-rated horror movie and that's a compliment. Is it just me or did anyone else hear a nod to the music of the 60s tv show whenever the batman emblem pans in front of the screen. The Clayface theme is sad and tragic capturing Hagen's desperation to having his face back so he can continue acting in movies again. It becomes more tragic as Hagan loses his humanity and becomes Clayface. It really nails the heart and emotional side of Hagen. When the theme becomes sinister and evil it touches on Hagen's lust for revenge against Daggett for turning him into a monster. I can't help but feel sympathetic for Hagen when hearing that theme. After his face got horribly scarred in order for him to act again he had to do criminal activity in exchange for using Daggetts face cream to cover his scars. His lust for the face cream got him involved with the wrong people. Therefore he suffered the consequences for it and it cost him more than his face, but his humanity. He risked everything just so he can continue doing what he truly loves. Acting in movies. I think the Clayface theme empahasises this well especially in the daramtic moments of Part 2. "Feat Of Clay Part 2" opens with a more calm but still melodramatic version of Clayface's theme letting the audience know that this is the conclusion to Clayface's arc (temporarily anyway). The action music compliments the amazing and groundbreaking animation in this episode perfectly. It's thrilling and amusing as the episode itself is. Once again the music to this show (as well as the animation) feel like it was made for a big screen movie and not an animated tv show. Clayface's theme is used well throughout as it carries a lot of the cues. It's definitely one of the best villain themes of the show eventhough the show has plenty of great ones. Can't think of one bad theme. .
Disc 3 "Almost Got 'Im" opens like something out of a jazz club. It's playing as some of Batman's rogues are playing a game of poker as they talk about their many adventures against Batman. Batman's main theme isn't used as often. It's played more dramatically and suspenseful as he tries to escape death from his captors. Another more "celebratory" theme plays as Batman succeeds in the end. I love the use of that theme at the end when Batman swings away from Catwoman as she's distracted by police sirens. It's very triumphant saying to me that Batman will always be victorious when facing his enemies. Joker, Poison Ivy, and Catwoman's themes each make an appearance. It's a superb score to another superb episode, imo. "If You So Smart Why Aren't You Rich" opens with Riddler's theme, it's a very puzzling, enigmatic, and quirky theme that capitalizes on his personality perfectly, imo. Very different from Goldenthal's more cartoony and goofy theme for Riddler in BF which is understandable considering the actor playing him. Listening to that opening I get the feeling that it's asking me a question like "Who is the Riddler ?". And this episode will answer that question. I love the suspense and excitement of the music as Batman and Robin play Riddler's game. The music nails Batman enthusiasm of taking on Riddler's challenge. The use Batman's theme as he hijacks "the hand of fate" is very prosperous. There's also themes for "the hand of Fate" which is menacing and the "minotaur". The striking music in this episode nails the feel of a game between Batman and Riddler very well. "The Demon's Quest Part 1" score is written like an old school "epic". It's amazing to hear such music in something like a Batman cartoon. Especially the way scores to animated tv show are written today. It's interesting listening to this b/c you can tell Batman's going on an adventure outside of Gotham. It almost sounds like something from Indiana Jones movie. The middle eastern music is very well written and is in the vein of old school film scores way before my time. It's better than a lot of MV/RC middle eastern music we've been hearing in the last decade and counting. Ra's Al Ghul's theme is very mysterious, haunting, and evil, which gives me the feeling that evil never dies. Like you know Ra's Al Ghul will return through the Lazurus Pit. Though I somewhat like Zimmer's ominous and enigmatic "Lasiurus" (which features Ra's theme from BB). I think this theme nails Ra's Al Ghul a lot more. "The Demon's Quest Part 2" is even more grand and majestic than part 1. It has that old school swashbuckling feel. Though I haven't seen "Laurence Of Arabia" I've heard this and part 1 were both throwbacks to that score. I also heard that it's very much in the vein of a Miklos Rozsa score . Again I'm not familiar with Rozsa's work, but I know the late Basil Poledouris was a fan of his. He used Rozsa as inspiration for his Conan scores. The reason I brought that up b/c some of the tracks like "Orpheus" remind me of Poledouris' Conan. I love the warm, romantic, and lush theme for Talia. It adds a lot of heart to this episode and score. The use of that theme is very powerful as Batman and Ra's begin to sword fight. The sword fight between Ra's and Batman I heard was a nod to the score to Errol Flynn's Robin Hood. Again I'm not familiar with that movie though I saw it many years ago. I love the sword fight between Ra's and Batman. It's a lot more epic than the fight between Batman and Ra's in Batman Begins both in the scene and music. "He'll Ruin Everything" is an exciting swashbuckling track. It's everything an epic fight scene should be. I love the scene and use of Talia's theme as Batman kisses Talia goodbye before he and Robin fly off in the sunset. Very Classy. The intimidating Ra's Al Ghul theme is played very creepy and terrifying at the end letting us know that Ra's will return b/c true evil never dies. "The Laughing Fish" which is probably the first real dark episode of B:TAS that actually explores how twisted and sick the Joker is, imo. The theme that opens the episode really sets the tone for what the audience will be in for. It also captures the Joker's psychotic scheme in this episode, imo. The main Joker theme we're usually used to on this show makes small appearances. It's very Herrmann-esque. You can hear throwbacks to Herrmann's Psycho with the shrieking and screeching strings. It's perfect when you think about it b/c Joker is a "Psycho". I also feel Walker did her own version of "Jaws". I don't mean like did nod's to Williams' iconic theme. I mean like if she scored a Jaws movie this is probably what it would sound like. It's very threatening. You can feel the tension, terror, and danger as the shark comes after Batman and Bullock in the climax. This is how you score a psychopath like the Joker. She didn't need a one note theme like Zimmer to explore the psychology of the character. Using Psycho as a inspiration was genius, imo. One of the more chilling Batman scores and episodes, imo.
Disc 4 "Shadow Of The Bat Part 1 and 2" deals with Batgirl's origins. The theme for the character is very daring and mighty, which highlights Batgirl's spunkyness in the show. As well as the thrill of being Batgirl. It's perfect for this incarnation of the character. I enjoy the use of her theme in "The Batgirl", "Batgirl Takes Action", "Batgirl Gets Trashed", "Robin and Batgirl Follow", "Rescue Of The Commish", "Batgirl's A Real Drag", and "Batgirl Sees The Statue". The theme can become many things like in "Casing Gil's Apartment" the theme is a lot more calm and sly as Batgirl's staking out Gil's apartment not realising Robin is too. It's better than a lot of the superhero themes in the current superhero movies, imo. I also like the use of the gangster type music. SOTB Part 2 opens with the theme that's used when Batman is fighting Two-face in the climax. Two-Face's theme is sadly absent in both parts. There's also a jazzy and gangster beat that sounds like it came out of the 60s ( which the liner notes claimed it was a nod to the 60s Batman show) in "Matche's Give The Signal" and "Bad Guys Escape" it's very effective and even a little suspenseful. It doesn't come off as cheesy either, imo. "Harley And Ivy" opens with both Harley and Ivy's themes playing simultaneously. It's actually a divine blend of the two themes. Harley's theme gets the most use in the score. Joker's theme doesn't make any appearances unfortunately. Ivy's wicked theme makes brief appearances throughout. And Batman's theme makes a few brief appearances, which makes sense b/c this was a more villain eccentric episode. I think Harley's theme captures this cuckoo nature of the character perfectly. The theme never feels evil or threatening like the character itself. It's more looney and a little cute even, imo. The music ("Crime Spree") during the montage of Harley and Ivy's crime spree sounds like aomething out of a gangster movie. That cue even reminds me of bits from Elfman's Dick Tracy score. "Read My Lips" is a score that sounds like it was written for (again) a gangster movie. It's a very jazzy and flashy score that nails the tough guy attitude Scarface believes he is. This score might be an acquired taste for some b/c of the instrumentation of some of the jazz music. It really captures the tone and atmosphere of this particular episode, imo. I like the piece of tension music that plays just before one of Scarface's sneaky goons tries to kill Batman but ends up killing Scarface by mistake. It's also used as Rhino and the other goons are performing a heist in a platinum vault and end up capturing Batman as he tries to stop them. I like the twisted music at the end that plays as Wesker creates another Scarface dummy. Really shows how psychotic and kind of pathetic Wesker is, imo. It shows that (in his mind) he's basically useless without Scarface. "Fire From Olympus" opens with Maxamillian Zeus' theme, who happens to believe he's actually the Greek god Zeus. The theme is very symphonic, operatic, majestic, grand, and mighty. It really emphasises Zeus' belief that he's a god but at the same time it's imposing nailing the threat he actually brings to Gotham. "Olympus Battle" closes the score in an elegant fashion. I like how the Batman theme makes victorious appearances as it competes against Zeus' overpowering theme. I love how the music closes the score and episode as Zeus is taken into Arkham Asylum. Though Zeus believes he's being taken to Mount Olympus. It's very triumphant at the very end with the pounding of the drums. It gives the feeling that Zeus is at peace in Arkham. Therefore so will Gotham be. I heard that Zeus' theme was inspired by Miklos Rozsa, which is probably true. Though again I'm not familiar with his music. I know I keep saying this but it's amazing that music of this scale is written for something like a Batman cartoon. Especially compare to the current output of scores both in tv and in movies. It shows to me how much thought and talent Shirley & her team put in these scores. It's a shame there's not that many talented composers like her today. Though there are a few.
Well since they're not going to release all 65 scores from B:TAS Season 1 and 2. Eventhough I hope they change their mind. I'll just type some titles I hope do get released in Volume 3. They've already mentioned they plan on releasing "Robin's Reckoning Part 1 & 2", "Day of the Samurai", and "The Clock King". Hopefully these will get released also "P.O.V.", "Eternal Youth", "Fear Of Victory", "The Forgotten", "Heart of Steel Part 1 & 2, "The Underdwellers", "Night of the Ninja", "Tyger Tyger", "Dreams In Darkness", "I Am The Night", "Moon of the Wolf", "Terror In The Sky", "His Silicon Soul", "Off Balance", "The Man Who Killed Batman", "Zatanna", "Blind As A Bat", "See No Evil", "Mudslide", "House And Garden", "Paging The Crime Doctor" "Trial" and "Harlequinade". I doubt all of these will make it on Volume 3. I really hope they reconsider b/c I'd really love hear all the scores from the 65 episodes of B:TAS. Though I'm thankful they released any of the music from this great show to begin with. It's better than nothing.
Well it looks like the BTAS:V3 soundtrack won't be released until next year. According to MV (the man in charge of La La Land Records). http://www.filmscoremonthly.com/board/posts.cfm?forumID=1&pageID=5&threadID=97144&archive=0
I was listening to some of the Shadow Of The Bat Pt.1 score. I posted my thoughts about this a while back. And claimed that Two-Face's theme was absent in both parts. However I think it was used in pt.1 but in a subtle and more mysterious way. Which made sense b/c Two-Face was officially revealed as the one pulling the strings by the end of this ep. (as Batman/Matches Malone was captured sneaking inside his lair). Even though this might be a stretch for some but in the track "Gordon's Arrest" Two-Faces theme carries the whole track. It basically hints that Two-Face was behind Gordon's arrest way before hes even appeared in this episode. Its one of those instances that might take repeated listens to realize that the Two-Face theme was used. It's also used in "Two-Face's Hideout", which took place during the scene in a two sided building where a somewhat hidden Two-Face was talking to that bucktooth henchman about that rally. In both tracks Walker doesn't write it in the way were accustomed to of Two-Faces theme, which is interesting. The way it was used here reminded me of Clayfaces theme.
This was posted on LLLR facebook page a couple of hours ago. Can't wait. I've been saving up for this.