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"On Leather Wings"
 Walker approaches her first score in a traditional orchestra scoring way, with a modern touch -- as did all the composers. String, flutes, cymbals, drums, so forth. And not even half-way into the episode and she has already employed her un-used Batman theme.
Fans of the series will note a great continuity nod and Harvey Dent (flipping a coin too), and Batman's sarcastic sense of humor. Up and down fast melodic lines in various instruments serve as the action theme for the man-bat. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"Christmas With The Joker"
 Tri-composed by Walker, Ritmanis and McCuistion.
The composers get plenty of chances to do Christmas music, and even a piece from the Nutcracker. Even "Joker's Theme" gets a Christmas rendition. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis Additional Orchestrations: Carlos Rodriguez (for Walker) |
"Nothing to Fear" 
 A solo score by Walker, is yet another testament to her abilities, and again, in the climatic ending, includes a heroic version of her "Batman Theme"; the episode also ends on a bittersweet rendition of said theme.
Music Editor: Patricia Carlin (for Triad Music, Inc.) Orchestration: Lolita Ritmanis
Summer: "Dr. Long, have you met Bruce Wayne?"
Dr. Long: Denying Bruce a hand shake, "Your father and I attended university together. He had big plans for you" Bruce: "Well, I guess he'd be pleased; Wayne Industries is more prosperous than ever." Dr. Long: "'pleased'? When your father was alive Wayne Enterprises was a name that commanded respect; now all Wayne stands for is a self-centered, jet-setting playboy. It's lucky your father didn't live to see what you've done to his good name -- he'd have died of shame," leaves the elevator. |
"The Last Laugh"
 Walker scores only again, bringing one of her most memorable episode scores. Also the second Joker episode.
She dives in quickly with a several note-long theme played on violin, and then ads a beat to the back -- unlike any of the previous episodes, and others to follow. Even effectively mixing in according for the Joker. The "Joker's Theme" gets a chance to go all the way here and we get treated to wonderful renditions of it. Walker's use of according for the Joker, especially as a sad theme, is spot on and I can't imagine him having something else; it just fits too damn well. This is one of my personal favorite scores and it just makes me all the more sadder that the fees and a tight-butted FOX make releasing it prohibitive. This also happens to be Joker at his most violent (though he does get very dangerous in another episode); something they wouldn't dare do on FOX these days. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"Pretty Poison"
 Again, another tri-composed score, by Walker, Ritmanis, and McCuistion.
The scoring, when not focusing on Poison Ivy (her first episode), follows in the same style as the rest of the series and never gets tiring from episode-to-episode because of colorful orchestra flourishes and motifs here and there. Oddly enough Poison Ivy doesn't have a theme, but rather a two-note motif; it works well, but just leaves me wishing she had gotten one. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"The Underdwellers"
 Mr. Balcomb does his first scoring, bringing along Clutterham for his only episode.
The theme for the Sewer King is almost identical to a theme from Danny Elfman's "Mission: Impossible" score. Both do a good score and Clutterham fits in nicely. Also of an interesting note is how it's guaranteed that whenever you fall on an empty train track on Gotham, seconds later a train will come barreling down on you, from around a corner. Music Editor: Patricia Carlin Orchestration:
Batman: "You play chicken long enough, you fry."
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"P.O.V."
 Another solo Walker effort, the score is mostly lurking music with some occasionally action as each officer recounts the events.
Officer Montoya gets her own brief theme when turning in her badge; if only it had been used again. Since she is featured heavily in the episode, she even manages to get her own "snooping" theme while at the dock. Music Editor: Patricia Carlin Orchestration: |
"The Forgotten"
 Harmonica and what I assume is a banjo open the episode scores solely by Walker, on a winning streak of scoring.
Sad string open what is a surprisingly emotional episode where homeless people are being kidnapped and forced to work in mines. Walker supplements the episode with a "searching" rendition of her "Batman Theme", a five note theme with the camp fighting, and we get to see a new side of Alfred. Music Editor: Patricia Carlin Orchestration: Lolita Ritmanis
Alfred: "This must be the place; bring us down!"
Batplane Computer: Clicking, "Negative." Alfred: "But master Bruce is down there; we have to land," cups his hands in plea. Batplane Computer: "Impossible; area too confined." Alfred: "Land you bucket of bolts!" slamming a fist on the computer dash. Batplane Computer: "Your funeral." Alfred: "Oh dear..." |
"Be A Clown"
 McCuistion goes it alone (first time) for Joker's third episode.
There isn't much score at all and it's pretty standard Batman: The Animated Series scoring with nothing grabbing you by the arm, but a brief good ending piece. Still good scoring. Music Editor: Thomas Milano Orchestration: Nerida Tyson-Chew |
"Two-Face -- Part 1"
 Walker scores the two-parter all by herself, proving her sad four-note theme for Harvey Dent's fate.
In the episode Bruce's friend, Harvey Dent, is blackmailed by crime boss Rupert Thorne. Seething from within, a split personality waits to be let go and Thorne pushes him to the edge until a near fatal accident occurs. Earlier, when his other personality tried to surface, the background colors would go red and sinister music would underline it until he broke free of Big Bad Harv. Music Editor: Patricia Carlin Orchestration: Lolita Ritmanis |
"Two-Face -- Part 2"
 Not much to say other than another strong effort by Walker.
Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"It's Never Too Late"
 Ritmanis' first solo episode score is masterfully done; sorrowful music for a lame duck mob boss who can make a difference, and action music that adds to the picture and not just carrying it along like some of Hollywood's film scores to date.
The touching music is some of the series' best and Ritmanis pulls it off without a hitch. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis
Stromwell: "Hey, I know this place; I started out here."
Batman: "Selling drugs." Stromwell: "Prove it." Batman: "And now you manufacture them." Stromwell: "Prove that too. Nobody twists anybody's arm to take them you know; and for the record, I make candy." |
"I've Got Batman In My Basement"
 The titles card, though not showing the character, uses the Penguin's theme. A catchy seven note theme used for the character's first episode.
The writing is again not up to par, and the music spotting leaves something to be desired, as like "Fear of Victory". But the scores themselves are still on par, and it's another solo Walker effort (except one cue). Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"Heart of Ice"
 One of Batman The Animated Series' saddest episodes centers around the unfortunate creation of Mr. Freeze, whose eight-note theme is played delicately with plucking, chimes, and what sounds like a whistle-like woodwind.
It also marks Todd Hayen's first effort, in a co-composing capacity with Walker. Music Editor: Thomas Milano Orchestration: |
"The Cat and the Claw -- Part 1"
 This episode, tri-composed by Walker, Coster and Harvey Cohen (the last two making their composing debut on the series), opens with underlining french horn and violin. It transitions into string and bells (some kind of sleigh bell like instrument; not good with names) for Catwoman's sneaky illegal entrance, and, for those paying attention, you''l note her theme (used in other episodes too).
Despite never having seen or heard of Coster before on the scoring scene, you can't even tell who did what; a professional job all around. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"The Cat and the Claw -- Part 2"
 This time the late Harvey Cohen tackles the episode all by himself and he delivers. The score is big at times and brings a sense of urgency where necessary.
It follows in the same vein of scoring Walker established for the series and shows her penchant for bringing in true talent, and again another composer brought down before his time. Should also be noted the two-parter is Catwoman's first episode. Music Editor: Thomas Milano Orchestration: |
"See No Evil"
 Walker uses a innocent five-note theme for the daughter of a failed marriage who is befriended by her dad in a clothing that makes him invisible; he uses the name "Mojo" and when she tells Mojo her mommy is moving, he gets enraged and stalks them.
The daughter's first day at her new school, when getting out of the car, has a delightful upbeat piece you might expect from long ago in the times of Franz Waxman, but it soon turns sinister as we find he is there. Music Editor: Orchestration: Lolita Ritmanis |
"Beware the Gray Ghost"
 Carl Johnson provides his first episode score to an episosde where crimes are being committed in the same vein as ones on an old television serial Bruce used to watch. Batman convinces the star of the series to help him solve the crimes.
Johnson comes up with a theme stylized in the old serial music tradition that is even a little rousing. A good chance to show off his abilities. Music Editor: Thomas Milano Orchestration: Tim Kelly |
"Prophecy of Doom"
 Hinting at something bigger in the title card piece, Walker continues alone providing another good score.
The ending climax has a terrific action piece. Music Editor: (wrong end credits; has "Feat of Clay -- Part 1") Orchestration: |
"Feat of Clay -- Part 1"
 Co-composed by one of Hollywood's greatest orchestrators and current James Newton Howard orchestrator, Jeff Atmajian -- a man who clearly doesn't get the work he deserves to as often. The score has it's moments including a sorrowful four-note theme in the beginning of the episode.
There's not much score in the episode -- probably one of the shortest Batman: The Animated Series scores. At the end, the cliffhanger sports Walker's famous Clayface theme. Music Editor: Thomas Milano Orchestration:
Batman: "I know my fist has landed on that jaw before..." |
"Feat of Clay -- Part 2"
 This is pure bias time, so suck it up if you don't like it. I can't say enough about this episode score by the late Shirley Walker; her theme for Clayface is extremely fitting and amazing. The motifs equally so, and the "sad theme" for Hagen is indeed bittersweet.
If you understand by now the series scoring needs and how themes are used, like the occassional four-note Batman fanfare burst, you can't help but notice (unless you are dead to scores) how just ... AMAZING a job Walker did constructing this score. This is one to look out for if the scores are ever released on CD. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"Joker's Favor"
 The title card consists of "farting" like tubas and whistle-like instruments, and a catchy piece for Joker's first episode.
The piece quickly becomes Michael Collin's theme; more of a playful theme. The orchestra backing it up almost gives the music, as the episode continues, a 40's swing band-like sound. But don't be dismayed, for during the car sequence, the familiar "Joker's Theme" fans love plays three or four times in the episode. This is the best representation of the Joker I have seen in any form of Batman of the years, and the voice is perfect; the character isn't over the top and his humor can be delightful at times. The character, Michael Collins, who is harassed by the Joker for years, is theme is wonderful and jolly. The action scoring shows Walker's talent for professionalism and she doesn't fall into the trap that some TV composers do these days where as they treat every scene with action as something that needs action scoring constantly; instead Walker reserves that for certain moments and keeps brooding Batman motifs in others. And to top it all off, during the beginning of the episode Walker gives us a sad rendition of "Joker's Theme"; of course Joker is not sad, it's more of a sad clown that is insane, pretending to be sad, type situation. But you just got to admire how she turned his theme around like that. Music Editor: Thomas Milano Orchestration: Lolita Ritmanis |
"Vendetta"
 McCuistion goes alone for a second time scoring Killer Croc's first appearance.
The episode opens with some brooding scoring, but later becomes a by-the-numbers Batman: The Animated Series score. Music Editor: (wrong end credits; has "Feat of Clay -- Part 1") Orchestration: |
"Fear of Victory"
 Tri composed again, this time to Walker, Rodriguez, and Lisa Bloom's first time to contribute to the scoring.
An ominous ostinato played on strings opens the episode as, unknown to the people of Gotham, the Scarecrow is about to strike. This is Robin's first episode and they don't even bother mentioning where Robin has been for a dozen or so previous ones; not to mention not ever mentioning him before in the series. As if Walker understood the awkward absence of Robin, she didn't single him out by giving him a theme, instead her and the gang scored the episode like any other. A great thing is that while Batman is wondering down the prison cells in Gotham Asylum, he passes by the Joker, Poison Ivy, and Two-Face, and as he does each one, the theme for each character plays, except Poison Ivy, which I stated in an earlier review doesn't seem to have a theme, but a two-note motif (similarly done in "The Strange Secret of Bruce Wayne"). Sadly, along with Scarecrow's new ugly look, comes artwork not up to the standards of the previous episodes, and writing to match. I'm not sure what happened. The episode becomes unusually quiet and there isn't as much score as expected, or needed. Music Editor: (end credits would not load) Orchestration: Lolita Ritmanis |
"The Clock King"
 Carlos Rodriguez's first solo score.
Clock King's theme is catchy and very memorable. Rodriguez employs some interesting scoring ideas here and there, making this one of the best of the series' scoring. Clock King's theme is three notes backed with orchestrations that sometimes use clock sounds; during the battle in the clock tower, for about ten second the theme gets a great sense of urgency with the interesting orchestration. The theme just works with the character so well This, his other episodes, and the "C Lizards" piece on his MySpace page makes me think it's ... only a matter of time before we hear more from this talented composer. Music Editor: Thomas Milano (for Segue Music) Additional Orchestrations: Jeff Atmajian |
"Appointment In Crime Alley"
 Balcomb's second episode score. Balcomb has since gone on to score a handful of films, and has become Randy Edelman's regular orchestrator.
Balcomb comes up with an action theme that is catchy, and services the episode decently. Music Editor: Thomas Milano Orchestration:
Batman: "Good people still live in Crime Alley." |
"Mad As A Hatter"
 Walker creates a nine-note theme for the Mad Hatter, who makes his first appearance in the series and is handled surprisingly well despite how silly the idea of the "Mad Hatter" being.
Some whimsical music for the rats at the beginning (using his theme), and some nice showing's of the late composer's talent. Music Editor: Thomas Milano Orchestration: |
"Dreams In Darkness"
 Hayen uses a good mix of drama for an episode more geared toward adult themes.
I don't detect Walker's "Scarecrow's Theme", but it's still a good score. Music Editor: Orchestration: |