EDIT: March 17, 2021: Al links are good unless otherwise noted.
This is all of season one, expect the pilot film, which I covered in the "Police Story" thread (since this is a spin-off show).
If I didn't mention an episode, there was no credited composer.
Morton Stevens provides the theme music. Stevens was nominated for an Emmy for the theme (he lost out to a song!; songs and score themes were in the same category back then).
*= You might think that's too stupid to happen in real life, but you've obviously not read a lot of stupid criminal news like I have. In fact, I heard about a really good one a few days ago that while not related, it's just to good to not share:
So, over in Japan this person hires a hitman to takes out their spouse. The hit man pays another hitman to do the job, that hitman hires another hitman to do it as well, then another hitman, and finally a fifth hitman tries to farm the job out and it turns out to be an undercover cop. There's a movie in there somewhere!
Two CD's ought to cover the season. Two yummy CD's.
I would love to see a POLICE WOMAN CD release. The Mort Stevens scored episode from season four "Merry Christmas, Waldo" should have received an Emmy, or at least a Nomination.
This was Mort's final score for the series and he went out with a bang!:-)
I have the theme on Comp its really cool.. but I don't know Police Woman. I'm not sure this was even aired on UK tv - or until cable came along, All the composers for this franchise would get my purchase they've all worked fine tv, Five-O Chips, Kolchak etc. I love discovering vintage-tv-stuff for these sort of sounds quirky, exotic, funky, jazzy lets have it. I await in hope.
4:40 in. The cue suddenly breaks out into really country-sounding music; weird in the episode, but cool country music. About five minutes long. I understand the choice, it's just that it's kind of out-of-place.
10:27 in. And the cue after the commercial break.
17:44/21:49 in.
23:55 in.
24:39 in. And the music after the commercial break.
27:27 in.
36:21 in.
40:43 in.
41:58 in.
42:18 in.
44:21 in.
"Song "Blaze of Glory" written & performed by: Verlyn Gordon & Bill Hawkins" (the song closes the episode)
Looking at Strange's IMDb scoring credits, he had a short career in the scoring world.
Because of how authentic the country/southern-style score is, I think it should have gotten a Emmy nomination.
27:07 in. Joining a cue already in progress. If not very similar, it might actually be tracked from the first two episodes he scored (possibly even an Immel-scored episode).
17:05 in: If you've been following my threads for TV series, you know one of my common complaints is actors who don't know how to mop, like they've never mopped a day in their life. Extra: "Sir, what's my direction for this mopping scene?" Director: "I want you to pretend like you don't know hat the fuck you are doing with that weird stick with a thing on the end." Extra: "Wait, you don't know how to mop?" Director: "No. Mop? That's what it's called? Action!"
3041 in. Talking about perfectly-scored scenes; the aerial plane dancing and woodwinds just sounds nailed to me.
40:12/43:22 in. Country-flavored source music.
46:25 in.
48:53 in.
There's probably more source cues than score cues in the episode.
Stevens won an Emmy for a song in the episode (the music for the song, lyrics were by somebody else); not the score. I must have missed the song -- don't recall hearing one.
This is the final effort for the series by Stevens.
Highlights:
12:06 in.
22:55 in.
29:50 in.
36:17 in.
41:49 in.
48:09 in.
MRAUDIO was right -- Stevens did go out with a musical bang. I'm not saying the full score should be released, but certainly everything I cited should.
The song, LEAVE ME TOMORROW - Music by Morton Stevens, lyrics by Hermine Hilton was nominated for an Emmy as heard in the 1977 Episode, KILLER COWBOYS was the song that was playing on the record player in the scene with Angie and Special Guest Star Frank Converse in Pepper’s Apartment.
I can't even begin to guess how this happened, but I missed a ton of episodes with credited composers, almost exclusively Stevens and Shores efforts, so...
(NOTE: These are half the season one episodes I missed. Up arrows indicate to me what to include on suites [find a more lengthy description in the "Switch" thread])
Man, that whimsical closing cue ... the producers sure loved that. You can go two or three episodes in a row and the same cue would be used to close out the episode. It's ridiculous how often that was used.
Unless there is re-used musical ideas, I'm not sure how much original scoring there is in this episode. I think, for example, the first two or three highlights are just tracked Stevens scoring from other episodes.
23:28 in. Again, unless this is re-used ideas, this should be tracked from a prior episode (in this case I think it was a Stevens effort). The ending part, I don't know about. And the cue after the commercial break (I think that's also tracked Stevens).
30:07 in.
43:36 in.^
There's that whimsical closing cue again.
9:44 in: By, they just love tracking that Immel material.
22:07 in: more tracked Immel scoring. 42:21 in: Boy they sure love tracking certain earlier Immel cues. The entire climax of the episode is this cue edited up and tracked and then more tracked Immel work edited up. Did Stevens even do any scoring that was not used?
Just saying, the main title to Police Woman is one of the coolest ever. I love it.
In an inside-joke, Morton took Jerry Goldsmith's theme for "Our man Flint" and turned it "upside-down and backwards" to create it!
Tony Camillo's Bazuka did a "dy-no-mite" cover of the theme -- released only on 7" vinyl in '76; it wasn't an album track, and I don't think it's even made an appearance on any significant LP or CD compilation since then.
