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 Posted:   Jan 26, 2021 - 10:37 AM   
 By:   Justin Boggan   (Member)

Since there is already discussion in this thread, I'll stick this this thread...

Covering the scores not by Williams for the series, since all the other composers were skipped.


"The First Day of Forever"
By: Tom Scott

  • 3:59/9:34 in. And the cue after the commercial break (second cue).
  • 13:49/17:06 in.
  • 19:07 in.
  • 21:00 in.
  • 24:25 in. And the cue after the commercial break.
  • 28:31 in.
  • 32:34 in.
  • 35:40 in. And the cue after the commercial break.
  • 39:04 in.
  • 43:26 in.
  • 47:40 in.

    "45 Minutes from Home"
    By: Billy Byers (load used)

  • 1:06 in.
  • 4:44 in.
  • 6:28 in.
  • 7:57 in. Funky stuff.
  • 12:50 in. Funky stuff.
  • 20:59 in. Funky stuff.
  • 24:31 in.
  • 36:12 in. Some funky stuff.
  • 41:35 in. Funky stuff.
  • 45:27 in. Funky stuff.
  • 47:28 in.

    "Hall of Mirrors"
    By: Robert Prince

  • 1:01 in.
  • 6:35 in.
  • 7:18 in. Funky stuff.
  • 10:20 in.
  • 15:41 in.
  • 18:20 in.
  • 25:57 in.
  • 32:57 in.
  • 34:14 in.
  • 36:31 in.
  • 42:30 in. Opening with a waterphone.
  • 46:21 in.
  • 48:10 in.

     Posted:   Jan 27, 2021 - 8:37 AM   
     By:   Justin Boggan   (Member)

    Finishing SEASON 1:

    By: Tom Scott

    This is the final effort by Scott for the series.

  • 1:03 in.
  • 11:02 in.
  • Around 13:10 in.
  • 24:39 in. And the cue after the commercial break.
  • 27:00 in. Sounds more like it could have come from Nelson from "The Six Million Dollar Man".
  • 38:00 in.
  • 39:29 in.
  • 42:47 in. And the cue after the commercial break.
  • 48:31 in.

    (NTM: 39:21)

    "What makes me a loser?"
    "Thinking like one!"

    "The Bullet"
    By: John Elizalde

  • 1:09 in.
  • 4:38 in. Got some cool in it, as well as funky stuff.
  • 8:21 in.
  • 9:49 in.
  • 15:53 in.
  • 21:02 in. Moderate cool.
  • 23:08 in. The material from above, gone funky.
  • 25:43 in. And the cue after the commercial break.
  • 28:43 in. (1:01)
  • 36:36 in. After a short lull, the score continues. And the cue after the commercial break.
  • 39:19 in.
  • 40:36 in.
  • 42:35 in. After a second or two, the score picks back up.
  • 46:29 in. And the cue after the commercial break.
  • 48:52 in.

    "The Set-Up"
    By: John Parker

  • 2:39 in.
  • 9:08 in.
  • 11:13 in.
  • 14:19 in.
  • 16:17 in.
  • 17:37 in.
  • 25:14 in. And the cue after the commercial break.
  • 32:21 in.
  • 38:04 in.
  • 41:02 in.
  • 42:06 in.
  • 48:24 in.

    (NTM: 17:27)

    "A Collection of Eagles"
    By: Michel Mention

    This is the only effort by Mention for the series.

  • 1:06 in.
  • 5:00 in.
  • 7:37 in.
  • 12:55 in.
  • 15:50 in. And the cue after the commercial break.
  • 20:13 in.
  • 23:59 in. And the cue after the commercial break.
  • 26:21 in.
  • 28:42 in.
  • 34:37 in. And the cue after the commercial break.
  • 37:34 in.
  • 40:18 in.
  • 45:01 in.
  • 47:22 in. And the cue after the commercial break.

    Based on this score, I'd liked to have heard more from Mention on the series. It's good edgy stuff, funky material, hard dark stuff, and the mystery material is good enough.

     Posted:   Jan 27, 2021 - 8:09 PM   
     By:   jmarc   (Member)

    I vaguely remember watching this show with my mom. There were so many cop shows back then it’s hard to keep them separate. Around 2010 I started collecting old tv shows on dvd. After I bought seasons of shows I knew well like Kojak & Hawaii Five-O, I started looking at other series. One thing I realized was that 70’s shows had some funky themes! Streets, the Rookies, Starsky & Hutch, even Spider-man. I eventually bought the complete Streets if San Francisco set. It’s a period piece but it’s usually entertaining. It’s comfort food!

    Wasn’t sure I’d get this soundtrack. I knew the theme but not much else. Glad I picked it up! Surprisingly good music. I could listen to the drums on main theme all day! The rest of the music is really enjoyable. Pleasantly surprised my how much variety there is.

     Posted:   Jan 28, 2021 - 8:13 AM   
     By:   Justin Boggan   (Member)

    SEASON 2:

    As usual, if I don't mention an episode, that means there was no credited composer.

    This is everything (outside Williams, of course).

    "Before I Die"
    By: Duane Tatro

  • 1:09 in.
  • 2:12 in.
  • 14:54 in.
  • 20:21 in.
  • 26:31 in.
  • 33:18 in.
  • 37:27 in.
  • 39:45 in.
  • 43:08 in.
  • 48:40 in.

    "The Stamp of Death"
    By: Duane Tatro

  • 3:41 in.
  • 6:15 in.
  • 13:41 in.
  • 16:08 in.
  • 18:07 in.
  • 20:41 in.
  • 25:08 in.
  • 27:22 in.
  • 30:44 in.
  • 36:17 in.
  • 44:52 in.
  • 46:14 in.

    "A thing of value is never born of impatience."

    "The Twenty-Four Karet Plague"
    By: John Elizalde

  • 1:04 in.
  • 4:14 in.
  • 8:59 in.
  • 16:09 in.
  • 21:20 in.
  • 29:28 in.
  • 32:35 in.
  • 36:20 in.
  • 42:33 in.
  • 45:27 in.
  • 48:12 in. Oh yeah.
  • 51:13 in. Sigh. Miss these scoring days.

    I really like Elizalde's wakka wakka and wooden block stuff. I wish he had a chance to score more episodes.

    "Shield of Honor"
    By: Richard Markowitz

  • 1:05 in.
  • 4:05 in.
  • 8:22 in.
  • 13:11 in.
  • 18:07 in.
  • 20:44 in.
  • 23:46 in.
  • 25:40 in. Begins quietly and almost blends into the ambient street noises.
  • 27:55 in.
  • 30:38 in.
  • 32:47 in.
  • 42:57 in.
  • 46:24 in.
  • 48:03 in.

    "Most Feared in the Jungle"
    By: John Elizalde

  • 1:11 in.
  • 7:13 in.
  • 17:25 in. And the cue after the commercial break.
  • 19:07 in.
  • 20:29 in.
  • 21:29 in.
  • 25:22 in.
  • 27:38 in.
  • 30:31 in.
  • 33:21 in.
  • 41:56: in. And the cue after the commercial break.
  • 45:26 in. And the upbeat cue after the commercial break.
  • 48:46 in.

     Posted:   Jan 29, 2021 - 7:54 AM   
     By:   Justin Boggan   (Member)

    SEASON 3:

    As usual, if I don't mention an episode, that means there was no credited composer.

    (sans Williams, these are all the credited scores)

    "The Most Deadly Species"
    By: Richard Markowitz

  • 2:00 in.
  • 10:48 in.
  • 12:27 in.
  • 13:58 in.
  • 27:46 in.
  • 29:41 in. (0:30)
  • 36:30 in.
  • 41:41 in.
  • 45:33 in.
  • 49:25 in.

    "Target: Red"
    By: John Elizalde

  • 1:06 in.
  • 12:55/15:18 in.
  • 17:16 in.
  • 22:51 in.
  • 35:40 in.
  • 37:34 in.
  • 38:47 in.
  • 41:30 in.
  • 42:23 in.
  • 46:52 in. And the cue after the commercial break.

    "Mask of Death"
    By: Richard Markowitz

  • 1:12 in.
  • 29:18 in.
  • 48:26 in. And the cue after the commercial break.

    This is the only weak score I have encountered so far. On a set of season three scoring, it's unlikely I'd include any of it.

    (Note to Me: 39:00)

    10:20 in: Still better looking than nuBruce Jenner.

    For the guys here: 13:10 in. You're welcome.

    Out-of-context quote...
    "This is going to sound like I'm off my nut..."

    "One Chance to Live"
    By: Billy Byers

    This is the final effort by Byers for the series.

  • 1:08 in.
  • 6:15 in.
  • 13:36 in.
  • 21:09 in.
  • 21:59 in.
  • 25:53 in.
  • 32:00 in.
  • 36:17 in.
  • 38:27 in.
  • 47:52 in. And the cue after the commercial break.

     Posted:   Feb 1, 2021 - 10:16 AM   
     By:   Justin Boggan   (Member)

    SEASON 4:

    As usual, if I don't mention an episode, that means there was no credited composer.

    (these are all the credited scores sans Williams)

    "Poisoned Snow"
    By: John Elizalde

  • 2:26 in.
  • 5:09 in. And the source cue that immediately follows it.
  • 7:28 in.
  • 17:16 in.
  • 19:40 in.
  • 29:08 in.
  • 36:46 in.
  • 37:42 in.
  • 40:16 in. And the cue after the commercial break.
  • 43:38 in.
  • 44:57 in.
  • 47:21 in.
  • 48:54 in.

    "No Place to Hide"
    By: Richard Markowitz (opening credits not included, so highlight times won't line up with a proper load)

  • 2:41 in.
  • 15:57 in.
  • 19:20 in.
  • 21:14 in.
  • 22:55 in.
  • 25:36 in. Unusual tense drama piece.
  • 30:36 in.
  • 32:25 in.
  • 34:31 in.
  • 37:17 in.
  • 39:13 in.
  • 42:17 in.

    (NTM: 1352/)

    Out-of-context quote (muttered during a shower scene)...
    "Well, if you think you're bad enough, get on."

    "School of Fear"
    By: John Parker

    This is the final effort by Parker for the series.

  • 1:05 in.
  • 7:31 in.
  • 11:07 in.
  • 13:04 in. Some light touches of material from his score to the film "Witches Brew". Yeah, I did a thread for that score.
  • 15:10 in.
  • 26:51 in.
  • 30:26 in.
  • 34:21 in.
  • 36:03 in.
  • 38:39 in.
  • 45:07 in.
  • 48:48 in.

    "Trail of Terror"
    By: George Romanis

    This is the only effort by Romanis for the series.

  • 1:09/2:29 in.
  • 4:07 in.
  • 7:51 in.
  • 12:52 in.
  • 15:29/18:57 in.
  • 22:25 in.
  • 23:50 in.
  • 27:30 in.
  • 29:40 in.
  • 31:05 in.
  • 34:50 in.
  • 36:25 in.
  • 38:07 in.
  • 40:34/43:13 in.
  • 47:05 in.
  • 48:58 in

    I'd like to have heard more from Romanis on the series -- one wasn't enough.

    "Merchants of Death"
    By: Duane Tatro

  • 1:09 in.
  • 5:17 in.
  • 10:50 in.
  • 15:01 in.
  • 16:42 in.
  • 22:58 in.
  • 24:00 in. (1:13)
  • 25:30 in.
  • 27:47 in. And the cue after the commercial break.
  • 29:35 in.
  • 35:10 in.
  • 39:28 in. And the cue after the commercial break.
  • 42:04 in.
  • 43:36 in.
  • 45:35 in. And the cue after the commercial break.

     Posted:   Feb 1, 2021 - 1:31 PM   
     By:   The Mutant   (Member)

    Had never seen the show before so I picked up the complete series on DVD. I’ve been watching one or two episodes a day. Great show and so many co-stars from the time. So far I’ve seen: Vic Morrow, Anthony Zerbe, Martin Sheen, Henry Silva, Leslie Nielson (twice!), Joe Don Baker, Murray Hamilton, Dean Stockwell, Robert Foxworth and many, many others.

    The Vic Morrow / Anthony Zerbe episode was particularly good. Vic steals a bunch of gold that’s actually radioactive and hands it off to Zerbe for him to melt down and turn into coins knowing that Zerbe will die a gruesome death from radioactive exposure.

    Things don’t end well for either of them. The second Leslie Nielson episode was also cool. He’s a cop trying to take down an untouchable mob guy. Nielson is diagnosed with a soon-to-be fatal heart condition and decides to use his remaining time to take down the mob boss by any means necessary.

    The music from the Lalaland set pretty much represents all the important cues that are tracked into these episodes. There are a few non-Williams scored episodes that were also pretty decent.
    If they make a volume two, I’ll be all over it.

    And I’m only on season 2!

    @Jim Phelps - I imagine you’re a fan of this show? Seems straight up your alley.

     Posted:   Feb 4, 2021 - 8:14 AM   
     By:   Justin Boggan   (Member)

    SEASON 5:

    As usual, if I don't mention an episode, that means there was no credited composer.

    (these are all the credited scores, sans Williams)

    "The Drop"
    By: John Peter Smalley

    This is the only effort by Smalley for the series.

  • 1:08 in.
  • 6:47 in.
  • 10:00 in. Joining a cue already in progress.
  • 17:23 in. Short cue.
  • 23:35 in. Short cue.
  • 27:22 in.
  • 30:04/33:55 in.
  • 37:01 in.
  • 38:42 in.
  • 43:21 in.

    It has it's moments, but Smalley doesn't really leave a mark and instead comes across as a standard rip of other work on the series but not quite as strong. In this case, I have to say it, but I'm okay with him having not scored any further episodes.

    For the guys here: 20:55 in. You're welcome.

    "Hot Dog"
    By: Richard Markowitz

  • 1:09 in. And the cue after the commercial break.
  • 16:59 in.
  • 18:42 in.
  • 19:49 in.
  • 23:20 in.
  • 24:45 in.
  • 28:18 in.
  • 29:20 in.
  • 34:11 in.
  • 40:25 in.
  • 42:49 in.

    You can hear anklungs sparingly in a few cues.

    "Castle of Fear"
    By: Duane Tatro

  • 1:12 in.
  • 5:34 in.
  • 16:00 in.
  • 25:42 in. Oh yeah.
  • 39:45 in. And the cue after the commercial break.
  • 42:35 in.
  • 45:22 in.

    By: Robert Drasnin

  • 1:12 in. Going to be nice to have that without FX one day.
  • 4:16 in.
  • About 10:25 in. Joining a cue already in progress.
  • 13:55 in.
  • 17:47 in.
  • 36:29 in. Oh yeah.
  • 39:53 in.
  • 43:07 in.
  • 46:48 in.
  • 49:24 in. Kind of an odd-sounding start: Makes me think it's a James Bond cue about ready to burst out into something cool, but then it doesn't.

    By: John Elizalde

  • 0:44 in. And the short
  • 13:25 in.
  • 16:22 in.
  • 18:56 in.
  • 24:08 in.
  • 29:19 in. And the cue after the commercial break.
  • 33:21 in.
  • 40:27 in.
  • 44:00 in.

    There's an actor named Kirk Mee. Sounds like a Star Trek nerd phrase.

    Final credited score of the series not by Williams.

    FSM article on the scoring:

    When I have a chance, I'll cover the TV movie several years later that tried to revive the series.

     Posted:   Feb 10, 2021 - 2:15 PM   
     By:   Justin Boggan   (Member)


    In 1992 a pilot was made in an attempt to revive the series.

    "Back to the Streets of San Francisco"
    By: Patrick Williams (5:14 in: screen credit)
    Second load:

    Unfortunately, I didn't realize until it was far too late, that the first load was incomplete, so I picked up in a second complete load for the rest of the score. I don't want to spend the time re-doing the time stamps.

  • 0:27 in.
  • 2:25/6:29 in.
  • 12:20 in.
  • 18:09 in.
  • 30:07 in.
  • 32:13 in.
  • 36:58 in.
  • 43:08 in.
  • 45:40 in.
  • 54:46 in.
  • 1:00:47 in.
  • 1:10:35 in.
  • 1:16:04 in.
  • 1:19:53 in.

    Second load:
  • 1:43:39 in. About six minutes long.
  • 1:53:58 in.
  • 1:57:15 in. Goddamn that "Stop the music!".

    The score is a mixed bag. While some tracks are enjoyable, most of it is just standard and a release of just the revival pilot score would not be something I'd pick up. The scoring barely has anything that is faithful to the scoring of the original series. There's way too much synth, even the second half climax cue is made of cheap synths that just ruins it. This was dated back when it was made. The only thing I can say: So many TV movies after the ending of a TV series, seem to get handed to a certain group of go-to TV movie composers, but at least here they went with a series original composer.

    The revival pilot is a mixed bag, too. Sometimes it's like the show, other times it looks and feels like a cheap 1990's TV movie.
    It brings back one of the main two leads, but kills off the other main lead, which we only get to see in a flashback -- and he doesn't even speak.

    This revival pilot just didn't need to exist, in my opinion. It felt like a hollow attempt to bring back the original leads but introduces new ones that could take over an attempted revival series.

     Posted:   Feb 11, 2021 - 12:07 PM   
     By:   Justin Boggan   (Member)


    In 2008 CBS announced a remake pilot was being done.
    Robert Port and screenwriter Sheldon Turner were writing the pilot and Simon West was going to direct it. At the time West appears to have had no composer of choice, though he had dipped into the Zimmer clone pool a few times, so it's likely one of them would have gotten it.
    Port, West and Jib Polhemus would be executive producers.

    Information is scarce; all I could find were announcement pages on websites and then no further news. I assume no pilot was shot. If anybody knows any better, tell me.

     Posted:   May 7, 2021 - 5:23 AM   
     By:   Hurdy T. Gurdy   (Member)

    Dya mean this one Graham?* (crossover chat from another's okay...we're almost two weird psychic twins).
    I'm gonna play it again now...and probably repeat myself with my fin-dings.

    *I wanna know what you think of the 2nd half of Track 22 / Disc 2? (So, So Cool).

     Posted:   May 7, 2021 - 8:03 AM   
     By:   Graham Watt   (Member)

    Yes, the Tower Beyond Tragedy score arrives at just the right time of CD1 to change the mood and style of the music that has come before it.
    And agreed, parts of it do sound like a Columbo episode, via that cool little classical piano theme.

    My "Track 22" cormorant shall have to wait until I get around to hearing it again, Kev. I must follow my sysyem. It's due to come around again mid-June.

    Regarding the classical piano theme you mention, I think it may have been modeled on the End Titles of Legrand's THE THOMAS CROWN AFFAIR...

    More thoughts next month.

     Posted:   May 9, 2021 - 8:33 AM   
     By:   Graham Watt   (Member)

    Well Mister Kevin, despite May not being next month, I felt like experimenting with astrology and moon cycles, and put on Track 22 from Disc 2 of this thing you name. My body wasn't prepared for it - the magnetic poles were not in my favo(u)r - but I digested it without engaging in it in a carnal way.

    So is that the one that goes all kind of out-of-tune piano in the second half, a bit like WAIT UNTIL DARK? If so, I thought it was good, but "soooooo coooool" I feel is a bit much. Anyway, whilst menstruating, I heard the rest of those scores on Disc 2 (except the one for "A Man Called Sloane" - that's getting nauseatingly close to the traumatic '80s for me), and I was reminded of how largely sombre in tone the San Fran scores are. More akin to what could have been written for the ABC Movie of the Week, be it about witches, warlocks, wizards or whatever. Quite low key, but expertly done. I don't think the ones I heard last night went way beyond the merely functional (I was told to "turn that bloody telly down" again, you know, my mom banging on the floor from upstairs), but the whole thing does deserve more spins. When its time comes around. All in due course.

     Posted:   May 9, 2021 - 9:59 AM   
     By:   Hurdy T. Gurdy   (Member)

    Ahhhhh Graham, you should never rush it.
    You're doing it all wrong.
    Yes, it's only a short burst of de-tuned (?) piano but I absolutely love it.
    I'm not familiar with WAIT UNTIL DARK.
    That's Henry Mancini being dark and dramatic, isn't it?
    Do I need to check it out if I love that bonkers piano bit?

     Posted:   May 9, 2021 - 10:14 AM   
     By:   Graham Watt   (Member)

    You have no right even existing Kev (never mind posting your half-baked opinions of Jerry Goldsmith), if you don't have WAIT UNTIL DARK.

     Posted:   May 9, 2021 - 11:22 AM   
     By:   Hurdy T. Gurdy   (Member)

    I'll wait until sunrise and check it out.
    Please forgive my existence.

     Posted:   May 23, 2021 - 7:55 AM   
     By:   Graham Watt   (Member)

    And so it came to pass that THE STREETS OF SAN FRANCISCO appeared in the astrology chart, and thus I was forced to listen to it, but only the pilot score. I must not rush these things and go against the interstellar vibraphones.

    This is such a great listen. Copying my ideas from the liner notes I believe that this pilot score is the one that uses variations on the archiconocido tema most, out of all the scores represented. I got a lorra lorra pleasure listening to this again. It's just a joy to listen to. It might not be the most significant heavyweight music ever written in the history of the universe, but I like it immensely, and for me, selfishly, that is sufficient. It reminded me of going into Glasgow on the train in 1978, picking up a bunch of LPs by J.J. Johnson, Charles Fox, Artie Butler, Gene Page, Donald Byrd, Galt MacDermot and Patrick Williams (ha!), getting home, putting them on the turntable and just enjoying every minute of them because they were for films. Funky bits, moody bits, jazzy bits, misterioso telly bits, it's all here - and the skill of Pat Williams as composer (and arranger - these little bent pitch touches and brass combinations are full of personality) is evident.

    I remember from about two weeks ago that the scores get moodier and darker as the set progresses. I wonder if I can put on "The Thirty Year Pin" now, or if I have to wash the stairs.

     Posted:   May 23, 2021 - 8:14 AM   
     By:   moolik   (Member)

    Best release for the next decade I guesssmile

     Posted:   May 23, 2021 - 9:39 AM   
     By:   Yavar Moradi   (Member)

    You have no right even existing Kev (never mind posting your half-baked opinions of Jerry Goldsmith), if you don't have WAIT UNTIL DARK.

    Just thought I’d chime in to say that for me Wait Until Dark is Mancini’s most brilliant film score, adding so much to the excellent film. You really must check it out Kev.


     Posted:   May 23, 2021 - 2:47 PM   
     By:   rickO   (Member)

    I have been loving these Quinn Martin sets. Looking forward to more from this series.

    -Rick O.

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