Back Side

Front Side

Series Artwork, Photos and Fox Trademarks and Logos TM and © 1995/2011 Twentieth Century Fox Film Corporation. All rights reserved.

YELLOW MAGENTA CYAN BLACK

Page Two DECK SHUFFLED, WILD CARDS DEALT By Jeff Bond

Page Three Like the ill-fated space soldiers it portrayed, the 1995 television series SPACE: ABOVE AND BEYOND died an untimely death after a single season on Fox—but not before clearing the way for a new level of psychological realism in science fiction programming. Created during a mini-boom of science fiction shows including STAR TREK: THE NEXT GENERATION, DEEP SPACE NINE and BABYLON 5, SPACE: ABOVE AND BEYOND followed the callow recruits of the Wild Card squadron: Lieutenants Nathan West (Morgan Weisser), Shane Vansen (Kristen Cloke), Cooper Hawkes (Rodney Rowland), Paul Wang (Joel de la Fuente) and Vanessa Damphouesse (Lanai Chapman), and their commanders, Lt. Colonel Tyrus Cassius McQueen (James Morrison) and space carrier commander Commodore Ross (Tucker Smallwood). When Earth colonies are attacked by an alien race dismissively called the “Chigs,” Earth’s armed services

YELLOW MAGENTA CYAN BLACK

Page Four are called into action, performing as infantry, Special Operations and as fighter pilots in their compact SA53 “Hammerhead” space fighter craft. But while the Chig are a terrifying foe, the war itself is less clear cut than the gung ho recruits imagined, and the members of the 58th Squadron, known as the Wild Cards, find themselves fighting fear and their own inner demons just as savagely as they fight the enemy. SPACE: ABOVE AND BEYOND was the brainchild of Glen Morgan and James Wong, two writers from THE X FILES who’d been approached by Fox about the possibility of creating a kind of “space academy” show about young soldiers training for service in the far future. At the time, the clean, colorful and optimistic world of STAR TREK and the slightly more fanciful

Page Five BABYLON 5 were the blueprints for TV space shows. Morgan and Wong immediately saw the possibility of doing a more realistic program that would focus on psychology and character rather than high concept science fiction ideas and morality tales. In a 1995 Starlog interview, Morgan said, “Jim and I had taken a 'Fiction of War' class in college and read books like The Red Badge of Courage and Catch-22. There were themes in those books that were fascinating to us—people are put in a cauldron, and when you do that to people, they do things they wouldn't normally do. So, that's how we merged the space and the military elements together.” In putting the series together, Morgan and Wong would draw not only from classic war fiction, but from military

science fiction influences. James Cameron’s ALIENS had introduced the idea of “grunts in space” to movie screens in 1986, and Robert Heinlein’s STARSHIP TROOPERS (which would hit theaters two years later looking very much like SPACE: ABOVE AND BEYOND) and Joe Haldeman’s THE FOREVER WAR were also in the back of Morgan and Wong’s minds. Science fiction concepts were naturally built into the show: the alien Chigs, which were kept frighteningly

YELLOW MAGENTA CYAN BLACK

Page Six mysterious until revelations near the end of the first season show them to have a surprising relationship with humanity; a mysterious corporation called Aerotech; the downtrodden “In Vitroes,” an underclass of humans (including Hawkes and McQueen) grown in tanks who suffer from racial bigotry; and the Silicates, an android underclass that went rogue and appears to be collaborating with the Chigs. But these sci-fi tropes usually took a back seat to the psychology of war and the stresses of combat and the service. Morgan and Wong looked to previous television series like TWELVE O’CLOCK HIGH and COMBAT!, and in the pilot film for SPACE: ABOVE AND BEYOND they paid homage to Stanley Kubrick’s Vietnam war film FULL METAL JACKET by casting R. Lee Ermey as a hard-nosed drill sergeant (early PR for the show indicated that Ermey would be a series regular, but his character only appears in the pilot). Throughout its single-season run,

Page Seven SPACE: ABOVE AND BEYOND explored issues of loyalty and tolerance, dealt in conspiracies and government cover-ups in serialized story arcs (displaying the influence of Morgan and Wong’s prior work on THE X FILES), and presented stories about drug abuse and personal responsibility. When ratings (and the expense of the series, which boasted Emmynominated visual effects by Area 51) put the show in danger of cancellation, Morgan and Wong designed a finale that tied up many of the show’s continuing story arcs and left several of its characters dead (Wang himself dies heroically, sacrificing himself in a last stand against Chig fighters to help his friends escape an attack). With its ongoing quotations from The Iliad, The Red Badge of Courage, the works of William Butler Yeats, Shakespeare, and even the poetry of Japanese kamikaze pilots, SPACE: ABOVE AND BEYOND was one of the most artistically ambitious television series of the period and it laid the groundwork

for much of the gritty and blistering psychological realism we take for granted today in shows like BATTLESTAR GALACTICA.

SYMPHONY OF BLOOD AND GUTS

SPACE: ABOVE AND BEYOND began a long and rewarding creative association between Glen Morgan and James Wong and composer Shirley Walker. Walker’s work had gone back 17 years to synthesizer music for Francis Ford Coppola’s APOCALYPSE NOW and additional music for THE BLACK STALLION in 1979. While she orchestrated and conducted a number of major films, she composed primarily for television and low budget films until 1989, when her conducting chores on Danny Elfman’s blockbuster score for Tim Burton’s BATMAN earned her enough attention to get her work composing for the high profile network comic book adventure series THE FLASH, a BATMAN animated series, and eventually John Carpenter’s action

YELLOW MAGENTA CYAN BLACK

Page Eight

Page Nine film, MEMOIRS OF AN INVISIBLE MAN, in 1992. The latter was a watershed event: the first major motion picture action “blockbuster” to feature a score by a female composer. Walker quickly earned a reputation as a groundbreaking artist in her field. Female composers were rare enough in Hollywood, but when they did work, they were almost exclusively relegated to “women’s pictures” or genteel period films. Shirley Walker quickly demonstrated that she could write action music every bit as gritty and powerful as any male composer in the field. For SPACE: ABOVE AND BEYOND, Morgan and Wong were looking for a musical approach quite different from the spooky atmospherics that Mark Snow had created for THE X FILES. They wanted a more traditional and emotional component and opted for the expensive approach of orchestral scoring at a time when minimal synthesizer scoring dominated most episodic television.

YELLOW MAGENTA CYAN BLACK

Page Ten “Glen and I were in Australia making the pilot for SPACE: ABOVE AND BEYOND when we were introduced to Shirley's music by one of our visual effects crew members, Glenn Campbell,” James Wong recalls. “He was a huge Shirley fan because of her work on BATMAN: THE ANIMATED SERIES. We were looking for a full orchestral sound to accompany the show—we felt SPACE needed the marches, the anthems and the power of a hundred-piece orchestra to accompany the militaristic visuals.” Campbell had queued up music from Walker’s score to BATMAN: MASK OF THE PHANTASM, a feature animated movie with a richly gothic score that was if anything more epic in scope than her music for MEMOIRS OF AN INVISIBLE MAN. “We fell in love with Shirley's gift,” Wong says of his reaction to the music. “Her music was not only melodic, but visual in the very best sense. You can imagine a scene just listening to the song. Her music was not only addictive, but also additive. We knew we had our composer, she

had us on the very first note.” Walker’s music went far beyond the expected contributions of militarism and action music. It was often the musical equivalent of the poetry Morgan and Wong were so fond of working into their teleplays. The composer demoed a primary theme consisting of a majestic, heraldic figure for brass (first subtly at 1:11 and fully at 1:21 in “Speech Thru Alien”), a crisp, military cadence (introduced in “Bus to Angry Angels”) and a descending/ascending melody (heard fully in “Main Title”) that combined aspects of both the herald and cadence. According to Walker, the theme represented both the horrors and triumphs of war—the descending figure representing the characters plummeting into battle, dragged by the unexpected attacks of the Chigs; the ascending response representing the Wild Cards rising to the challenge and finding their own best qualities in the loyalty, heroism and sacrifice demanded of them by

Page Eleven the conflict. Walker created a synthesizer mockup of the material, verbally describing each element of the theme (heard on track 41 of Disc 3). Naturally the mockup, while skillfully rendered, didn’t feature all the nuances of an orchestral performance— something Morgan and Wong weren’t prepared for. “Hearing it, we immediately panicked,” Wong recalls. “The demos lacked the strength, the breadth, the full sound we knew we needed for the show. How did we fail to communicate this to Shirley? After a slew of unanswered phone calls, she finally reached us and

calmed us down. We were inexperienced with the process—what we were hearing was only the bare bones of the melody. We needed the full orchestra to fill out the sound. We were both full of anxieties when we stepped onto the stage that day at Warner Bros. And within seconds, all our fears melted away as Shirley's music, now being played by a hundred talented musicians, filled our ears, our hearts, our souls— that's how powerful it was. And from that moment on, the scoring session became my favorite part of filmmaking.”

YELLOW MAGENTA CYAN BLACK

Page Twelve Throughout the series, from the opening 2hour pilot to the final episode, Walker maintained a tone of nobility, desperation, faith and heroism derived from her pilot score material, adding themes for specific characters on the show as episodes inspired them, and developing her material both for the Wild Cards and the alien Chigs to reflect Morgan and Wong’s ambitiously layered approach to both. While she wrote the lion’s share of the show’s music herself, she was assisted by Kristopher L. Carter, Lolita Ritmanis and Michael McCuistion, all of whom contributed individual cues to episodes like “The Angriest Angel” and particular the series finale, “…Tell Our Moms We Done Our Best.” One of the show’s most integral character arcs involved Lt. Nathan West and his love, Kylen Celina, who is taken as a hostage by the Chigs early in the series. Walker wrote a moody, subdued love theme for the pair first heard in “One of You Must Stay.” The melody is based on the charging military fanfare heard in the show’s main title, which itself is spun off the majestic “herald” theme, but Walker’s wistful Americana treatment of the melody in its love theme incarnation suggests

Page Thirteen not only that Nathan and Kylen’s story is integral to the series, but that Nathan’s sense of duty to his military unit is derived from—and balanced by—his duty to Kylen. For the pilot, Walker also introduced a grim, rhythmically driven theme for Cooper Hawkes, first heard in “Hawkes Runs from Hoods.” While Walker for the most part avoided focusing on the show’s science fiction trappings, the character of Hawkes and his “In Vitro” origins made him the program’s most overtly “sci-fi” character, and Walker’s material for Hawkes features abundant electronic licks and textures as well as a hint of contemporary percussion. Hawke’s music is ambiguous, first seeming to speak for the antagonism of his bigoted attackers in the pilot’s early scenes, but later playing as music for Hawke’s own conflicted personality. The material plays effectively as a rhythm underneath the Wild Card military theme in “Flight to SS Saratoga,” indicating that Hawkes has become an integral part of the unit while

retaining his inner struggles. The SPACE: ABOVE AND BEYOND pilot featured a “cold opening” without a main title, allowing Walker to gradually introduce her “Wild Card” military cadence as the recruits arrive at base camp and receive training (“Bus To Angry Angels,” “Training Exercise,” Ordered to Mars”). The theme emerges full force around 0:30 into “Battle Preparations/Casualties” as the recruits prepare to face military duty for the first time, and Walker fleshed out the material in a number of kinetic space battle cues (“Hidden Among Asteroids,” “The Big Battle”). Walker’s original main title (heard at the beginning of Disc 2) is a straightforward take on her Wild Cards theme that plunges the viewers straight into the action; midway through the series as the show struggled in the ratings, the producers had her record a longer end title (heard at the beginning of Disc 3) that allowed for added footage of the Chig attack on Earth colonies and a

YELLOW MAGENTA CYAN BLACK

Page Fourteen narration by James Morrison that got viewers up to speed on the show’s complex backstory. The composer also created a number of short “bumpers” based on the Wild Cards theme—the “Bumpers Suite” heard near the end of Disc 3 includes these variations as well as the fanfare from the pleasure ship, Bacchus, from the episode “R&R,” and the finale of “Pearly,” a boisterous arrangement of the traditional military song, “Garry Owen,” the unofficial marching song of General George Custer’s Seventh Cavalry. Walker expanded on her Wild Cards military material and West’s love theme in “The Farthest Man From Home” as West deserts the squadron to go after Kylen. The episode’s opening cue (“The Farthest Man From Home”) reinforces the show’s depictions of psychological torment and dread as troops find a raving mad survivor of an alien attack. Elsewhere urgent strings and snares propel material that is both martial

and doom-laden (“West Goes AWOL,” “Extraction”)—demonstrating Walker’s ability to excitingly underscore the show’s special effects action without losing sight of the obsessions and vulnerabilities of its characters. “The Dark Side Of The Sun” remains one of the most powerful demonstrations of that skill,

as Walker presents a fate-drenched, waltz-like melody for Shane Vansen as she suffers through a recurring nightmare about the murder of her parents by Silicates (“Shane’s

Page Fifteen Nightmare”) and then struggles through a deadly encounter with the android renegades. “No one involved with SPACE: ABOVE AND BEYOND

could only end by the sacrifice of her life.” Walker reprised Shane’s Theme in “Dear Earth” as the conflicted Vansen resolves her differences with her estranged sister in a letter (“Dear Ann”). When Morgan married Kristen Cloke in 1998, Walker arranged the theme for string quartet to play during their wedding. “Glen and I loved Shirley a great deal,” Cloke says. “She was a person who had more talent and beauty in her body than almost anyone I have ever known. Shirley rearranged ‘Shane's Theme’ and I walked down the aisle to it. We have the music framed on our wall. Her music added so much heart and soul to SPACE: ABOVE AND BEYOND that it would not be the same show if not for her contribution.”

could anticipate the degree Shirley would influence character and stories long before episodes were written,” Glen Morgan says. “She was the first to understand that the spiraling madness of Shane Vansen’s desire for vengeance was hopeless. That it

Walker took an equally humanistic approach to the character of Hawkes in later episodes, particularly in “Mutiny,” providing a gently inspiring melody to underscore the shared heritage of Hawkes and McQueen (“Hawkes Jogs”) as the two “tanks”

YELLOW MAGENTA CYAN BLACK

Page Sixteen man a cargo vessel transporting a load of unborn In Vitroes—including Hawkes’s “sister”—and find themselves forced to choose between human and In Vitro when a battle situation calls for shutting down the power that keeps the tanks alive. Walker’s staccato battle music (“Preparations”) calls Hawkes to duty while her wistful bonding theme (“Hope”) encourages him to mutiny. Later, in “Who Monitors the Birds?,” one of the series’ highlights, Walker wrote one of her most original and effective scores, one in which Hawkes discovers not only his own humanity, but a shared

connection with the Chig soldiers stalking him on an alien planet. Walker balanced delicate statements for celesta and harp with jarring, feedbackcharged roars from electric guitar for Hawkes’ visions of a seductive “Whore of Death.” Walker’s score for “Ray Butts” is as militaristic and driven as the hard-headed title character, who mysteriously boards the Saratoga (“Friend or Foe”) before whipping the Wild Cards into shape for a covert mission (“Butts Commands the 58th,” “From Planet to Black Hole”). While Walker’s Wild

Page Seventeen Cards theme dominates the action, the composer also created a vivid accompaniment to the space commando’s operatic death by black hole (“Into the Black Hole”). Walker could as easily score mood and situation as character, as she showed in “Eyes” as the Wild Cards deal with an assassination plot. From the opening quote from John Wilkes Booth (“Orbital Opening”) Walker creates a diabolical atmosphere, using contrabassoon and low harp notes as Presidential candidates arriving on the Saratoga in the wake of the earth President’s assassination question the loyalty of “tanks” McQueen and Hawkes (“Neck Navel/Chaput’s Arrival”). As a new assassination plot begins, Walker employs a lurching “death march” (“The Bomb,” “West and Cserko/Witch Hunters,” “Backup Activated”) to drive the action. “Hostile Visit” is equally driven by suspense, but Walker chooses to emphasize the nobility of McQueen and the Wild Cards as they

volunteer for a suicide mission (“Time To Start,” “58th Kamikaze,” “Let’s Make It Happen”)—an emotional through-line that would extend right through the end of the series. “Stay With The Dead” would continue that vibe as a critically wounded West struggles to remember whether the rest of the unit is alive or dead (“Space Triage,” “West Clings To Life,” “McQueen’s the Problem.”) But Walker also emphasized West’s eerie disconnection from his compatriots with a pulsing, semi-classical piece for strings (“The Blue Goo,” “Blue Goo Tank”). Shirley Walker earned an Emmy nomination for her work on “The River of Stars,” a Christmas episode with the Wild Cards trapped on a crippled transport and eventually hitching a ride on a mysterious comet. Walker scored the jeopardy of the situation with her usual tense, disorientating energy (“Dead Radio,” “Sitting Ducks”) while providing a gentle underscoring for the compassion and affection between the characters as

YELLOW MAGENTA CYAN BLACK

Page Eighteen they ruminate on Christmas to keep their minds off their life-or-death dilemma (“Gift Giving,” “Nathan’s Present,” “Message From Apollo VIII”). Walker also wrote a balletic cue for Wang’s spacewalk (“Faith”) and a mix of martial doom and spectral evocations of the arriving comet that might save the soldiers (“Prepare For the Burn,” “Hitch a Ride On a Comet”). Throughout the series, from the opening 2-hour pilot to the final episode, Walker maintained a tone of nobility, desperation, faith and heroism derived from her pilot score material, adding themes for specific characters on the show as episodes inspired them, and developing her material both for the Wild Cards and the alien Chigs to reflect Morgan and Wong’s ambitiously layered approach to both. While she wrote the lion’s share of the show’s music herself, she was assisted by Kristopher L. Carter, Lolita Ritmanis and Michael McCuistion, all of whom contributed

individual cues to episodes like “The Angriest Angel” and particular the series finale, “…Tell Our Moms We Done Our Best.” One of the show’s most integral character arcs involved Lt. Nathan West and his love, Kylen Celina, who is taken as a hostage by the Chigs early in the series. Walker wrote a moody, subdued love theme for the pair first heard in “One of You Must Stay.” The melody is based on the charging military fanfare heard in the show’s main title, which itself is spun off the majestic “herald” theme, but Walker’s wistful Americana treatment of the melody in its love theme incarnation suggests not only that Nathan and Kylen’s story is integral to the series, but that Nathan’s sense of duty to his military unit is derived from—and balanced by—his duty to Kylen. For the pilot, Walker also introduced a grim, rhythmically driven theme for Cooper Hawkes, first heard in “Hawkes Runs from Hoods.” While Walker for the most part avoided focusing on the show’s science fiction trappings, the

Page Nineteen character of Hawkes and his “In Vitro” origins made him the program’s most overtly “sci-fi” character, and Walker’s material for Hawkes features abundant electronic licks and textures as well as a hint of contemporary percussion. Hawke’s music is ambiguous, first seeming to speak for the antagonism of his bigoted attackers in the pilot’s early scenes, but later playing as music for Hawke’s own conflicted personality. The material plays effectively as a rhythm underneath the Wild Card military theme in “Flight to SS Saratoga,” indicating that Hawkes has become an integral part of the unit while retaining his inner struggles. This 3-CD set contains nearly four hours of music, from episodes and stories that convey wildly varying themes. Walker’s skill and personality as a composer is so strong that the set can easily be listened to as one

extended, major composition—one that presents and develops multiple, contrasting themes while encapsulating everything within the tone established by the composer’s pilot score and its dynamic (yet

YELLOW MAGENTA CYAN BLACK

Page Twenty deceptively simple and direct) main theme. It’s the work of a composer with enormous skill and great heart—one who died, in 2006 at age 61, much too early. After SPACE: ABOVE AND BEYOND, Shirley Walker went on to collaborate with Glen Morgan and James Wong on most of their ensuing projects, including the FINAL DESTINATION films and their remakes of WILLARD and BLACK CHRISTMAS. But SPACE: ABOVE AND BEYOND arguably remains the pinnacle of Walker’s work with the two writer/producers, and despite her many great achievements in film and television, the ambition of the series and Walker’s approach to it are arguably the finest work in Walker’s impressive and far too short career. Glen Morgan provides this remembrance: “Ten years after

Page Twenty-One

Shirley Shirley Walker Walker with with Glen Glen Morgan Morgan

SPACE: ABOVE AND BEYOND, after the final sound mix of a movie I directed in which I had been roughed up by a ruffian and I ended up making a film

nowhere near the caliber of what I’d set out to make, Shirley and I walked to our cars on a cold late October night. I confessed my disappointment and shame. Her silence and bemused smile were a confirmation of the mess I had just made. She shrugged it off and always finding her inspiration by looking forward, not back, said, ‘I like heroes. You guys write good heroes. Let’s get back to that.’ With that new pact, we hugged and she drove off to start a road trip to Reno. I turned on my ignition. The 2006 World Series crackled through the radio. I was overtaken by a horrible sense that I would not see her again. “I do, of course. Every time I listen to

the march from SPACE: ABOVE AND BEYOND or “Shane’s Theme,” or the taunting main titles of FINAL DESTINATION; the haunting accordions of WILLARD. I see Shirley Walker’s joyous love of life, family, and friends in her smile. Hear her artistry and passion and fight. Feel her soul forever lasting in her music that expresses Shirley’s faith that despite our human stumbles, we can all still be heroes.” Jeff Bond is the author of Danse Macabre: 25 Years of Danny Elfman and Tim Burton and The Music of Star Trek. He’s currently part of Operation: Red Baron—all his plans are on hold until this Chig dies. He’s going to go out there, find this bastard, and pile on.

Shirley Shirley Walker Walker with with James James Wong Wong

YELLOW MAGENTA CYAN BLACK

Page Twenty-Two (Album Version) 4:08 24. The Big Battle (Album Version) 3:43

3S01 THE FARTHEST MAN FROM HOME 25. Farthest Man From Home 2:40 26. West Goes AWOL 2:35 27. Extraction 2:09

3S02 - THE DARK SIDE OF THE SUN

DISC 1 PILOT

1. Speech Thru Alien 3:14 2. Hawkes Runs From Hoods 1:06 3. Hoods Hang Hawkes 1:16 4. One Of You Must Stay 1:53 5. Nathan And Kylen Say Goodbye 5:01 6. Bus To Angry Angels 0:39 7. Kylen Reads Letter/Colonist Massacre/ Training Exercise 3:07 8. Call To War 2:22 9. Ordered To Mars 1:36 10. West’s Porthole To Mars 0:43 11. Marines March On Mars 0:22 12. Alien Crash Site Battle 2:56 13. Marines Capture Alien/ Captured Alien Dies 2:20 14. Laid To Rest/Advice For Leave 2:00 15. Hawkes Dialog At Plane 0:39 16. Hawkes At Pags’ Grave 2:35 17. Battle Preparations/Casualties 1:23 18. Flight To SS Saratoga 4:03 19. Hidden Among Asteroids 3:02 20. The Big Battle 4:30 21. West’s Prose Poem 1:15 22. Hawkes At Pags’ Grave/ Battle Preparations/Casualties (Album Version) 3:08 23. Flight To SS Saratoga/Hidden Among Asteroids

28. Shane’s Nightmare 2:37 29. Playing Blackjack 1:00 30. Shane Fights A.I./Shane Subdues A.I. 1:41 31. Shane Kills A.I./Shane Rappels & Attacks 2:26 32. Shane To The Rescue/Shane Downs Spaceship 4:12 Total Time, Disc 1: 77:15

DISC 2

1. SPACE: ABOVE AND BEYOND Main Title (Version 1) 0:33

3S03 - MUTINY

2. Hawkes Jogs 3:29 3. Hawkes Has A Sister In 46 0:49 4. Mutiny Begins 0:59 5. Missile Attack 1:19 6. Hawkes Visits Sister 3:42

3S04 - RAY BUTTS

7. Mystery Hammerhead Dock 1:48 8. Butts Commands The 58th 1:53 9. From Planet To Black Hole 1:50 10. Into The Black Hole 1:50 11. Butts’ Death/Pancakes In Space 1:4

3S05 - EYES

12. Orbital Opening 0:42 13. Neck Navel/Chaput’s Arrival 2:45 14. The Bomb 1:54 15. West And Cserko/Witch Hunters 2:08 16. Backup Activated 3:19 17. West Wants Truth 1:31

Page Twenty-Three 3S07 - HOSTILE VISIT

18. Time To Start 1:52 19. 58th Kamikaze 2:01 20. Let’s Make It Happen 2:15

3S09 - STAY WITH THE DEAD 21. Space Triage 0:31 22. West Clings To Life 1:00 23. McQueen’s The Problem 2:13 24. The Blue Goo 1:30 25. Blue Goo Tank 0:43

3S10 - THE RIVER OF STARS 26. Dead Radio 0:39 27. Sitting Ducks 1:05 28. Gift Giving 0:37 29. Nathan’s Present 2:59 30. Message From Apollo VIII 1:40 31. Comet Approach 1:07 32. Faith 4:53 33. Prepare For The Burn 2:37 34. Hitch A Ride On A Comet 1:57 35. Wang Returns Necklace 1:33

3S11 - WHO MONITORS THE BIRDS? 36. Whore Of Death/Departure/ Who Monitors You?/Time To Be Erased/ The Truce/Cooper’s Soul 9:15

3S16 - DEAR EARTH 37. Dear Ann 2:44 Total Time, Disc 2: 76:44

DISC 3

1. SPACE: ABOVE AND BEYOND Main Title (Version 2) 0:52

3S13 - NEVER NO MORE 2. Classified Mission 2:47 3. Do The Right Thing 0:49 4. Mission Of The 35th 2:45

5. Welcome Aboard/58th To The Rescue 1:52 6. Aftermath 1:45

3S14 - THE ANGRIEST ANGEL

7. Sewell’s Arrival 1:40 8. Sewell’s Fuel 2:14 9. McQueen’s Room 0:59 10. Schrader’s Mission/So Long, Winslow 1:18 (Kristopher L. Carter; themes by Shirley Walker) 11. Battle Plan 1:42 (Lolita Ritmanis) 12. Duty Calls 1:16 13. Headed Home 2:28 (Michael McCuistion; themes by Shirley Walker)

3S15 - TOY SOLDIERS

14. Memories/Remembering The Past 1:35 15. Welcome To Mars 0:48 16. Approach Tower 2:04 17. Position Compromised/Jets Away/ The Baptism 1:33 18. Coming To Get You 2:18 19. Men In Dark Times/Hold Our Position 1:38 20. The Rescue 2:18

3S17 - PEARLY

21. Consequences 2:38

3S20 - SUGAR DIRT

22. The Last Supper/Nineteen Hundred Hours 3:51

YELLOW MAGENTA CYAN BLACK

Page Twenty-Five

Page Twenty-Four 3S21 AND IF THEY LAY US DOWN TO REST…

23. Creation 2:06 24. Approaching Anvil, Part 1 1:38 25. Approaching Anvil, Part 2 1:41 26. The Hunt 2:56 27. Why Kill It? 1:47 28. Dark Hearts 1:09 29. Act Of Kindness 1:34 30. Peace/Arrival 3:12

3S22 TELL OUR MOMS WE DONE OUR BEST

31. Peace Talks Incident 2:17 32. Deal The Wild Cards 2:44 (Lolita Ritmanis; themes by Shirley Walker) 33. West Finds Kylen 2:00 (Kristopher L. Carter; themes by Shirley Walker) 34. Bring Them Home 1:25 (Kristopher L. Carter) 35. Fatal Hit 2:03 (Michael McCuistion; themes by Shirley Walker) 36. Wang’s Choice 1:38 (Lolita Ritmanis; themes by Shirley Walker) 37. Nathan And Kylen, Part 1 3:26 (Michael McCuistion; themes by Shirley Walker) 38. Nathan And Kylen, Part 2 0:27 39. SPACE: ABOVE AND BEYOND End Title 0:39

BONUS TRACKS:

40. Shirley Demos The Main Title 2:24 41. Bumpers Suite 1:46 (feat. “Garry Owen”: Traditional; arranged by Kristopher L. Carter)

This suite contains the fanfare from the Bacchus from “R&R,” the show’s brief bumpers—short arrangements of the main theme to be heard in between commercials—and the finale of “Pearly,” a boisterous arrangement of the traditional military song “Garry Owen.”

Total Time, Disc 3: 78:01

PERFORMER’S CREDITS

To make a program of Shirley’s original album concept, select the following tracks from CD #1 in this order. (1, 3, 4, 5, 11, 7, 8, 9, 10, 12, 13, 14, 22, 23, 24, 21) Below is a list of key music used for the show, some as source, that was not composed by Shirley Walker. (These tracks do not appear on the CD. They are listed for reference purposes only.)

PILOT

Blitzkrieg Bop (The Ramones)

- This is the music Hawkes plays in his Hammerhead at the start of the Big Battle.

THE DARK SIDE OF THE SUN

The Hungry Wolf (X) - Hawkes plays this music on his boombox as the Wild Cards are getting ready to assault the mining facility.

RAY BUTTS

Folsom Prison Blues; I Walk The Line; So Doggone Lonesome; Ring Of Fire (Johnny Cash)

THE RIVER OF STARS

The Arabian Dance (Coffee) from The Nutcracker Suite (Pyotr Illyich Tchaikovsky) - This music is used to open the episode, under Wang’s narration.

NEVER NO MORE

Never No More; I Fall To Pieces (Patsy Cline)

THE ANGRIEST ANGEL

Marcia Funebre (Funeral March) from Symphony No. 3 in E-flat Major, Op. 55 "Eroica" (Ludwig Van Beethoven) - This music is used to open the episode, under McQueen’s narration, and later, during the dogfight between McQueen and Chiggie Von Richtofen.

LEADERS

Shirley Walker Lolita Ritmanis

ORCHESTRA CONTRACTOR Meyer Rubin

VIOLINS

Murray Adler Endre Granat Kathleen Lenski Sid Page Israel Baker Becky Barr Jennifer Bellusci Dixie Blackstone Robert Brosseau Isabelle Daskoff Mario DeLeon Joel Derouin Bonnie Douglas Bruce Dukov Earl Dumler Henry Ferber Kirsten Fife Ronald Folsom Franklin Foster Juliann French Armen Garabedian Irving Geller Julie Gigante Harris Goldman Alan Grunfeld

Lilly Ho Tiffany Hu Jean Hugo Lisa Johnson Patricia Johnson Karen Jones Leslie Katz Joe Ketenjian Gary Kuo Natalie Leggett Rene Mandel Edith Markman Michael Markman Yoko Matsuda Frances Moore Ralph Morrison Irma Neumann Caroline Osborne Anatole Rosinsky Bob Sanov Daniel Shindaryov Haim Shtrum Paul Shure Olivia Tsui Mari Tsumura Dorothy Wade Jennifer Walton Ken Yerke

VIOLAS

Carrie Holzman Jorge Moraga Robert Becker

Kenneth Burward-Hoy Carol Castillo Brian Dembow Jerry Epstein Marlow Fisher Mimi Granat Roland Kato Margot MacLaine Don McInnes Cynthia Morrow Carol Mukogawa Maria Newman Kazi Pitelka John Scanlon Harry Shirinian David Stenske Raymond Tischer Mihail Zinovyev

CELLI

Miguel Martinez Jody Burnett Stephen Erdody Ann Karam (Goodman) Michael Matthews Robert Adcock Larry Corbett Douglas Davis Chris Ermacoff John Fare Marie Fera Barry Gold Paula Hochhalter

Ray Kelley Ray Kramer Dane Little Gloria Lum Earl Madison Richard Naill Christina Soule

BASSES

Drew Dembowski Frances Liu Edward Meares Annette Atkinson Charles Domanico Steven Edelman Don Ferrone Richard Feves Christian Kollgaard Norman Ludwin Susan Ranney Neil Stubenhaus Ian Walker

FRENCH HORNS Brian O'Connor James Atkinson Steven Becknell Carol Drake David A. Duke Jerry Folsom Marni Johnson Dan Kelley Douglas Lyons

YELLOW MAGENTA CYAN BLACK

Page Twenty-Seven

Page Twenty-Six Todd Miller Suzette Moriarty John Reynolds Richard Todd Phillip Yao

TROMBONES

Bruce Fowler John Tommy Johnson Alan Kaplan Charles Loper Lew McCreary Richard Nash William Reichenbach Phil Teele George Thatcher Don Waldrop

TUBA

James Self

DRUMS, PERCUSSION Gregory Goodall Dale Anderson Judith Chilnick Mike Englander Alan Estes Peter Limonick Joe Porcaro Tom Raney Don Williams Jerry Williams Robert Zimmitti Mark Zimoski

TRUMPETS

Malcolm McNab

Rick Baptist Burnette Dillon Warren Luening Bob Summers

SYNTH / KEYBOARDS Ralph Grierson Shirley Walker

PIANO

Gloria Cheng

James Kanter

BASSOON

David Riddles Rose Corrigan John Steinmetz

GUITAR

John Goux

HARP

SAXOPHONE Ron Jannelli

Gayle Levant Louann Neill Amy Shulman

FLUTES

MUSIC CONSULTANTS

Susan Greenberg Stephen Kujala Geraldine Rotella David Shostac Sheridon Stokes James Walker

OBOES

Jon Clarke Phil Ayling Allan Vogel CLARINETS Charles Boito Ralph Williams Emily Bernstein Gene Cipriano Roy D'Antonio Dominick Fera Mary Gale Gary Gray

Lolita Ritmanis Larry Rench Kristopher Carter

ORCHESTRATORS Kristopher Carter Michael McCuistion D. J. Olsen Larry Rench Lolita Ritmanis Colin Walker Ian Walker Shirley Walker

COPYISTS

Jo Ann Kane Vince Bartold Philip Azelton Russell Bartmus Joanna Beck Leland Bond Thomas G. Brown

Tom J. Calderaro Robert Calderwood Lars Clutterham Doug Dana Dennis Dreith John Eidsvoog Julia Eidsvoog George Fields Katherine Fields Elizabeth Finch William Francis III Daniel Gold Ron Gorow Ellen Gray Kenneth E. Gruberman F. E. Scott Harris Jim Hoffman Robert W. Joles Jeff Jones Steven Juliani Berwyn E. Linton Frank Macchia Jon Marquart Margaret Maryatt Ladd McIntosh Roberta McIntosh Deborah S. Mitchell William E. Motzing Conrad Pope Larry Rench Deborah Richman Victor Sagerquist Howard Segurson Karen Marie Smith Steven Lee Smith James Surell Soon-Ping Tang Aime Vereecke Barbara Watts

Executive Album Producers for La La Land Records MV Gerhard and Matt Verboys Album Produced by Mike Joffe and Nick Redman

Album Assembled by Mike Joffe Music Composed and Conducted by Shirley Walker

Soundtrack Executive for Twentieth Century Fox: Tom Cavanaugh

Score Production Supervised by Carol Farhat

Music Editors: Diane Griffen, Mark Green, Stephen A. Hope

Score Mixers: Armin Steiner, Robert Fernandez, Michael Farrow

Digital Transfers by James Nelson at Digital Outland, Tacoma, WA Digitally Edited and Mastered by Daniel Hersch at d2 Mastering, Atwater Vollage, CA CD Art Direction: Mark Banning

Original Series Score Published by Fox Film Music Corp (BMI)

La-La Land Records wishes to thank: Glen Morgan, James Wong, Lolita Ritmanis, Schawn Belston, Denise McCarthy, Larry Rench, Michael McCuistion, Kristopher Carter, Colin Walker, Ian Walker, Alison Freebairn-Smith, Morgan Weisser, Kristen Cloke Morgan, Joel de la Fuente, Lanai Chapman, Rodney Rowland, James Morrison, Tucker Smallwood, Glenn Campbell, Mark Hatfield, Justin Bielawa, Chris Mangione, JoAnn Orgel, Andie Childs, Frank K. DeWald, Matthew Osborne, Ford A. Thaxton, Julie Kirgo, Neil S. Bulk This release is dedicated to the memory of Shirley Walker, for writing music that has transcended time and given wings to the 58th Squadron

YELLOW MAGENTA CYAN BLACK