Better than the live-action version, Green Lantern: The Animated Series shines in the music department, and now its score cues are part of "AFOS Prime"

I've recapped Green Lantern: The Animated Series, Batman: The Animated Series producer Bruce Timm's latest series, a few times for "5-Piece Cartoon Dinner" during the series' first season, and though I'm not really a fan of the Green Lantern Corps space cop characters and I had a nice nap when I went to see the live-action version, I've found this Cartoon Network CG series to be surprisingly good. Aya, a heroic, Spock-like female AI who was created by Timm for the series (and is terrifically voiced by Grey DeLisle), is the breakout character on GL:TAS, as well as one of the reasons why the series is more enjoyable than the much-maligned Ryan Reynolds version (that movie was remarkable for somehow being both overstuffed and undernourished at the same time).

I don't own an iPhone because I currently can't afford one and because I don't care for smartphones. Like Greg Proops, I think smartphones are causing society to become douchier (at 39:57 of "Lobsters," Proops astutely likened iPhone addicts to the subjugated citizens in Brave New World as part of his reply to a Smartest Man in the World listener's question about aspects of 20th century dystopian novels that are pertinent to today). But if I did own an iPhone, I'd kick Siri's ass out and have her replaced with the super-reliable Aya. And at least Aya won't try to tell me jokes that are hilarious only to John Malkovich.

Even though I'm neither a machine like Aya nor a reformed alien thug like Razer, I have an easier time relating to Aya's arc of wanting to be taken seriously as a Green Lantern and Razer's shame over his past as a Red Lantern than I did trying to relate to Hal Jordan's hackneyed daddy issues during that inane movie. That's all due to Timm and his crew's knack for intriguing characters (which raises the question "Why doesn't Warner Bros. ever place the scripts of its non-Batman live-action DC films into the more capable hands of either Timm, Alan Burnett, Paul Dini or any of the other talents who have shepherded DC Animation's hit shows and made-for-video movies?"). Another reason why GL:TAS is superior to the Reynolds movie (which, by the way, was directed by Martin Campbell, who recently wiped out the stench of the live-action GL with the excellent pilot he directed for ABC's new action drama Last Resort) is the simple fact that it's animated. Animation, especially CG, is a more suitable medium for the Lanterns and their cartoony-looking powers than live-action, which was where the Lanterns looked unconvincing and inert.

GL:TAS airs on Saturday mornings, which is an unusual time period for an animated cable show's first-run episodes (because most of them tend to air first-run in the evenings), but it's the same time period where earlier Timm projects like The Adventures of Batman & Robin (a retitled, more Robin-centric version of B:TAS) and Superman: The Animated Series first aired back when network TV ran cartoons on Saturdays. Most of the cartoons I used to watch on Saturdays had terrible, colorless and frequently recycled score music, but GL:TAS doesn't. The crappy-sounding electric guitar work and T.J. Hooker drum machines that used to define Saturday morning score music in the '80s and early '90s are nowhere to be found on GL:TAS.

The show's score music, which comes from newcomer Frederik Wiedmann, is original from start to finish in every episode--"recycling" is a dirty word in the Warner Bros. Animation music department--and suitably majestic. There's lots of brass and choir, plus a motif for each major character (for instance, Razer is represented by an electric violin theme), just like how each hero and villain on B:TAS had a motif or instrument that defined him or her musically (I don't think Robin had his own theme on B:TAS though, and I don't remember if he did because I don't really care for that character). Because of Wiedmann's scores, I always feel like I'm watching an epic sci-fi movie whenever I play back an episode of GL:TAS.

Frederik Wiedmann at the Úbeda PlayFest with future composer Kyan Wiedmann (Photo source: BMI)

As work continues on GL:TAS' second season, La-La Land Records has released 36 of Wiedmann's first-season score cues on the GL:TAS soundtrack album, and I've added my favorite pieces from the album to the "AFOS Prime" and "New Cue Revue" blocks on A Fistful of Soundtracks. Wiedmann's GL:TAS music sounds even better live, as attested by the following footage of a 65-piece orchestra and a 40-piece choir performing a suite of Wiedmann's GL:TAS themes at the PlayFest animation/video game music festival in Úbeda, Spain back in July. At the end of the footage, the man who's pretending to get choked up over the emotional portion of the GL:TAS suite is GL:TAS co-executive producer Giancarlo Volpe:

Batman: The Animated Series turns 20 this week, so "AFOS Prime" celebrates its Knightly brand of stylish action and dashing score music

I got so busy producing a weekly vlog that nobody watches and has become a little less fun to work on that I almost forgot that 20 years ago this week, Batman: The Animated Series debuted on Fox on September 5, 1992 with an episode about Catwoman ("The Cat and the Claw, Part I") to whet the appetites of viewers who had seen Batman tussle with a much kinkier version of Selina Kyle in Tim Burton's controversial Batman Returns over the summer.

The B:TAS crew was more subtle and clever than Burton about sneaking adult content into their version of Batman. Without attracting the attention of parents' groups and conservatives--the wet blankets of America--like Burton did in Batman Returns, the B:TAS crew got away with sneaking in elements like a giant vagina attacking Batman, which producer Bruce Timm claimed was unintentional, and a lesbian couple: Harley Quinn and Poison Ivy (maybe B:TAS got away with so much also because it was kind of under-the-radar compared to Burton's movies, which were exposed to a larger international audience).

B:TAS is a show I dug so much as a high-schooler and is one of the few shows I tried to collect DVD box sets of (and never finished doing so) back when I was employed, I could afford to buy DVD box sets and people actually bought DVDs. Because of its 20th anniversary, A Fistful of Soundtracks' "AFOS Prime" and "New Cue Revue" blocks will begin streaming several selections from La-La Land Records' recent second volume of B:TAS' well-crafted score cues next week.

I think I've spoken enough about the original music on the show ("Batman: The Animated Series soundtrack: A Walker to remember" from December 2008 and "A little Knight music: The second Batman: The Animated Series soundtrack from La-La Land is even better than the first" from a couple of months ago), so I want to say a few words about the show itself. Both B:TAS and another animated Fox show, The Simpsons, ignited my love for smartly written animation and made me want to write for animation or comics someday. On-screen, Doctor Who star David Tennant once memorably told '80s Doctor Who star Peter Davison--both in character and as a fan of the Davison era of the show--that "You were my Doctor." In a similar fashion, a certain generation of viewers considers Adam West to be their Batman. Though West was a great comedic Batman, Kevin Conroy's take on the Dark Knight remains my favorite on-screen incarnation of the character.

And as us admirers of B:TAS celebrate the show's 20th anniversary, we're not just celebrating two decades of terrific animated TV by the likes of Timm, Eric Radomski, Alan Burnett and Paul Dini and staffers who passed on after the show's run like composers Shirley Walker (whose B:TAS work Bear McCreary frequently cites as a major influence on his TV scoring career) and Harvey R. Cohen and director Boyd Kirkland. We're also celebrating two decades of Conroy's voice work as Batman. I never expected the Julliard-trained Conroy to continue to voice Batman about a decade and a half after B:TAS stopped production, but there he still is, pretending to rough up motherfuckers as the Dark Knight in DC Animated Universe feature films and video games.

Kevin Conroy (Photo source: Esquire)

Though West underplayed his Batman quite well, and Michael Keaton managed to bring an interesting stamp to both the Bruce Wayne and Batman halves of the character despite the massive constraints of his difficult-to-walk-around-and-act-in costume, Conroy, who was far from a comics fan, outdid both West and Keaton by rethinking how the character spoke on-screen.

"As soon as [the producers] described his schizophrenic lifestyle, it bugged me," recalled Conroy to Esquire recently. "I thought, Wait a minute, he is the Bill Gates of Gotham. He is the most eligible bachelor. Everyone knows who he is. And he puts on a cape, and no one recognizes him? Come on."

Conroy, one of 75 actors who auditioned for the part, decided to give Batman two slightly different voices, "fundamentally altering the legacy of a comic book he had only passing knowledge of," as Ali Taylor Lange wrote in the Esquire piece on Conroy. As Batman, Conroy opted for raspy, mysterious and dashing--because of that badass voice, guys like me wanted to be like him, while many of the show's female viewers ended up wanting to do him--while in businessman/philanthropist mode as Bruce, he came up with a more relaxed voice, but without sounding too foppish or cartoony.

There's more to that dual-voiced reading than raspy-vs.-relaxed though. The psychological homework that Conroy did to distinguish his take on the character was as well-thought-out as all the other aspects of B:TAS that elevated it from standard Saturday morning superhero fare to an unconventional and sophisticated superhero cartoon that appealed to adults.

"If he sounds that different, where does the voice come from? It has to come from the pain," said Conroy to Esquire. "I decided that the Bruce Wayne persona, the public persona, is the performance, and the Batman character is who he is when he is most natural. When he's putting on the cape, he is becoming himself."

A little Knight music: The second Batman: The Animated Series soundtrack from La-La Land is even better than the first

As Christopher Nolan wraps up his immensely popular live-action version of Batman with next week's release of The Dark Knight Rises, La-La Land Records is revisiting the "dark swashbuckler" sound of the Nolan movies' small-screen predecessor, Batman: The Animated Series, with the label's second collection of the landmark show's score cues by the late Shirley Walker and her staff of skilled composers.

In 2008, when La-La Land released the first B:TAS soundtrack (highlights from this two-CD set can be heard during A Fistful of Soundtracks' "AFOS Prime" block), I wrote, "Though this release is loaded with over two hours of music, it's missing Walker's memorable Catwoman theme from 'The Cat and the Claw, Part I,' the first B:TAS ep that ever aired, Carl Johnson's lively score from the excellent 'Beware the Gray Ghost' ep with special guest voice Adam West, and [Michael] McCuistion's Lawrence of Arabia-style epic score from the 'Demon's Quest' two-parter, which gives me hope about a Volume 2 from La-La Land."

Volume 2 is finally here--the first few copies are being sold at La-La Land's booth at this weekend's San Diego Comic-Con before the four-CD set becomes available on Thursday--and cues from "The Cat and the Claw," "Beware the Gray Ghost" and "The Demon's Quest" are indeed on the album. After taking a look at the abbreviated Volume 2 track listing that the World's Finest fansite posted on its blog, the batch of B:TAS eps that are represented on Volume 2 is more impressive to me than the first volume's, even though one of those eps is the abysmally animated and extremely kid-friendly "I've Got Batman in My Basement," widely regarded as the series' worst ep and derided by lead B:TAS showrunner Bruce Timm, who told Cinefantastique magazine in 1994 that "I can't even watch ['I've Got Batman.'] It's the epitome of what we don't want to do with Batman."

"The Cat and the Claw," "Beware the Gray Ghost" and "The Demon's Quest" are joined on Volume 2 by series high points like the Emmy-winning Mr. Freeze revamp "Heart of Ice," "Feat of Clay," "Almost Got 'Im" and "Harley and Ivy," an ep that's even more popular than "Heart of Ice." Penned by "Heart of Ice" writer Paul Dini, the sharply written first-time pairing of Harley Quinn and Poison Ivy, who are referred to in Dini and Chip Kidd's 1998 coffee table book Batman: Animated as "the Thelma & Louise of the supervillain set," was so popular it spawned a 2004 DC miniseries from the trio of Dini, Timm and their fellow New Batman Adventures and Superman: The Animated Series staffer Shane Glines and tons of steamy Harley and Ivy fan art by Glines and many others.

Glines recently posted his character designs from a Harley and Ivy animated series that failed to get off the ground in the early '00s. You'd have to be either really, really stupid or brain-dead to say no to a Harley and Ivy animated series.

Maybe the person who said no to the Harley and Ivy spinoff is the same network executive who rejected "Harley and Ivy" as the first ep to air during B:TAS' brief run on Fox's nighttime lineup in the middle of its first season.

"We wanted ['Harley and Ivy'] as our first prime time show, and Fox was going to run it. Then a Fox executive saw it and said, 'What the hell is this? Batman's not in this episode. He's only in it at the end? The whole episode is two girls running around in their underwear. There's no boy appeal here,'" recalled Dini to Cinefantastique in 1994. "I said, 'Well maybe not any boys you know.'"

Poison Ivy and Harley Quinn in a scene from B:TAS' "Harley and Ivy" episode that's too unappealing for boys (Photo source: World's Finest Online)

The largely comical and nicely crafted score for "Harley and Ivy" was provided by Walker, McCuistion, future Justice League main title theme composer Lolita Ritmanis and Peter Davison, a different Peter Davison from the British actor who starred as The Fifth Doctor on Doctor Who. The late Boyd Kirkland, who directed "Harley and Ivy" and came up with the fan-favorite scene where the duo responds to a car full of douchey catcallers in classic Gotham Girl fashion, was proud of the layout work on "Poison Oakey" and her new sidekick (and possibly lover) that was done by the Japanese studio TMS, one of many foreign studios that Timm's creative staff farmed out the animation work to.

(Photo source: World's Finest Online)

But sometimes, there were episodes that didn't meet the B:TAS staff's expectations like "Harley and Ivy" did. When "The Laughing Fish," which is also part of the second album, came back to Timm's crew with animation by the Korean studio Dong Yang that Timm found to be underwhelming, he turned to Walker and asked her to do with her score what Dong Yang failed to accomplish with the kind of animation Timm wanted for his more-menacing-than-usual vision of the Joker in "The Laughing Fish."

(Photo source: World's Finest Online)

"I asked her to make ['The Laughing Fish'] sound like a horror film. Not a forties Boris Karloff film, but like Aliens or The Exorcist, with really dissonant, nonmelodic music," said Timm in the Batman: Animated book. "At the time I had just read a piece about Psycho and it never dawned on me before, but there are no woodwinds or brass in that film. The entire score is done with strings. And I started thinking that might be kind of a neat thing to do with this show, just play everything stripped down and haunting.

"There's a full symphonic orchestra in there, but a lot of the earlier cues are just moaning violas," continued Timm. "From the first moment the Joker shows up, even though he's acting funny and wacky, Shirley has the strings doing something really strange. They're not playing his silliness, they're playing the underlying threat of what he's doing. It kicks the scene up a notch in terms of tension. It's one of our most unusual scores and it works really well."

Timm's simpatico working relationship with Walker and her composing team was a reason why the music on B:TAS was so effective, even when it wasn't present in several scenes.

"In animation, it's real typical to want the music to be there to sort of cover up the holes and make you feel like there's no air and no space," said Walker to Cinefantastique in 1994. "I think part of the visceral success of the Batman show is the fact that we put you on edge by making you uncomfortable with silence occasionally. It sets the show apart from a lot of the cartoon music that's being done."

Shirley Walker

Even though through my copies of Warner Bros.' B:TAS DVDs, I can easily check out the B:TAS scoring team's work on "Harley and Ivy," "The Laughing Fish" and the other Fox-era eps that are represented on the La-La Land compilations, it's much nicer to be able to hear the cues in their purest form, sans sound effects. Volume 2 also comes with eight different versions of the opening and closing title themes for B:TAS, which was the first of WB Animation's various Batman series (the next series will be the CG-animated Beware the Batman, which I, a Pinoy viewer, am especially looking forward to because the Dark Knight is being voiced by Pinoy actor Anthony Ruivivar from Third Watch). As a fan of Timm's "Dark Deco" take on Batman, I can't wait to get my slightly dark but not-quite-Deco mitts on Volume 2, another musical memento of a classic show that raised the bar for both small-screen American animation and small-screen animation scoring.

Batman: Mask of the Phantasm score to get expanded reissue from La-La Land

Dammit, soundtrack labels, you need to stop releasing so many terrific score albums. My depleted-by-the-recession savings account can't take it.

I caught the following exciting bit of soundtrack news on the FSM Board:

La La Land will start taking orders on the following CDs next Tuesday, March 24 at 12 noon PST for the following titles:

BATMAN: MASK OF THE PHANTASM - score by Shirley Walker. This is the first release in our new line of EXPANDED ARCHIVAL EDITIONS. This cd features the complete score along with a few bonus tracks. It is limited to 3000 units. Retail Price: $19.98

And while we're at it, can we also get a Mask of the Phantasm special edition DVD with a remastered picture and a Batload of extras, like an Alan Burnett/Bruce Timm/Eric Radomski/Andrea Romano commentrak and the 1993 Mask of the Phantasm HBO First Look special that's currently on YouTube? Batman & Robin got better treatment on DVD for crying out loud.

Related posts:
"Batman: The Animated Series soundtrack: A Walker to remember"
"Five favorite expanded score albums or box sets of 2008"

Batman: The Animated Series soundtrack: A Walker to remember

As a fan of Batman: The Animated Series, I've waited 15 years for the score cues from the groundbreaking show to be released on an album. Now the wait is finally over, thanks to La-La Land Records' Batman: The Animated Series score compilation, which the label released as a limited edition two-CD set on Tuesday (a week after Warner Bros. Records double-dipped the Dark Knight soundtrack with additional score cues). I'll be adding some of the music from La-La Land's release to rotation on A Fistful of Soundtracks' "Assorted Fistful" block.

Modeled in tone after Tim Burton's somber-looking, dark-humored Batman films but much more faithful to the comics, Bruce Timm's B:TAS was the first American superhero cartoon show that felt cinematic. B:TAS writer/producer Paul Dini, who scripted the landmark, Emmy-winning Mr. Freeze revamp "Heart of Ice," says in the soundtrack liner notes that the show's crew constructed each episode like a mini-movie.

The B:TAS crew must have heard Peter Bogdanovich's anecdotes about how Samuel Fuller mentored him during the making of the low-budget 1968 thriller Targets ("Never think about limitations! Only think about what you want!") because like Fuller, they clearly didn't let a TV budget stop them from doing what they wanted. They brought a cinematic approach to everything, from the way they paced the dialogue--B:TAS' minimal and terse dialogue was different from other superhero cartoons, especially the '90s Marvel shows, like Saban's X-Men and Marvel Films Animation's Spider-Man, which had nonstop, hurriedly delivered, Speed Racer-ish dialogue--to the original score music. Unlike past superhero cartoons, B:TAS didn't recycle the same four or five score cues or repurpose creaky old library music. Shirley Walker and her team of B:TAS composers, which included Lolita Ritmanis and Michael McCuistion, composed an original score for every ep and used a full orchestra at a time when most other animated action shows relied on chintzy-sounding, cost-saving synthesizer music.

Danny Elfman's B:TAS main title theme, a reworking of his own brooding and dashing-sounding main theme from the Batman movies, set the tone for the show's "dark swashbuckler" sound. Walker, who conducted Elfman's 1989 Batman score and worked for him as an orchestrator, wrote a new eight-note theme for the Batman character that sounds equally thrilling and kickass. It eventually supplanted Elfman's theme in the opening titles when Warner Bros. Animation made B:TAS into a feature film (Batman: Mask of the Phantasm) and then brought the show back to the airwaves under a new title, The Adventures of Batman & Robin.

Walker and her composers crafted a different motif for each villain. Mr. Freeze was accompanied by a mournful waltz (which can be heard during the 14-minute "Gotham City Overture," track 1 on the first disc), Two-Face was represented by an eerie soprano recorder melody ("Harvey's Nightmare/Dent's Soap Box" and "Bruce Wayne's Nightmare/Two-Face Remembers"), and the Penguin received a lumbering brass theme to match his bluster ("Birds of a Feather").

The Joker is such a beloved adversary that Walker gave him not just one but two motifs, a carnival-style melody and a secondary "Fanfare for Rocky"-style crime spree theme that was used only during the "Last Laugh" ep. The liner notes refer to the Joker's "Last Laugh" crime spree theme as "a hip-hop jazz theme," but it doesn't really sound like hip-hop. It's a middle-aged white person's idea of what they think a hip-hop beat sounds like. As an FSM Board poster says, it's more rock/funk than hip-hop. Still, Walker's "Last Laugh" theme is a lot of fun, and like all the other cues, I'm jazzed to finally have it on disc.

After a solid film and TV score career that saw her alternating between the Timmverse and James Wong/Glen Morgan productions (Space: Above and Beyond, Final Destination), Walker died in 2006 and didn't live to see her B:TAS material get the kind of release that La-La Land has devoted to it. Though this release is loaded with over two hours of music, it's missing Walker's memorable Catwoman theme from "The Cat and the Claw, Part I," the first B:TAS ep that ever aired, Carl Johnson's lively score from the excellent "Beware the Gray Ghost" ep with special guest voice Adam West, and McCuistion's Lawrence of Arabia-style epic score from the "Demon's Quest" two-parter, which gives me hope about a Volume 2 from La-La Land.

The final track on the La-La Land album is a fitting tribute to Walker, in which she gets to finally speak, via an archival recording of her explaining her eight-note Batman theme and playing it in different variations on the piano. The subtle differences between each variation--like when Walker alternates between a somberly played second half of the theme and a more uplifting second half--are incredible. They show how much care was put into the music and the show itself.