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YELLOW MAGENTA CYAN BLACK
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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
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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
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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
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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
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“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
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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.”
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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
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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
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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