If the original recordings no longer exist, I think a happy medium would be Varese-like re-scored tracks. I imagine the entire collection would not run more than 2 or 3 CDs worth of music, since some of the cues were created for other Filmation series, so that would not be featured on a TAS soundtrack.
Oh, if you used only the music written specifically for TAS, it wouldn't come anywhere near filling a whole CD. This YouTube compilation
contains, I daresay, well over half of TAS's library music, and it runs only 15 minutes and change.
Personally, I'd rather have an overall "Music of Filmation" box set with Ellis & Prescott's scores to all their shows -- and the stuff from other composers too, like Levy & Saban's He-Man/She-Ra
scores and Frank Becker's BraveStarr
Roddenberry's 11th hour rejection of TAS has much to do with certain negative perceptions of it, but in its day, the show was praised by once-skeptical fans, won an Emmy and was considered far and above typcial--if not all Saturday morning material. Some thought it was serious enough to air during prime time.
Yes, but there have always been those who rejected it as well. The opinions of Star Trek
fans have never, ever, ever been monolithic. Each new incarnation of the franchise has had people who hated it with a passion and people who adored it with a passion, and plenty in between.
And with TAS, there's the added complication that even its status as legitimate Trek canon is unclear in many people's minds. Contrary to what you suggest, that was the case well before Roddenberry's '89 memo. Since TAS was only intermittently syndicated, plenty of fans never actually saw it until it came out on home video in the early '90s, or were only familiar with it through Alan Dean Foster's novelizations. Quite a few Trek tie-in novelists in the '80s disregarded or were simply unaware of TAS; for instance, A.C. Crispin's acclaimed novel Yesterday's Son
, featuring the Guardian of Forever, shows no awareness of the events of "Yesteryear."
A while back, I was looking through old DC Trek comics from the early '80s, and I came upon an interesting letter-column discussion in which it was revealed that the comic's editor Bob Greenberger liked TAS and wanted to count it as "real" Star Trek
, but the comic's writer at the time, Mike W. Barr, didn't care for it and preferred to disregard it. Which may be why Arex & M'Ress weren't added to the book until Len Wein became its writer (though it was Peter David's later work with them in the comic that most fans remember, so that he's often mistakenly credited with their addition). And this was years before the Roddenberry memo.
For such an expensive, niche / luxury format, it speaks to the notion that Paramount recognized the popularity of TAS as a vital part of the franchise, and felt it was a worthy, money-earning the effort--even on a format which at the time, was not serious competition to the videotape.
True, but the point is that it was never universally
embraced by fans. Again, it's a mistake to assume fandom has a single consensus opinion of anything. Look at TNG again. Obviously it was a big enough hit in its first two seasons to become quite successful and spawn a whole generation of first-run syndicated TV drama/adventure shows. But for the first few years it was on, it was viciously blasted by TOS loyalists as a betrayal, as a corruption, as a misguided attempt to ride the coattails of something great, as Trek in name only and unworthy of the name. Many of the original cast members were publicly hostile toward it for years, partly because they saw it as a potential threat to their continued employment in Trek movies or felt that they should've been the stars of a revived TV series. There was intense negative feeling toward it from some quarters of fandom, but that didn't change the fact that it was hugely successful with audiences in general -- exactly as is the case with the Abramsverse today. There is no consensus among Trek fans and never will be.
But TAS is different because, although it captured critical acclaim in its day and was definitely better-remembered than a lot of its animated peers, the contingent of fans who had negative or dismissive attitudes toward it -- or had simply never seen it -- was always a much larger percentage of the fan base. TNG eventually won over all but the most extreme loyalists. ENT is at least somewhat more accepted now than it was a decade ago, or at least there are currently fewer people trying to claim it was an alternate universe. But to this day, it's hard to find a discussion of TAS that doesn't involve questions being raised about whether it even "counts" at all. As with any other Trek incarnation, there are those who embrace it and those who reject it -- but the ratio is different, with the latter category being consistently a larger percentage of the whole.
Not possible, since the music and sound effects were mixed on the same track. There are some Filmation DVDs that do have isolated music/SFX tracks for some episodes, but no isolatable music-only tracks exist.
Do you have a URL source for this that the Dialog, Music, Effects stems do not exist?
No, but my information comes direct from Andy Mangels, who's produced the majority of the Filmation DVD releases and is probably the leading Filmation expert/historian around today (he's recently coauthored a book about the studio with its founder Lou Scheimer, Creating the Filmation Generation
). I've asked him about the survival of Filmation music and about the way it was used on the DVD sets, and he made it clear that there are no surviving "clean" recordings of the music -- at least, none that are known. I keep hoping that someday, the intact music masters from Filmation's shows will be unearthed in a Hollywood warehouse or someone's closet. But to the best of anyone's current knowledge, they no longer exist.
But I should be clear: the dialogue tracks are
separate from the music/sound FX tracks. Most shows are mixed that way to make it easier to redub them for foreign markets. So with the right equipment, you can isolate the music/FX track from the voice track, and that's how that YouTube compilation linked above was created -- by piecing together segments of the cues that didn't have sound effects over them in order to reconstruct the complete cues.