[2] Wasserman said, "my musical taste my entire life was so diverse, so I'd be listening to 'Rhapsody in Blue' by George Gershwin one day and learning to play it on the piano, and then I'd switch over to 'War Pigs' from Black Sabbath.

"[3] His early music bands include Hollywood Headliners Betty Boop & the Beat, formed by SAG actress Lucrecia Sarita Russo.

Felony was fronted by Lucrecia's then-husband, Jeff Spry, who was receiving chart action with the KROQ-FM hit single "The Fanatic".

of Saban Entertainment/Music Production, met in the early 80's and played together in the popular new wave pop band,[citation needed] Betty Boop & the Beat.

[1] Wasserman said, "you could hear probably throughout the whole office building when I drove in, blasting Black Sabbath, or Nirvana or some death metal out of my car.

"[1] In 1992, Wasserman wrote the theme song for the animated X-Men series and co-composed background music for it, with this being the first hit show he worked on.

In a retrospective 2022 article, Wasserman remembered, "it was two weeks of hell putting that song together", adding that "I kept getting notes [saying] they wanted more baseline, then more high-hats.

[5] In 1991, he had previously composed an instrumental heavy metal theme song for a similar Saban project called Metalman.

The project never got off the ground, and Wasserman decided to give Mighty Morphin Power Rangers a rock/metal sound since it reminded him of Metalman.

[9] His compositions for X: Men: The Animated Series, Mighty Morphin Power Rangers and various other Saban productions were credited to Shuki Levy and Kussa Mahchi (an alias Haim Saban started using during the 1990s), with Wasserman only ever being listed in TV credits as a music producer or music engineer.

[7] Wasserman and all other composers at Saban signed a contract agreeing to give up the rights to their compositions prior to joining the company.

Wasserman was also credited as Aaron Waters on the soundtrack album for the Power Rangers film, which used "Cross My Line" as a bonus track on some editions.

Despite having a rock sound, he was never approached by Saban to do the theme for Spider-Man: The Animated Series (1994), which would end up being done by Joe Perry of Aerosmith.

Wasserman was also not involved with the background music of Spider-Man: The Animated Series, which was credited to Shuki Levy and Kussa Mahchi.

[23][24] Saban's role in the dub was to distribute it to syndicated television and to produce the soundtrack, with the company also demanding numerous censorship edits in order to get it on to American TV.

Wasserman was allowed to give it a darker and heavier sound than previous shows he had worked on, since he would never receive creative notes when he sent the music to Saban.

The album's music was attributed to Shuki Levy and Kussa Mahchi, with these two also being listed as the composers on the dub's closing credits.

[29] Wasserman was only listed as a music producer on the dub's closing credits, alongside Jeremy Sweet, and wasn't mentioned at all on the soundtrack album release.

[24][31] Faulconer was based in the same city as Funimation, which additionally meant that they would have more creative control over the soundtrack by using him instead, with the company also deciding to use local actors for the third season rather than the Vancouver-based Ocean Productions.

"[31] Wasserman subsequently said that he wasn't even aware that the Dragon Ball franchise had a large following until the early 2010s, when a fan emailed him about the show.

[12] The master tapes for his music on shows such as Dragon Ball Z, Sweet Valley High and X-Men: The Animated Series are believed to be permanently lost, since they got misplaced when Disney purchased Saban in 2001.

Wasserman also began working on various video game titles with Pink Floyd producer, Bob Ezrin and contributed to DIC Entertainment.

The popularity of this song and others on file sharing site MP3.com helped them briefly get signed to Interscope Records at the turn of the millennium.

[34] The unorthodox way they got signed to a major record label attracted attention from various media outlets, including Time magazine in 2000.

[37] On August 28, 2012, Wasserman announced on both RangerBoard and RangerCrew that he would be re-cutting the original Power Rangers songs, to refresh their sound and use new technology to record them.

[38][39] Despite being limited to songs that were commercially released on CD or cassette during the 90s, a large repertoire of his Power Rangers music still remained to create the new album.