Here's a transcription of the liner notes (I bolded the part that I believe people are referring to):

January 2007

Twin Peaks, which first aired in the US in April 1990, will turn 17 this year, the same age Laura Palmer was when her body washed ashore wrapped in plastic. Just as the death of this small town homecoming queen set in motion a far-reaching chain of events, so has Twin Peaks, the television series created a large undeniable cultural ripple. It is an impact easily seen today in the landscape of modern television and film. However, more interesting is perhaps the existence of a completely separate Twin Peaks universe. The television series, as well as the theatrical prequel are all part of a journey; a journey through a dark, mysterious, violent, yet often beautiful world. A world surrounded by dark woods. A world inhabited by strange and beautiful people. A world where there has always been music in the air.

This new soundtrack album, the first in 15 years, continues the journey, highlighting an enormous amount of previously unreleased material as well as alternate versions of more familiar themes. As the Giant said, "a path is formed by laying one stone at a time." This disc on its own is hardly a comprehensive collection, simply an essential companion to an ensemble of albums...another stone in a musical path.

The journey through this musical world is not a conventional one. Musically speaking, the nods or components of the Twin Peaks sound are obvious, yet the sum of these pieces makes something far more complex and layered than its parts alone. It is not something that is easily defined. It is a mysterious intangible that seems to operate almost exclusively to Lynch/Badalamenti collaborations. So indefinable in fact, it is often impossible to determine which came first. Did the image dictate the music? Or did music dictate the image?

Having collaborated on and completed Julee Cruise's "Floating into the Night" LP nearly a year prior to filming the pilot episode of Twin Peaks, "Falling" was immediately tagged in Lynch's mind as the title theme for his then fledgling television show idea. Several other tracks from the album would turn up on the show as well, yet, another key theme was written prior to filming, but this time with the show singularly in mind. Working side-by-side...Badalamenti at keyboard, Lynch intimately beside...words would frequently (though not always) begin a thought.

Composer Angelo Badalamenti: "David would say that the music should begin very dark and slow. He said imagine you are alone in the woods at night and you hear only the sound of wind in the forest...now keep playing...but get ready for a change because now you see a beautiful girl. She's coming out of the darkness, through the trees...she's all alone, coming toward us...so now go into a beautiful melody that climbs ever so slowly until it reaches a climax. Let it tear your heart out."

With this brief set of directions verbalized, Lynch and Badalamenti would lay the groundwork mood for the entire show. The sonic compass for the show's music is surely the composition that became the 'Love Theme from Twin Peaks.' This anthem broods, climbs, envelopes and falls over hundreds of images throughout the course of the show's two seasons and feature-length prequel. The theme embodies two of the most important tonal aspects of the show: a dark sinister undercurrent, and a soaring, heart wrenching bitter-sweetness. The operating words here are "dark" and "beautiful." Two words that, not only describe the musical fabric of Twin Peaks (as well as the other frequent collaborative results of Lynch and Badalamenti), but also illustrate the succinct musical vocabulary that Lynch and Badalamenti converse with.

It is important to remember that the musical selections contained on this CD were originally born out of images, wed to images during the show, and will always remain intrinsically linked to images. It is part of the process, as well as the fabric of this world. The "dark" and "beautiful" world of Twin Peaks.

Talk about totally crap-written liner notes. Sounds like something a freshman-year journalism student would crank out.

~ Amanda

"Just fear me, love me, do as I say and I will be your slave..."

I agree. The liners could have been okay for the first soundtrack. The writer doesn't seem to grasp who the audience is; people who are familiar with Twin Peaks already. Will a casual fan buy the second season soundtrack first? No.

And more to the point, I think the notes (even the parts quoted in bold) are much too vague to actually suggest anything. 

"What credit card do you want to put that on?"
"Caash, prease."

[quote]Did the image dictate the music? Or did music dictate the image? Having collaborated on and completed Julee Cruise's "Floating into the Night" LP nearly a year prior to filming the pilot episode of Twin Peaks, "Falling" was immediately tagged in Lynch's mind as the title theme for his then fledgling television show idea. [\quote]

 It answers its own question. Obviously if Falling was made before the pilot then that sound wasn't created as a result of the 'image'.