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Josh Goldberg
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Posted: 22 February 2019 at 7:52pm | IP Logged | 1 post reply

I love the theme music from STAR TREK V: THE FINAL FRONTIER.  The way they open with the TOS fanfare and segue into the TMP music.  Say what you want about that film, but they delivered a kick-ass version of the theme music.

https://youtu.be/d5a-D9jb_kc?t=36
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Greg Kirkman
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Posted: 22 February 2019 at 9:19pm | IP Logged | 2 post reply

TFF has a great score.

And, yeah, Goldsmith decided, from that point forward, to use the TOS fanfare at the beginning of every main title cue before segueing into his TMP theme. Probably because it worked so well when Horner did it for TWOK, basically so as to say, “okay, real TREK is back, and so is the classic music”.

TMP definitely went too far in terms of abandoning and/or redesigning the iconic elements—wrist communicators instead of the flip-phones, etc. And that extends to the music, since the TOS fanfare is COMPLETELY ABSENT from the TMP score, and the three uses of the actual TOS theme tune were conducted by Alexander Courage himself. Apparently, Goldsmith didn’t want to be saddled with the TV show themes when composing his TMP score, but later agreed to use the fanfare in the opening cues of all his TREK scores. 

Mind you, its lack of TOS themes aside, TMP still has one of the greatest film scores of all time!
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Sam Karns
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Posted: 09 March 2019 at 12:10pm | IP Logged | 3 post reply

1. STAR TREK by Alexander Courage is a default for me.

2. THE WRATH OF KHAN by the late James Horner.  The theme expressed adventure and its one of my favorite tunes to listen to.

3. STAR TREK: DEEP SPACE NINE by Dennis McCarthy, the theme was different and great and represented the series, by I hated the revamped version during the 4th season.

I won't rank the others not because they were bad but simply doesn't do anything for me.  
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Daniel Gillotte
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Posted: 15 March 2019 at 4:26pm | IP Logged | 4 post reply

I just watched the Enterprise opening while playing Moana's How Far I'll Go (start the video when the song is around 10 seconds) I think it works PRETTY swell but I am lazy and don't have the skillz to actually mash them up.
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William Costello
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Posted: 15 March 2019 at 5:31pm | IP Logged | 5 post reply

FIRST Contact was one of my favorites: https://www.youtube.com/watch?v=BFMjJEP41OU
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Greg Kirkman
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Posted: 16 March 2019 at 3:09pm | IP Logged | 6 post reply

Fantastic!

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John Byrne
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Posted: 16 March 2019 at 3:32pm | IP Logged | 7 post reply

To borrow a phrase, fascinating!

Incidentally, I’ve been continuing my repeat marathon of WAREHOUSE 13. Last week I returned to an episode in which Pete and Claudia find themselve trapped in a videogame. Peter finds himself in battle with an ogre, and the soundtrack does THIS!

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Greg Kirkman
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Posted: 16 March 2019 at 3:59pm | IP Logged | 8 post reply

Yeah, that fight music is just ingrained in popular culture, from THE CABLE GUY to THE SIMPSONS! And the whole “Amok Time” score is just wonderful, too.


Anyway, I love old-school leitmotif scoring. Seeing the moment-by-moment breakdown of Kaplan’s “Doomsday Machine” cues and themes really shows just how subtle and brilliant that score is. I’d caught a lot of the subtler motifs (“Equipment misuse or malfunction”, “Transporter”, etc.) from many years of watching the episode and listening to the music in isolation, but there’s some really, really intricate interweaving of musical ideas going on there which I’d always missed. Just amazing work.

And, really, so many of TOS’ scores have that same sort of thing going on, with numerous subtle themes for characters and concepts. You just don’t see that sort of scoring in movies and TV, these days. It’s all percussion and synth and and tense, moody music, rather than BIG themes and motifs.
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Doug Centers
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Posted: 16 March 2019 at 5:26pm | IP Logged | 9 post reply

You know one that has stuck with me over the decades is the little lite tune that is played when Charlie gets angry, in CHARLIE X.
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John Byrne
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Posted: 16 March 2019 at 6:40pm | IP Logged | 10 post reply

THE MAN FROM UNCLE was the first place I recognized individual themes for characters and actions.
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John Byrne
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Posted: 16 March 2019 at 6:43pm | IP Logged | 11 post reply

It was interesting, too, that the music for Balok’s spinning cube later got recycled as fight music.
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Greg Kirkman
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Posted: 16 March 2019 at 8:42pm | IP Logged | 12 post reply

I have not an ounce of buyer’s regret from purchasing La-La-Land’s expensive megaset containing all of the complete TOS episode scores. Quite possibly the best and most comprehensive soundtrack release for any TV series, ever. Glorious.

The “Doomsday Machine” video also has me again thinking about how unfortunate it was that Kaplan only scored that episode and “The Enemy Within”, which is another favorite of mine. “The Enemy Within” has iconic cue after iconic cue, in no small part because those amazing cues were tracked all throughout the first season. SO good.


Edited by Greg Kirkman on 16 March 2019 at 8:44pm
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