La-La Land announces 15CD Star Trek Collection (2024)

God, this set sounds better and better as I remember more and more. If only I could afford the third season on Blu-ray so I could relive the music before the set comes out.

Where applicable.

Neil

Today, which applies equally to film, you don't get 'proper' titles nor music of any thematic consequence of dramatic value, just a collection of noises. Admittedly that's a blanket statement and the last newest TV series I watched was the first season of Heroes (which was pants IMO). I very, very rarely watch TV these days.

Today, which applies equally to film, you don't get 'proper' titles nor music of any thematic consequence of dramatic value, just a collection of noises. Admittedly that's a blanket statement and the last newest TV series I watched was the first season of Heroes (which was pants IMO). I very, very rarely watch TV these days.

Id strongly disagree.Im in my mid thirties and i like modern film/tv scoring as much as i do stuff from the 70s/80s.I like Hans Zimmer as much as i like John Williams.

As for tv, Sean callerys work on all 8 seasons of 24 is some of the finest tv scoring ever done for televison.Michael Giacchinos work on Alias and Lost were also great.

Too bad, the soundtrack to the Star Trek: Animated Series is forever lost.

The masters to the soundtrack reocrdings might be lost...

The Music isn't..

It's still very possible for someone to either find the written scores or even do a takedown of the music and produce a new recording.

Let's take this for example

(This is from ITUNES US, if you can't play, check what ITUNES service is nearest to you and it should be there or on AMAZON.COM)

http://itunes.apple.com/us/album/star-trek-animated-series/id544420229

Ford A. Thaxton

This is wonderful. Now if only someone will do the theme for Emergency plus 4. Really! It's a great theme song. TV shows in the sixties and seventies had great music back than. Right before the culturally decline.

JThree

Today, which applies equally to film, you don't get 'proper' titles nor music of any thematic consequence of dramatic value, just a collection of noises. Admittedly that's a blanket statement and the last newest TV series I watched was the first season of Heroes (which was pants IMO). I very, very rarely watch TV these days.

Id strongly disagree.Im in my mid thirties and i like modern film/tv scoring as much as i do stuff from the 70s/80s.I like Hans Zimmer as much as i like John Williams.

As for tv, Sean callerys work on all 8 seasons of 24 is some of the finest tv scoring ever done for televison.Michael Giacchinos work on Alias and Lost were also great.

And let's not forget Bear McCreary's BATTLESTAR GALACTICA work! And of course (because I'm dying for this release!) the music from STAR TREK: DEEP SPACE NINE, which was nothing like the music for TNG.

Today, which applies equally to film, you don't get 'proper' titles nor music of any thematic consequence of dramatic value, just a collection of noises. Admittedly that's a blanket statement and the last newest TV series I watched was the first season of Heroes (which was pants IMO). I very, very rarely watch TV these days.

SeaQuest DSV/2032 had good scores in all three years of its run. John Debney did a beautiful job on the pilot, especially for the (largely dialogue-less) prologue. Don Davis wrote some very interesting scores in year two, particularly for the episode, "Daggers."

I don't know about that third year, though. Russ Landau's synth scores were pretty cheap sounding. They were better, I admit, in the third year than his late second season scores, but aside from the third season main titles, I didn't really think much of his musical contributions. Debney and Davis were sorely missed. Which was about all that year needed, since the series had greatly improved by then. A shame NBC kept moving it around, it never had a chance to reclaim an audience.

I don't know about that third year, though. Russ Landau's synth scores were pretty cheap sounding. They were better, I admit, in the third year than his late second season scores, but aside from the third season main titles, I didn't really think much of his musical contributions. Debney and Davis were sorely missed. Which was about all that year needed, since the series had greatly improved by then. A shame NBC kept moving it around, it never had a chance to reclaim an audience.

I seem to recall 2032's opening segment "Brave New World," was orchestral and quite well done.

I don't know about that third year, though. Russ Landau's synth scores were pretty cheap sounding. They were better, I admit, in the third year than his late second season scores, but aside from the third season main titles, I didn't really think much of his musical contributions. Debney and Davis were sorely missed. Which was about all that year needed, since the series had greatly improved by then. A shame NBC kept moving it around, it never had a chance to reclaim an audience.

Could not have said it better. After the John Debney and Don Davis scores, Landau's music was as bad it could get. I agree, season 3 (incarnation of the show) actually showed major changes making it much better. Granted, there were some cast members that I wish had stayed on. Adding Michael Ironside was superb though.
*****

After trying to sign up for the TOS information, it failed several times, but I finally got it to go through. This is just going to be amazing when it is finally released.

Brave New World, now that you mention it, did sound a lot fuller and the new theme was very well integrated into the overall mix. The discovery of SeaQuest in the cornfield was nicely backed. However, the episodes following seemed to be much more synth driven and cold.

My thought is: I would hope that this is not duplicated for the album as it wasn't part of the tracks as recorded (or at least I suspect as much.)

My thought is: I would hope that this is not duplicated for the album as it wasn't part of the tracks as recorded (or at least I suspect as much.)

Similarly, while watching "Friday's Child" recently I noticed a cue or two that sounded like it was taken from the "Catspaw" session. Perhaps this was an alternate version of a "Catspaw" cue ("Fog Planet?"), recorded instead on the "Friday's Child" session.

In all, a most exciting score by Gerald Fried, one with some of the most distinctive brass writing heard in the series.

I see. Don't get me wrong folks, edits like that are done to punch up the dramatic effect or place emphasis on something. I'm just glad we'll hear the original intended version, that's all anyone could ask for. :-)

I will however wait for hopefully more TNG, Voyager, and DS9.

1) I'm not going to read anything funnier than that today
2) I'm working like crazy to make sure that I still think this is funny two months from now, instead of autobiographical

I noticed in "Galileo 7" (which is all library cues?), the funeral scene thru ship take off has several other episode cues spliced together in a matter of seconds. Someone was a master at matching music and action - was it just one editor who reworked the music?

"The Galileo Seven" is a brilliant example of a "tracked Trek." It was "scored" with cues from every complete score recorded up to that time, with the exception of "Balance of Terror" and "Shore Leave." The music editor involved was probably Jim Henrikson as he began work on the series about mid- season (S1), staying "Trek" through all of S2. Henrikson some years later began work with James Horner as music editor on Willow, (this after working for a time as a film editor) and remains with Horner to this day as his supervising music editor.

I hope someone interviewed Jim for the collection booklet. I met him a few years ago at a fan function and he had nothing but positive things to say about his experiences working on the show.

I hope someone interviewed Jim for the collection booklet. I met him a few years ago at a fan function and he had nothing but positive things to say about his experiences working on the show.

thanks for the info. Would be great to hear his experience, as well as how he went about tracking. Seems like you would need not only a musical "photographic" memory but an experienced gut instinct about what would work in a scene.

According to imdb, "Galileo Seven" was Jim's first "Trek" assignment. Apparently, he came in about the same time as Gene Coon.