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 Posted:   Dec 31, 2013 - 11:15 AM   
 By:   Scott McC   (Member)

I don't know if everyone here has seen this or not, but here's a fun video with Shem von Schroeck playing some of the TOS themes on piano:

http://youtu.be/_XhPT0BZxiM

It is good fun & reminds me of how much I am enjoying the LLL TOS release.


Thanks for posting. Great clip.

The set is just great and I can't believe I've had it almost a year now. A dream come true and so much more listening pleasure to be weaned from this release of a lifetime!

 
 
 Posted:   Jan 8, 2014 - 5:01 PM   
 By:   Midnight Mike   (Member)

I can’t stop listening to “Friday’s Child”. It’s just so much of what the second season was all about. Great Action licks, awesome commercial break act enders. (Cat’s Paw has great Act out music too).

I still can’t believe we’ve got all of Fried’s Trek scores and practically all of his UNCLE music too! There’s something almost jaunty or jazzy in even his serious moments. But I think the main word that comes to mind is fun!

And how about Fried’s awesome Starship flybys! The crashing cymbals and big interesting arrangements of the theme just really sell how cool the Enterprise can be.

His music is really noticeably missing in the third season, I don’t know how, but they we’re able to take a great cue like “Down the throat” and suck all the fun out it for its third season Library version.

I’m just rambling here, but I almost always go to Friday’s Child when I’m in the mood for Trek music. Or at least it seems to be my first stop in a listening marathon.
Mike

 
 Posted:   Jan 8, 2014 - 8:02 PM   
 By:   Jeff Bond   (Member)

Friday's Child is pretty near the top of Star Trek music for me--that score's got everything (except violins). And "fun" is the right word--I also think that's one reason he got left out of most of season three. The second season sense of fun, that Fried helped define, was totally absent year three.

 
 Posted:   Jan 8, 2014 - 8:37 PM   
 By:   ZapBrannigan   (Member)

Friday's Child is pretty near the top of Star Trek music for me--that score's got everything (except violins). And "fun" is the right word--I also think that's one reason he got left out of most of season three. The second season sense of fun, that Fried helped define, was totally absent year three.

It just occurred to me that, despite the common talk about STAR TREK composers getting typecast (eg., Duning for sensitive stories, Steiner for action...), it wasn't always so. If you listen to Friday's Child with its over-the-top dramatics, you probably don't think "This is the perfect guy to score Miramanee's touching story in The Paradise Syndrome." But Fried did turn out to be the perfect guy for it.

 
 Posted:   Apr 29, 2014 - 6:52 PM   
 By:   ZapBrannigan   (Member)

I just listened to "The Paradise Syndrome" CDs back to back. First the LLL and then the Royal Philharmonic.

In the LLL, I think I'm hearing a harpsichord during Spock's climactic mind meld, although it isn't listed in the orchestra credits.

The original is of course unbeatable. "Miramanee" is better at the original tempo, as many have observed; it gets her lively youth across. "Forest Montage" is the most important cue that the Royal Phil omitted. And "Miramanee's Death" plays out more effectively in the original. I got into it and actually welled up a little. It's great.

That said, I still got tremendous enjoyment out the Royal Phil. It's a tight, highlights-only presentation, so the 20 minutes go by fast. In a sense, it's like when you skip the newly released, atonal cues in THE WRATH OF KHAN. And I'm not tired of this music as the LLL comes to a close, so the re-recording is like an encore.

 
 
 Posted:   Apr 29, 2014 - 8:45 PM   
 By:   Traveling Matt   (Member)

I wonder if that isn't an electronic effect, though it's pretty darn close to a harpsichord.

I agree with pretty much everything else you said. Both recordings are essential for me too, for the reasons you state, and are perhaps topped only by the rerecords for The Empath and the one Tribble track. Those are great fun as well and terrific complements to the originals.

 
 Posted:   Apr 30, 2014 - 8:04 AM   
 By:   Jeff Bond   (Member)

Most of the rerecordings from the 80s were very well done, especially Fred Steiner's. The Paradise Syndrome rerecording is quite beautiful, but I was always frustrated by the omission of all the lovely underscoring that played under dialogue. It was a thrill to finally hear that stuff.

 
 Posted:   Apr 30, 2014 - 9:07 AM   
 By:   Tom Servo   (Member)

I've finally caught up with seeing more of season three's episodes, thanks to viewings at a friend's house and also grabbing the Blu-ray set at a great price at Amoeba. It was a season I really never saw very much of and only knew the music. Watching "Day of the Dove" made me more of a fan of the score for "Spock's Brain", funny enough. And it's great to hear bits of "Spectre of the Gun" in some scenes, such as in "Wink of an Eye". I'm a fan of Duning's "Is There In Truth No Beauty", so it's been interesting to hear how its love theme is interspersed among the episodes I've seen thus far.

From season three scores only, what would you say was one most often heard tracked into other episodes?

 
 Posted:   Apr 30, 2014 - 10:24 AM   
 By:   BornOfAJackal   (Member)

From season three scores only, what would you say was one most often heard tracked into other episodes?

I think SPOCK'S BRAIN and THE ENTERPRISE INCIDENT are co-winners of that honor.

 
 Posted:   Apr 30, 2014 - 3:06 PM   
 By:   Jeff Bond   (Member)

I agree, Spock's Brain is actually more effective in Day of the Dove than in Spock's Brain, especially the swashbuckling "Scientific Fight" music which is perfect for sword fighting, not so perfect for fighting cave men and fat guys with giant slave belts.
Almost all the music got tracked, so it's noticeable when certain scores DON'T get tracked a lot--genre specific things like Spectre of the Gun and Paradise Syndrome. I was also struck by the second season Gerald Fried music that they rerecorded and never used, especially "Mace Fight" from Catspaw--Fried's ballsy style didn't fit the very subdued feel of the third season as well.

 
 Posted:   Apr 30, 2014 - 3:44 PM   
 By:   Zoragoth   (Member)

Most of the rerecordings from the 80s were very well done, especially Fred Steiner's. The Paradise Syndrome rerecording is quite beautiful, but I was always frustrated by the omission of all the lovely underscoring that played under dialogue. It was a thrill to finally hear that stuff.

I loved Steiner's rerecording of PARADISE SYNDROME too. My great disappointment with that suite was the failure to include the enchanting chase music when Kirk playfully pursues Miramanee through the forest. Wonderful sequence!

 
 Posted:   Apr 30, 2014 - 5:36 PM   
 By:   Tom Servo   (Member)

That is interesting about the scores which didn't get tracked. I can see how specific the music for for "Spectre of the Gun", but it seems at least the fly-by cues made it into a few more episodes. I would've loved for the percussive shoot-out cues to find their into another sequence. And as for "Paradise Syndrome", again it is a shame it didn't get heard anywhere else outside its own episode, but that does lend it a very unique status and viewing the episode a unique experience. I can't blame the producers for not finding any more use out of "I, Mudd", but it's really its own brand of kooky.

 
 Posted:   Apr 30, 2014 - 5:53 PM   
 By:   Verity   (Member)

For me, Steiner's "Elaan of Troyius" carries a lot of iconic cues used throughout season three. Upon reflection, I am surprised that the battle cues near the end of the episode didn't get tracked more that season.

 
 Posted:   Apr 30, 2014 - 6:16 PM   
 By:   Tom Servo   (Member)

For me, Steiner's "Elaan of Troyius" carries a lot of iconic cues used throughout season three. Upon reflection, I am surprised that the battle cues near the end of the episode didn't get tracked more that season.

So far, I most remember that battle theme being used "Day of the Dove", but there are still more episodes remaining for me to watch...

 
 Posted:   Apr 30, 2014 - 7:38 PM   
 By:   Jeff Bond   (Member)

Yes, and Steiner obviously recorded a version of the battle music specifically for library use. But after "Elaan" there really isn't a sustained space battle (one of many reasons "Elaan" is one of the high points of season three for me) in the series.
Just a note--Fred Steiner didn't rerecord Paradise Syndrome, that was Tony Bremner for Label X. Steiner recorded Charlie X, Mudd's Women, the climax of The Doomsday Machine, Mirror, Mirror, Trouble With Tribbles, By Any Other Name and The Empath for Varese Sarabande Records.

 
 Posted:   Apr 30, 2014 - 8:33 PM   
 By:   Zoragoth   (Member)


Just a note--Fred Steiner didn't rerecord Paradise Syndrome, that was Tony Bremner for Label X. Steiner recorded Charlie X, Mudd's Women, the climax of The Doomsday Machine, Mirror, Mirror, Trouble With Tribbles, By Any Other Name and The Empath for Varese Sarabande Records.



Whups, you're right. I knew that. ;-)

 
 Posted:   Apr 30, 2014 - 8:52 PM   
 By:   ZapBrannigan   (Member)

Yes, and Steiner obviously recorded a version of the battle music specifically for library use. But after "Elaan" there really isn't a sustained space battle (one of many reasons "Elaan" is one of the high points of season three for me) in the series.
Just a note--Fred Steiner didn't rerecord Paradise Syndrome, that was Tony Bremner for Label X. Steiner recorded Charlie X, Mudd's Women, the climax of The Doomsday Machine, Mirror, Mirror, Trouble With Tribbles, By Any Other Name and The Empath for Varese Sarabande Records.



All four re-recording CDs are keepers. They're not obsolete; they're alternates and still on my iPod.

Speaking of battle music: I would never trade away the existing WRATH OF KHAN, so dear to my heart, but if Fred Steiner had gotten that movie, he would have scored some kick-ass space combat.

 
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