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I'd say the cream of the third season is
The Paradise Syndrome
Elaan of Troyius
Spock's Brain
The Empath
Agreed. For just a taste of S3, I find myself going back again and again to the last track in Spock's Brain. Seven minutes of joy. 
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Hi Gang! Long time! Just a reminder that this Saturday (11/2) is Conscience of the King and the Mullendore library cues from disc 5. See you then!
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Woah, that went by faster than I expected.
I’m listening to the podcast Mission Log (and so should you). And we’re in the middle of season three. (Next week: Wink of an Eye!) So jumping back into season one is a little jarring. But hear we go! The Conscience of the King, 47 years later!
Dagger Sweetner seems so specific, but I seem to recall that it was used in other episodes. Actually, quite a bit of this episode was tracked into Balance of Terror. Whenever I didn’t know a cue, I went here.
Go for Baroque – yeah, I don’t like this type of stuff in Shore Leave either. Is twee the right word?
Man, Mulendore could do the Enterprise. Everyone did it a little different, but his was “Shining Ship at Sea” type stuff. He’s also the only one to use the Star Trek theme as opposed to the fanfare. What a different sound the show might have had if other composers had user the theme.
Yeaaaaah, the jazzy Star Trek. I bet there are people that HATE this. I adore it. All to pieces.
I like the love theme quite a lot. It has a different flavor from the Courage and Steiner love themes. A little more… Hopeful? Which is ironic, really.
The violins remind me of Young Frankenstein. I guess overall it’s a wonderful score, but it is a little over-wrought. This was one of the surprises of this set was how much I enjoy this score.
Ah, the unfortunate va-va-voom music. It was the 60’s I guess.
Beyond Antares. I always know when I start a project like this that I’m going to have to listen to the songs. Can someone recommend anything where Nichelle Nichols sounds good? (You don’t have to send me any Nimoy stuff, thanks.)
Phase Overload is quite good. It’s a bit like some of his library cues. (Also quite good, and I’ll be hearing them soon.)
I will always associate Voice Test with Balance of terror. I’m just more familiar with the episode. There’s a wonderful bit where the Theme comes in and it’s so subtle you almost don’t notice it.
Ahh, more “Shakespeare” music. Hmmm.
All Ghosts Dead is a wonderfully understated cue. Especially compared to some of the rest of this score.
And with a rousing Star Trek ending, we’re out! The whole thing has got a slightly more old fashioned sound than most of the rest of Trek. More like 1950’s motion pictures. Which is pretty cool.
Mullendore library cues:
Impension is wonderful. I remember watching Shore Leave one time and really hearing that for the first time. Then I combed through the GNP soundtrack looking for it. No luck. Now I know why. That last swell of the theme sounds like Ron Jones’ Starfleet Command II music.
Lonely to Dramatic sounds like, well, like Conscience of the King.
Pensive Mood sounds like something Courage would have written if he was more partial to his own theme.
Play-Off: Hey, it’s Let’s Make Fun of Spock music! Ha ha ha ha!
Wonderful stuff. It’s a pity that he was never asked back. He’s really a very large part of the “sound” of season one. Not as much as Steiner or Courage, obviously, but still very prominent.
See you all back in a month for Shore Leave!
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Nice review, Adam.
Track 23 - Hearing Nichelle Nichols sing is a real treat. Fits in well with the episode.
Beyond Antares. I always know when I start a project like this that I’m going to have to listen to the songs. Can someone recommend anything where Nichelle Nichols sounds good? (You don’t have to send me any Nimoy stuff, thanks.)
Heh. Well, your mileage may vary. 
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Blast it! I'm not going to have time to post tomorrow. Tomorrow is Gerald Fried's Shore Leave. Well, I'll still listen tomorrow and post sometime Sunday or Monday.
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Posted: |
Nov 9, 2013 - 10:56 AM
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By: |
dogplant
(Member)
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Yeaaaaah, the jazzy Star Trek. I bet there are people that HATE this. I adore it. All to pieces...
Pensive Mood sounds like something Courage would have written if he was more partial to his own theme...
See you all back in a month for Shore Leave!
Love jazzy Star Trek, too, and Mullendore's 'Pensive Mood' is one of my all-time favorite Star Trek cues. Pardon me if I have posted this before, but I used it in a home movie of my puppy frolicking, here: http://youtu.be/_eha6YpxGZ4, and his lounge music piece 'Quasi-Sex' here: http://youtu.be/a2b1WieMtrs
'Shore Leave' is a magnificent little piece, and it was a thrill to see Gerald Fried play this in person at the La La Land TOS box set launch at the Egyptian Theatre last year. Ruth's Theme is so haunting, and he played it beautifully, but Gerald noted in the audience Q&A it was simply what the episode seemed to require, a wistful love theme, and it had no special significance for him. Now playing: Finnegan's Return!
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Blast it! I'm not going to have time to post tomorrow. Tomorrow is Gerald Fried's Shore Leave. Well, I'll still listen tomorrow and post sometime Sunday or Monday.
Shore Leave was recorded 12/2/66 according to the first season booklet.
Ha! I got it my head that it was a WEEK later, not a MONTH later. Ahhh, age is not my friend. Thanks, Adam!
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Shore Leave, 47 years later: Gerald Fried joins the team! I run hot and cold on Fried. The only one of his scores I am an unabashed fan of is Amok Time.
I’m not a fan of “zany” music (I may have mentioned) and the White Rabbit music delivers the zany in spades. But New Planet is quite nice.
This score is so literal. You got a knight? Here’s old swashbuckler music. You have a guy named Finnegan? Roll out the jig. It’s what the episode calls for, I suppose.
2nd Ruth: I don’t like this love theme at all – in this episode. For some reason when this is tracked into This Side of Paradise it’s just heartbreaking. Weird, huh? Also there’s a second part to this theme all on strings that gets very Herrmannesque. It’s a little darker, a little sadder. THIS part, I love.
Old English is another track that I don’t care for at the start but then it settles into something I like more.
Heh. Then Tiger comes on and we all say “Oh, THAT Gerald Fried!”
Joust is pretty good. It gets a little further away from the very sugary planet theme.
I do like the ”wounded” sound of the theme in Dummy.
Maybe this was Fried’s aim, to make everything sound very artificial and silly until the danger becomes more and more present and then he transitions into a more adult score?
I didn’t listen to the GNP album very much since this isn’t one of my favorite episodes or score. So I don’t really know what I was missing before that has been added in.
The jig! Make the jig stop! Then it suddenly becomes “Star Trek” music. Funny that.
There’s that wha wha wha saxophone. There must be LAAAADIES around.
I’m surprised nobody fell in a pond in this episode.
Hrmph. Ok, I guess I’m glad I got that out of the way, huh?
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There’s that wha wha wha saxophone. There must be LAAAADIES around.
I thought it was a muted trumpet.
Anyway, I give "Shore Leave" very high marks for having such a number of melodies and moods. It's true that "Ruth" worked better in "This Side of Paradise" (my favorite tracked score), but you don't have to visualize the episode a cue was written for. You can give it any mental "music video" you want.
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There’s that wha wha wha saxophone. There must be LAAAADIES around.
I thought it was a muted trumpet.
The dangers of posting where people know what they're talking about. I can identify an oboe 4 times out of 5.
That's true about the theme. I don't know why I have a totally different reaction if you just TELL me that it's from one episode or the other. Have any psychiatric organizations ever used this board as a case study?
2nd Ruth gets very close to The Ghost and Mrs. Muir, doesn't it?
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Squire of Gothos, 47 years later!
Well. That’s sure some harpsichord-y music, isn’t it? For a moment I thought I was playing Roller Coaster Tycoon.
If I’m reading this right, we have nothing until March 24th for City on the Edge of Forever. And that’ll be it for season one.
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It's true that "Ruth" worked better in "This Side of Paradise" (my favorite tracked score).
I felt that "Ruth" was way overused in "This Side of Paradise." It would kick in, nice and loud, every time Leila walked on screen, or Spock got misty eyed. Over and over and over. Much as I love Trek and its music, that one cue, used repeatedly, ruins the episode for me. It works great in "Shore Leave," but in "Paradise," it's far too sappy for me and after the third usage, I find myself rolling my eyes. Especially when Spock beams up for the last time, they use a quick 5 seconds of it to unscore Spocks little kiss. We get it, he's in love. Ugh...
Sometimes, the music editors laid it on a little thick.... But that's just me.
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City on the Edge of Forever! (I listened to it yesterday. Honest!)
What a score. It’s short but it packs a punch. It’s amazing that they decided to write new music for this so late in the season.
I’m not always clear on what music made it in and what didn’t. I know New York 1930 didn’t. But Edit Suspects sure did. This is one of my top 10 Star Trek tracks. It has a quality to it that isn’t found anywhere else in Trek. It’s mysterious, it’s longing, It’s warm and cold at the same time (I think). The music plays up everyone in the scene (Kirk, Spock, Edith) all being off balance and not able to find their footing with each other.
If you had told me that one of the tracks I would want most from this massive set would be Goodnight, Sweetheart I never would have believed you.
This is an episode where I associate some of the tracked music more strongly with this episode than I do with the episode it came from. Hideous Balok is one example.
Wonderful how Edith Must Die and Edith’s Death echo each other. Totally appropriate for a time traveling “the future must be set” story.
Wow, that’s it for Season One! See you back on the recording stage on June 21st for Catspaw! (I'll start a new thread.)
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I always associate Hideous Balok with City. Never Corbomite Maneuver.
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I'm not a trekkie but I have eventually watched -- and enjoyed -- the first remastered season, one episode per day. I don't own the gorgeous Lalaland box set release and can't have access to the explicit liner notes but I have a question about THE DEVIL IN THE DARK : are the 15-20 first seconds from stock music by Bernard Herrmann?
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