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 Posted:   Jun 16, 2014 - 6:35 PM   
 By:   Other Tallguy   (Member)

Hello all! Last August I had the following idea: “Let's all listen to Star Trek TOS episodes on the anniversaries of the days they were recorded!”

Well, here we are for Season Two.

47 years ago Alexander Courage recorded a new (and probably definitive) version of the series opening and closing credit. I prefer the Fred Steiner season one arrangement, but this is the one that everyone knows.

He also recorded a handful of library cues. Wow are these a treasure. Several of them are used for some of the most memorable moments of Star Trek. I can’t hear “Sad and Thoughtful on Captain’s Theme” without hearing Kirk recite the Constitution. Captain Playoff #3 (Sad and Alone) is the big downer finish to Private Little War.

I love Ship in Orbit (Big). I’m not a big fan of New Sexy Exotic just because it sounds so much like Vina’s theme from The Cage. Smooth Neutral is lovely. Fight on Captain’s theme is a lot like Kirk and Mitchell’s fight from Where No Man but with a little more oomph. Watch out for that fake Andorian, Captain!

These tracks are wonderful and a real selling point for the 15 disc set. They would never have been a part of any “episode” soundtrack.

Then there are Courage’s re-recordings of various first season cues. It’s interesting to hear Courage conducting Steiner. Charlie X: It’s a keeper! (Interesting that both Steiner and Courage re-recorded different parts of this score on different days.)

Chime in everybody! It’s Season Two!

I’ll be back on 6/21 for Gerald Fried’s Catspaw.

 
 Posted:   Jun 16, 2014 - 8:08 PM   
 By:   Adam B.   (Member)

First score of the second season.....Gerald Fried's Catspaw

Track 2 - Kicking off the new season, Fried uses Courage's theme to introduce the ship. Crewman Jackson has a rather nasty fall off the transporter pad and Fried has that 2-note fade out to commercial.

Track 3 - Awesome "fog music" following the upbeat percussion laden intro. I wonder if they'll see some witches soon?

Track 4 - Fog music continues. Yep, witches. High pitched strings representing the three and their "very bad poetry."

Track 5 - It's a castle! Our guys follow the black cat and Fried conjures up a little motif for our little furry friend. Black cats turn into hot women more than once in the Trek universe.

Track 6 - More cat theme followed by a jarring blast of Enterprise fly-by music. I like it.

Track 7 - If you follow a black cat down a corridor you just know the floor will collapse beneath you. I like that sinister sneaky music after the guys fall through the floor and then find themselves chained to the wall.

Track 8 - Sulu and Scott unlock the prisoners and guide them into Korob's chamber. I believe that piece of music at the 1:30 mark was used as an overlay in Fried's Amok Time when the executioner puts the blade to McCoy's throat (or it could have been track 16 at the 1:24 mark). Most of this music was tracked into The Changeling when Nomad glides down a corridor.

Track 9 - The cat transforms into Sylvia. Now the cat theme morphs into something more sexy. The Enterprise is burning up! The second half of this cue was used in Wolf in the Fold to represent the Redjac entity.

Track 10 - This track could have fit in easily with the Shore Leave score. It sounds similar to Fried's music for the scene where the knight suddenly disappears.

Track 11 - I know this music better as used in A Piece of the Action where Kirk is told "This can either be a taxi or a hearse."

Track 12 - Almost identical to track 8. Bones is now doped up.

Track 13 - Seduction music, but who is seducing who?

Track 14 - The second half of this cue was tracked countless times into other episodes (and I don't mind one bit). That's one big cat.

Track 15 - This Mace Fight is a fun action cue. Fried loves to lay on the hammering piano as he did later on in Friday's Child. I also like how it ends on a comical note.

Track 16 - Continuing the fight theme, then back to Sylvia's seduction music.

Track 17 - Ending the episode with some more fog music as Korob and Sylvia die. Wrapping things up with more of that upbeat "tune in next week" music.

 
 Posted:   Jun 21, 2014 - 5:52 AM   
 By:   Other Tallguy   (Member)

Catspaw! Man, I just cannot get into this score. I’ve been trying for a week. When I got the Box I went through this pretty quick because I knew I had greater things ahead. But since this week is JUST about Catspaw, I’ve been concentrating on just it. And, well… Man, I just cannot get into this score.

It is quite a change in mood moving into season 2. But I also know that anything that I like in Catspaw I’m going to get again in Friday’s Child.

Fried’s action theme is terrific. It’s interesting that he ties it directly to Captain Kirk when it plays more as music for the show in general.

He has this propulsive music in Orbiting Ship that sounds like squad car music a la Star Trek.

Ok, I did the mysterious music in Fog Planet. But I don’t like the “sound FX-y” music in Witches.

I guess Fried was really hit or miss with me. (Not a big Shore Leave fan either.) This isn’t a score I revisit on purpose very often.

What does everyone else think?

 
 
 Posted:   Jun 21, 2014 - 7:12 AM   
 By:   Graham Watt   (Member)

Oh, I love "Catspaw"! It's kind of unsophisticated compared to most of the rest of the set, but I find it an absolute Halloween hoot! Gerald Fried always gave me the impression that he was working in primary colours - so his "horror" scores have little subtlety, his "sweetness and light" music almost unbelievably innocent, and his action music nearly a sort of parody of... TV action music. In "Catspaw" it's like music for a kids' pantomime. All those little tuba fugues are a lot of fun, but I can see why it could be borderline-annoying if you aren't in a benevolent mood. Gerald Fried is infectious - but you can read that two ways!

 
 Posted:   Jun 21, 2014 - 8:11 AM   
 By:   Other Tallguy   (Member)

Gerald Fried always gave me the impression that he was working in primary colours
That's a very good description!

 
 Posted:   Jun 21, 2014 - 10:26 AM   
 By:   Jeff Bond   (Member)

Catspaw gets a little bogged down in all the witchery and I'm not a huge fan of the seduction music there, but I love Fried's imagination, and there are still a number of highlights throughout this score, particularly "Mace Fight." It's a playful score which is perfect for the intended Halloween aspect of the episode.

 
 Posted:   Jun 21, 2014 - 7:55 PM   
 By:   Verity   (Member)

Double post - *Derp!

 
 Posted:   Jun 21, 2014 - 8:18 PM   
 By:   Verity   (Member)

Catspaw gets two big thumbs up from me. I understand where folks are coming from with their hesitations. For me, the unreleased material, while interesting, seems out of place (most likely because it rarely got tracked elsewhere so it's "outside" my Trek aesthetic).

While I love each disc in the LLL set, it is the Steiner and Fried discs that rank the highest for my personal taste. In my opinion, Fried consistently delivers in all of his scores - and in particular in his Season 2 scores.

Personal favorite cues include:
Starship/Captain Kirk
Fog Planet
Drugged
Defeated Captain
Bones, the Zombie
Rescue
Mace Fight

Catspaw is just pure, unadulterated fun. The score is easy on the ears. smile

 
 Posted:   Jun 23, 2014 - 10:34 AM   
 By:   Other Tallguy   (Member)

BTW, here is June / July:

6/28/67 Metamorphosis
7/7/67 Friday's Child
7/10/67? The Apple (This says “Recorded with Friday’s Child", but it lists a date of 7/10)
7/12/67 Who Mourns for Adonais
7/12/67 Charlie X Library
7/19/67 Amok Time
7/19/67 Wolf in the Fold

 
 Posted:   Jun 28, 2014 - 9:16 AM   
 By:   Adam B.   (Member)

Metamorphosis by George Duning.....

Track 1 - I like the siren call at the 29 second mark. Then the trouble theme kicks in as the shuttlecraft is pulled off course.

Track 2 - The love theme plays over the main title. Nice. Duning slips in the love theme in so many different ways in the score.

Track 3 - This was tracked in a number of episodes. Cochrane says hello and we hear the Trek fanfare, too.

Track 4 - Cochrane meets Hedford and we hear the love theme underscore.

Track 5 - The Trek fanfare changes into the flittering companion motif.

Track 6 - The love theme becomes mournful as Hedford goes ballistic. We're not animals!

Track 7 - Sounds like the main title at the start. More "trouble" music follows.

Track 8 - My favorite track on this score. The love theme plays front and center as the Companion communicates with Cochrane.

Track 9 - Jogging music in the first few seconds (used again in Gamesters as Kirk and Shahna jog). Don't piss off the Companion! Good action music here.

Track 10 - Cochrane gets the Companion to stop. Some dialogue. Not much here.

Track 11 - Trek fanfare as we cut to the Enterprise.

Track 12 - This is connected to track 8 as Kirk speaks to the Companion and gives her the basics about love. You can hear a subtle shimmering effect beneath the music here as the Companion speaks.

Track 13 - This track concludes with a wonderful rendition of the Enterprise theme.

Track 14 - The love theme in full bloom. The Companion contemplates being human.

Track 15 - The love theme gets a little too sickly sweet for my tastes here, but it's still nice.

Track 16 - A little ethereal music as Companion views Cochrane through the scarf.

Track 17 - Wrapping things up as we hear the Trek fanfare.

 
 
 Posted:   Jun 28, 2014 - 10:40 AM   
 By:   Faleel J Morricone   (Member)

But I don’t like the “sound FX-y” music in Witches.

I do!, Its very modern (as opposed to the rest of the Trek music, aside from Phaser Overload), almost aleatoric.

 
 Posted:   Jul 7, 2014 - 7:03 PM   
 By:   Adam B.   (Member)

On today's schedule is Gerald Fried's action packed Friday's Child....

Track 18 - The Capellan tribal theme is cool. I like the music when Grant is taken down.

Track 19 - Great main title with the Trek fanfare. Concludes with tribal tones.

Track 20 - The High Teer gets a theme here as does Eleen.

Track 21 - Akaar and Maab get in each others face. More Capellan themes.

Track 22 - Awesome "group fight" music. Nuff said.

Track 23 - Scotty leaves orbit to go help another vessel. Good ad break finale.

Track 24 - Let me see that arm! We hear a little of Fried's Catspaw riff at about the 60 second mark. Then more tribal music.

Track 25 - A little playful Eleen music as she slaps McCoy and he belts her right back.

Track 26 - Creating an avalanche with two communicators. OK, I'll buy it.

Track 27 - I love when Fried plays his themes on piano.

Track 28 - Chekhov makes a joke. Not much else in this track.

Track 29 - Battle Stations! What else is there to say?

Track 30 - A little suspense music as Scotty forces the hand of the Klingons.

Track 31 - Another action highlight featuring that awesome hammering piano.

Track 32 - It's always a pleasure to watch Klingons die a painful death. A little Eleen theme at the end there.

Track 33 - Oochy Woochy Koochy Koo. Ugh. Good end title music. Re-used in A Piece of the Action.

 
 Posted:   Jul 8, 2014 - 6:56 AM   
 By:   Other Tallguy   (Member)

Thanks, Adam.

I’ve been on vacation, so I haven’t had time to post. I did listen to Metamorphosis and Friday’s Child. (No, I didn’t listen to the drums from The Apple.)

Short answer: I love both of these. Metamorphosis is my favorite Duning score. I generally think his scores get a little long winded even though they are lovely. This one hits just the right pacing. (Although Return to Tomorrow has my favorite track.)

Friday’s Child just rocks. It’s like Amok Time’s less famous little brother. His Enterprise fanfares here are my favorites. This really is the “sound” of season two. (Although obviously we get a lot of Amok Time and Doomsday Machine.)

Next up:
7/12/67 Who Mourns for Adonais
7/12/67 Charlie X Library

 
 Posted:   Jul 12, 2014 - 6:49 AM   
 By:   Adam B.   (Member)

Fred Steiner is on deck today with Who Mourns For Adonais?.....


Track 1 - Steiner's Enterprise theme opens the show with a little Corbomite music sprinkled on top. He knew how to portray something BIG with music.

Track 2 - Cool main title that bleeds into the Enterprise theme.

Track 3 - Tracked into a number of episodes, including season three, this music underscores emotional speeches by various characters. Very memorable.

Track 4 - Apollo turns up the heat. The temple music is very soothing. I could listen to it on loop for hours. I am Apollo!

Track 5 - A series of stingers. More "giant" music.

Track 6 - The harp represents Apollo's fading away. I like the siren call at the end.

Track 7 - Funniest track title in the whole set. Apollo Digs Carolyn / Apollo's Fist. Heh heh. As for the music, I love the mournful Apollo/Carolyn love theme. We hear some Mudd's Women sultryness toward the end.

Track 8 - Not much here. Moving right along...

Track 9 - More of that temple music I like so much interwoven with Apollo's motif. Apollo's good at seducing chicks.

Track 10 - Scotty takes a major blow here. Apollo seems to enjoy torturing people.

Track 11 - The Enterprise gets a calling card several times in this score.

Track 12 - There's that harp again for a fading Apollo. I'd use it too, I guess.

Track 13 - Commercial break fade music. It works.

Track 14 - Beautiful music here underscoring one of Kirk's better speeches. The siren call is almost a source cue as Carolyn says "He's calling me."

Track 15 - Steiner was great at big set pieces. The Enterprise theme is heroic and unforgettable and the temple fade music is fantastic.

Track 16 - Apollo's motif is turned sad and tear jerking here. The music is wonderful as he casts himself to the winds. Good end title resolution.

 
 Posted:   Jul 12, 2014 - 7:06 AM   
 By:   Other Tallguy   (Member)

Who Mourns for Adonais: Fred Steiner

It’s funny, because there seems to be a difference of opinion on how much John Powell reused of the original for How to Train Your Dragon 2. I think it’s not much, and it’s all different arrangements. And the new stuff is stunning. Other people think it's a lot of recycling.

I’ve had a hard time getting into Who Mourns because it starts out with Corbomite Maneuver and then seems to go through Steiner’s Greatest Hits. Not that I don’t love these scores, but if you’re going to track an episode, then track it and give us another full score! Because of this I can be a little dismissive of the score as a whole.

Now I've realized I don’t think I give this score a fair shake. Again, when you get into his new stuff it’s stunning. Apollo’s Storm is rightly lauded as a highlight of the series. I especially like End of Apollo. There are some particularly Herrmannesque passages.

At the same time Steiner re-recorded Chess Game and Zap Sam from Charlie X. For whatever reason, I like the season 2 versions a little better. They feel a little tighter. Maybe I associate them with S2 episodes more? It’s amazing that we get a set that is so complete that we get these.

Next week: Amok Time!

 
 Posted:   Jul 13, 2014 - 7:07 AM   
 By:   Jim Phelps   (Member)

Next week: Amok Time!

I don't have the set but I read these "actually listening to the music and discussing it" threads with great interest. When you get to "Amok Time", please let me know if the cue of the battle music done with delicate strings heard while Spock describes the "Plak tow" is present. It was disappointing that it was left off or at the time lost from the old CD release.

Keep those thoughts coming, OTG!

 
 Posted:   Jul 14, 2014 - 6:36 AM   
 By:   Other Tallguy   (Member)

Next week: Amok Time!

I don't have the set but I read these "actually listening to the music and discussing it" threads with great interest. When you get to "Amok Time", please let me know if the cue of the battle music done with delicate strings heard while Spock describes the "Plak tow" is present. It was disappointing that it was left off or at the time lost from the old CD release.

Keep those thoughts coming, OTG!


Thanks!

I don’t usually watch the episodes along with the score, but I might make an exception here. I know there was a fair amount of music recorded that wasn’t used. I’m familiar with the episode; I’m familiar with the music. I might not be so familiar with both at the same time!

 
 Posted:   Jul 14, 2014 - 1:29 PM   
 By:   Jim Phelps   (Member)

Keep those thoughts coming, OTG!

Thanks!

I don’t usually watch the episodes along with the score, but I might make an exception here. I know there was a fair amount of music recorded that wasn’t used. I’m familiar with the episode; I’m familiar with the music. I might not be so familiar with both at the same time!


The cue I mention is so much better when heard under Spock's dialogue. A dramatic moment that both Nimoy and Gerald Fried sell with expert artistic craftsmanship. Do watch the episode to hear how good that musical moment is.

 
 Posted:   Jul 18, 2014 - 9:02 PM   
 By:   Adam B.   (Member)

Gerald Fried's unforgettable score for Amok Time.....

Track 2 - We hear the bass guitar for the first time after the Trek fanfare intro. It gets your attention.

Track 3 - Fried wastes no time setting up the mournful music after we hear the Catspaw riff. Quite a bit of unused music in this recording. Here is where the "Floating Spock" theme mixes with the plucked bass guitar.

Track 4 - As Spock wanders the corridors aimlessly we hear Fried's lonely guitar theme with a little tambourine thrown into the mix. "He'll die, Jim!" Good commercial break music.

Track 5 - The ascending four note motif is hypnotic as Spock explains his situation to Kirk. Now we hear what will become the procession theme and, ultimately, combat music. More unused music toward the end here.

Track 6 - Nurse Chapel informs Spock that Vulcan is only a couple of days away. Now the mournful Spock theme almost becomes a love theme between Spock and Chapel.

Track 7 - The exotic T'Pring appears onscreen and she gets her own musical theme. Short but sweet.

Track 8 - We see planet Vulcan for the first time and the music is there and in your face. This isn't Wrigley's Pleasure Planet, for sure.

Track 9 - Cool procession music as the marriage party arrives.

Track 10 - Unused music at the beginning here. Spock sinks into the "blood fever" and the music tells us he's a little out of it. Fried underscores T'Pau's exposition expertly and it's great when T'Pring points and says "This one".

Track 11 - Percussion kicks in here in this short track. Sets up what's to follow.

Track 12 - Kirk makes a BIG mistake accepting the challenge. The music tells us that things aren't quite right. "What do you mean, 'if both survive'?" The music answers the question.

Track 13 - Well, here it is. Possibly the most famous piece of Star Trek music ever composed, for TV or otherwise. What's left to say? Fried certainly isn't a shy composer. This combat music is legendary and for good reason. I wonder if the musicians were thinking WTF? as this was recorded! The sound quality really bottoms out in the middle of this track between the fight sequences. No doubt tape deterioration. The music is almost tear-jerking as T'Pau shouts "Kroykah!" when she thinks Kirk is dead. Fantastic music.

Track 14 - A lot of unused stuff on this track. It sounds like it would be more at home on The Outer Limits. Spock's sad music concludes the track as he believes his career and life are over.

Track 15 - The Trek fanfare gets a big splash here to wrap things up just before Spock grins from ear-to-ear as he sees his friend alive. I love Nimoy's acting here as Spock tries to conceal his embarrassment over showing emotion. We get a little comical music here to end it all.


A classic Star Trek score.

 
 Posted:   Jul 19, 2014 - 3:09 AM   
 By:   Jim Phelps   (Member)

Gerald Fried's unforgettable score for Amok Time.....

Track 5 - The ascending four note motif is hypnotic as Spock explains his situation to Kirk. Now we hear what will become the procession theme and, ultimately, combat music. More unused music toward the end here.


That's the cue I've been obsessing over for the last however many years it's been.


A classic Star Trek score.

Nah, really??? wink

 
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