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| This is a comments thread about Blog Post: More on Star Trek II by Lukas Kendall |
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Thanks for posting this. I enjoyed it. Once again, we see that in the particular lies the universal. The details about your love of the score, then and now, and your obsessions of finding a particular piece not represented on the LP ring true in, I suspect, all of us here in the soundtrack nerd community.
This also reminds me -- I had trouble getting hold of the LP at the time of the film's release. I distinctly remember trolling through numerous record stores for weeks, bugging clerks about when the soundtrack was going to come out. Eventually, the kind fellow in charge of AllRecords in Houston sold me his promo copy just to get rid of me. The album proper must have been officially released maybe that next week. Anyway, was this just a Houston problem, or did the soundtrack really not get released until well after the movie hit theaters? Anyone know?
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I wanted to read the Lukas interview and when the other site didn't even carry it I was disappointed.
Well worth reading in full.
I don't even remember where I bought my Khan LP. Maybe in the mail from STARLOG.
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Posted: |
Aug 4, 2009 - 7:39 AM
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By: |
ScottDS
(Member)
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Lukas, if only I had been born a decade earlier, I think you and I would've been good friends!
As for Star Trek II, it was my second soundtrack purchase (after Silvestri's BTTF Part II) and my first Star Trek soundtrack purchase. I was nine or ten (early 90s) and I think I had my mom special order it from GNP Crescendo after looking at one of their ads in a Star Trek magazine. I remember listening to it all the time, at home, in the car, etc. My heart nearly jumped out of my stomach at the end of Kirk's Explosive Reply: "Where did that loud part come from?!"
I wrote my Star Trek II recap blog several months ago. At the end, I wondered if we'd ever get an expanded release.
How times change.
Mr. Kendall, you go right on quoting regulations -- I mean, keep up the good work. 
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Lukas, I feel I have to ask for clarification on a particular point:
I wouldn’t say the sound is night and day compared to the previous issue
Um… why not? In addition to having rather claustrophobic sound in general, the previous release had one of the worst stereo spreads I'd ever heard, almost as though it was folding the stuff from the extreme left and right back into the center. The Retrograde disc has magnificent, full-bodied sound with a generous low end and a very pleasing sense of dimension. This is the absolute best this score has sounded since it was performed on the soundstage in 1982.
I also wanted to mention with respect to the film itself, while I agree that the story would have worked even if it wasn't Star Trek, it is also brilliant in how it utilizes the elements of Star Trek for its own ends. No, you don't need to already know who Kirk is for the story to work, but the more you know about him, the better the film works. It is no coincidence that the Kobayashi Maru test, introduced in this film, has become a touchstone for Star Trek ever since.
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What a great interview! It seems that many of us have a personal connection to the TREK II soundtrack based on childhood experiences. I was 11 when it came out, and I played the LP to death. I also had a little 45 record which featured the main title on Side A and a condensed version of the End Titles on Side B (I WISH I knew what happened to that 45). On New Year's Eve of 1982 while my parents went out, I was at home playing the full LP over and over again, I think about 6 - 8 times that evening. I still have it for sentimental value (and boy does it look worn). I also slipped in the 45 to a stack of records on the player during one of my teenaged aunt's parties. Imagine the look of confusion that washed over twenty teens' faces when right after "Staying Alive" comes this strange orchestral music. They just stopped in their tracks and were like, "what the fuh...?"
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Lukas, thank you again for the CD and congrats on a nice interview.
Please, oh please, tell us what part was damaged on one of the masters, or at least tell us if you were able to restore it completely with nothing missing.
Easily my favourite FSM release.
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Please, oh please, tell us what part was damaged on one of the masters, or at least tell us if you were able to restore it completely with nothing missing.
Nothing was lost at all. We just had to go to a different source for part of a cue.
Neil
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It's the exact same music, just a different take.
Neil
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Good interview and thanks for posting it! However, there is one area I'd like to address.
It’s the exact same music, just omitting the 70 seconds for the Genesis Planet which Horner wrote and recorded later
I've listened to these two tracks and during the voiceover portion on both of them, the music is certainly NOT the same. When the original series theme starts playing and Spock's voice over comes in, it sounds very instrumental. However, on the bonus track with without the Genesis portion and Spock's voiceover, the theme sounds like it was being played on a child's xylophone compared to what the final product is. So stating that this is the exact same music is incorrect. I think the correct term should be "sounds alike", because that voiceover portion sounds noting like the one that does include Spock's Voiceover.
Yes, the orchestration is a bit different.
lk
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Talk about anal. 
Great interview Lukas.
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Talk about anal.
That's a different interview.
Neil
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Looking forward!
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From the rea....nevermind.
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Thanks for posting the whole interview.
I'm look forward to buying the album when I save a few more pennies.
I had this on LP, then bugged my roommates when I received my CD copy inthe mail several years later.
If someone were to devote resources to other ST scores, I would vote for V, and then III. TMP could probably use another pass, but V and III need more attention.
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Anyone ever find out why Horner re-used a few bars from his TREK II score for COCOON? Did he run out of time scoring the latter film, was it an in-joke, etc.? Specifically, this is the mickey-mousing kind of music when Scotty's yelling Spock's name to get him to come out of the warp chamber. (I never understood why that music was so playful - it's the only anomaly to me in an otherwise perfect score.)
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