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Okay, so it's another thread where I couldn't find the original thread and was so excited I had to start another (sorry).
But...this was one of the most devastating losses to my collection in the burglary. Never did I hear this score presented with such fantastic sound...my esteem for this music rose commensurately with each listen. The fact that maestro G wrote a space opera theme that sounded so little like Star Wars (while imo BETTERING the original SW theme...go ahead and hate me), is astonishing in itself; the pressure from the higher ups must have been intense.
I was EXTREMELY lucky to find an FSM-er who hooked me up. Though they wish to remain anonymous, I'd like to thank them here profusely for helping me (and also a shout out to Andy B. for similarly doing so much to get my much loved collection back).
Though I have so many favorites by JG, this definitely warrants Elite status, a total Meisterwerk imo!
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No hate from me WA, I too prefer the STtMP theme to Star Wars one. I do like Star Wars, and it is a classic without doubt, but I always found it a little 'plain' somehow, and was delighted when I saw Empire Strikes Back and heard The Imperial March the first time. At last a truly great theme!
Both it and the STtMP theme seem to have more about them. When I saw this for the first time I was blown away by both the Main Title and the straight lead in to the Klingon Battle. A musical feast which is probably more responsible than anything for why I never understood the hassle folks gave the so-called 'slow motion picture'. The music and visuals here sold me on the movie and I've never looked back.
And then when I later picked up the vinyl soundtrack release (on the same day as The Black Hole, a rare double dipper as the Disneyland titles were budget releases in the UK) I just marvelled at how good the entire album was, and it rarely left the turntable for weeks.
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Wow. That's terrible about the burglary.
Most of my CDs are now in sleeves just for sanity's sake. But my Star Trek scores are still in their cases. And I have all of my digital files backed up in three places, including on my phone. (I need to get a good cloud service and put them there too.)
As amazing as pretty much all of the Star Trek scores are this one takes first place by a goodly margin. It's a leap of mood and creativity even by Goldsmith standards.
The LLL set of TMP is as good a presentation as I think I can imagine. It's one of those scores where I'm very happy to have the original LP presentation. It might be bite-sized compared to the entire work, but if you're going to have a tiny bite this is the one you want. It's also great having all of the alternates. (I normally don't care so much.) It's always interesting to see if I can tell the difference. (I'm at about 50/50 I think.)
You would think that FOUR recordings of Ilia's Theme / The Overture would be too many. You'd be surprisingly wrong.
When the first expanded edition came out in 1998 I played the end of A Good Start, the reprise of The Enterprise where the synth goes super high (at about 4:58 on LLL). I told a friend that I pretty much bought the CD for that note. I think I bought the LLL set for that opening drum hit in the main titles. Everything else was a pricey extra. (OK, the Captain's logs are really great to have too.)
It was also the WOW FINISH of the Star Trek Feature scores that FSM started with The Wrath of Khan. When TWOK came out it was wild speculation that any of the other scores would be expanded. By the time they got to TMP it wasn't if but when. But I don't think anyone knew the Cadillac treatment this score would get.
Well, time to go listen again. It'll be a nice break from Superman.
(I did hear someone - David Gerrold - suggest that Goldsmith could have improved the pace of the film by scoring against the slowness of the movie rather than with it, a la The Ten Commandments or The Magnificent Seven. Food for thought. I don't care, I love it anyway.)
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As amazing as pretty much all of the Star Trek scores are this one takes first place by a goodly margin. It's a leap of mood and creativity even by Goldsmith standards.
I so agree that the STTMP score is galaxies beyond anything else in the series, though concurrently ready to admit there's a strong degree of subjectivity. I must also, however, champion the music as pure music, and most certainly the greater portion of it fits in splendidly on the concert stage. There's real compositional depth to much of the STTMP material in the way that only the elite soundtracks have (Ben Hur, Planet of the Apes, The Robe).
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The LLL set of TMP is as good a presentation as I think I can imagine. It's one of those scores where I'm very happy to have the original LP presentation. It might be bite-sized compared to the entire work, but if you're going to have a tiny bite this is the one you want. It's also great having all of the alternates. (I normally don't care so much.) It's always interesting to see if I can tell the difference. (I'm at about 50/50 I think.)
You would think that FOUR recordings of Ilia's Theme / The Overture would be too many. You'd be surprisingly wrong.
When the first expanded edition came out in 1998 I played the end of A Good Start, the reprise of The Enterprise where the synth goes super high (at about 4:58 on LLL). I told a friend that I pretty much bought the CD for that note. I think I bought the LLL set for that opening drum hit in the main titles. Everything else was a pricey extra. (OK, the Captain's logs are really great to have too.)
(I did hear someone - David Gerrold - suggest that Goldsmith could have improved the pace of the film by scoring against the slowness of the movie rather than with it, a la The Ten Commandments or The Magnificent Seven. Food for thought. I don't care, I love it anyway.)
Interesting about Gerrold.
I completely feel your comments re the LLL edition as well; I think they knocked it out of the park on this one. I must confess, however, to enjoying the two-disc (the one where the second disc is some interview). I thought the sound was very good on that.
LLL just outdid themselves on this presentation, I can't rave enough about it. And can't wait to get it back in my hot little paws ha!
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I so agree that the STTMP score is galaxies beyond anything else in the series, though concurrently ready to admit there's a strong degree of subjectivity.
Also, I'd argue that to fairly judge, you need to listen to complete releases of the other scores. The Final Frontier is a masterpiece in complete form, and I connect more with its emotional journey and thematic development, though I also adore TMP.
Yavar
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I so agree that the STTMP score is galaxies beyond anything else in the series, though concurrently ready to admit there's a strong degree of subjectivity.
Also, I'd argue that to fairly judge, you need to listen to complete releases of the other scores. The Final Frontier is a masterpiece in complete form, and I connect more with its emotional journey and thematic development, though I also adore TMP.
Yavar
FF is excellent, another one that was treated real nice in the 2 disc (uh, I could be wrong, I think that one got robbed, too).
I didn't mean to devalue the other scores, my heart is just so with TMP score...I mean, I saw the movie exactly once when it came out, so I had no idea of just how great the music was (shoot, is). My first CD of the score was the LLL, as generously recommended here, and I remain blown away.
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From what I remember, I mostly played the first two discs (I like a few of the alternates).
In hindsight it's strange to me how I first felt the blaster beam was maybe a bit overused...now I can't wait for it to reverberate in my squash again lol!
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Now get the LLL 50th anniversary set for the wind machine!
AbsoLUTEly.
I made a mix of the film version of The Meld / A Good Start. I go back and forth between which one is "in" the album and which one is an extra.
(BTW, I love that there is a distinct track of A Good Start. I kind of wish there was a distinct track of Klingon Battle. Not sure that would matter as much.)
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Now get the LLL 50th anniversary set for the wind machine!
AbsoLUTEly.
I made a mix of the film version of The Meld / A Good Start. I go back and forth between which one is "in" the album and which one is an extra.
(BTW, I love that there is a distinct track of A Good Start. I kind of wish there was a distinct track of Klingon Battle. Not sure that would matter as much.)
Oh nooo! Another one I need to get!
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The stretch of cues in the film score program running from "Spock's Arrival" to "V'Ger Speaks" is the greatest, weirdest film symphony ever written.
You can hear Bernard Herrmann's influence all the way through it.
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I didn't mean to devalue the other scores, my heart is just so with TMP score...I mean, I saw the movie exactly once when it came out, so I had no idea of just how great the music was (shoot, is). My first CD of the score was the LLL, as generously recommended here, and I remain blown away.
Yeah well I still wouldn't call the TMP soundtrack "galaxies better" than II's or (ESPECIALLY) VI's.
À chacun son gout et vive la difference.
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Posted: |
Mar 15, 2019 - 6:35 AM
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By: |
Col. Flagg
(Member)
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I didn't mean to devalue the other scores, my heart is just so with TMP score...I mean, I saw the movie exactly once when it came out, so I had no idea of just how great the music was (shoot, is). My first CD of the score was the LLL, as generously recommended here, and I remain blown away.
Yeah well I still wouldn't call the TMP soundtrack "galaxies better" than II's or (ESPECIALLY) VI's.
À chacun son gout et vive la difference.
I don't think it diminishes II, VI, V, III, IV or any of the Next Gen scores to say that TMP is in its own league. Because it really is, stylistically and conceptually. IV is in its own league for the same reasons – but I don't love it. The rest (as Wagner A. points out) is up to the individual.
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And as I have mentioned before, TMP is really a different kind of film than the others… it is much more science-fiction than it is adventure; this is a score about ideas. As such, it operates rather differently from them, often making intellectual connections those scores, by their natures, don't have to (e.g. relating Ilia to V'Ger). TWOK, for example, has more visceral qualities.
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I love the LLL set for Star Trek The Motion Picture. I had owned the OST, the 20th Anniversary set and listened to it a lot but was disappointed it wasn't the whole score. I had the unmentionable after it surfaced and listened to that the most but now listen to the LLL set all the time. The quality is perfect and heard instruments I never heard before.
I finally got my second copy of the Meisterwerk today, and even after having played my original LLL copy for months on end I was still blown away by the incredible sound. It's freeky to me that this is a recording from the late 70s....LLL really outdid themselves on this, it's no wonder it sold so well.
And LLL actually sold out, so I'm SUPER glad I got mine!
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Posted: |
Mar 16, 2019 - 1:52 PM
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By: |
Grecchus
(Member)
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And LLL actually sold out, so I'm SUPER glad I got mine!
It says temporarily out of stock on the website, WA. Surely, TMP hasn't sold out there?
TMP had the kind of director you don't get any more. Old school, with a very distinctive style from The Sand Pebbles to West Side Story to The Sound Of Music. The production values were high and the result was truly cinematic for the era of the 60s. Many of the sets were very theatrically staged. That same director, who directed one of the best SFs ever beforehand and bookended with this, made sure he went to the right place for the musical part of the project.
The great thing about ST is that after the people revolution it espoused had come and gone, the real scientific adventure, where new ground started to be broken in terms of expanding our ideas about the Solar System, came into force even though it was robots that were going out there to boldly go. TMP underlined all that just as 2001 was sparked off by the reality of man stepping onto the surface of the moon. Yeah, I know TMP probably wouldn't have made it off the ground if it hadn't been for the nuts success of Star Wars, but at least ST upheld it's own message loop and gave the audience something to think about. Including the music.
By the way, does anyone know what happened to Grusin's The Firm as LLL don't have that 'sold out' page which put you right in the picture immediately?
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