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STAR TREK 50TH ANNIVERSARY COLLECTION - MUSICAL RARITIES FROM ACROSS THE STAR TREK UNIVERSE: LIMITED EDTION (4-CD SET)

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The U.S.S. Enterprise proudly soars again in this newly restored, Director's Edition of the original Star Trek movie classic. When an unidentified alien destroys three powerful Klingon cruisers, Captain James T. Kirk (William Shatner) returns to the newly transformed U.S.S. Enterprise to take command. Leonard Nimoy, DeForest Kelley and the cast from the acclaimed Star Trek television series mobilize at warp speed to stop the alien intruder from its relentless flight toward Earth.

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Soundtrack Information

Star Trek: The Motion Picture - Remastered and Expanded

Limited Edition of 10,000 Units

La-La Land Records (LLLCD1579)

Release Date: February 22, 2022

Conducted by Jerry Goldsmith

Performed by The Hollywood Studio Symphony

• Star Trek: The Motion Picture (1979)
• Jerry Goldsmith

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Published Dec 7, 2023

Looking Back at the Music of 'Star Trek: The Motion Picture'

How Jerry Goldsmith tackled the majestic score for the Enterprise's first big screen adventure, in theaters 44 years ago today.

StarTrek.com / Charlotte Tegen

"I was miserable," admitted Jerry Goldsmith.

Four months from the December 7, 1979 release date of Star Trek: The Motion Picture , the composer only had a limited amount of footage and had to begin recording in a month. It was hardly an ideal situation, and it would get worse before it got better, but Goldsmith's score would go on to become an iconic part of Gene Roddenberry's creation.

StarTrek.com

The issues during The Motion Picture ’s production were far larger than the music. Paramount had given the film a budget of $46M and locked in the release date while there were still story problems, not to mention visual effects difficulties. Subsequently, the post-production process was manic, and Goldsmith was writing music as fast as he could with what little he had. But when he put his music in front of the orchestra to record, director Robert Wise was less than thrilled.

Recalling his thoughts on the 2001 DVD release of the Director’s Edition of the film, Wise said, "It's not working. I listened to the first couple of pieces and it didn't seem quite right to me. I got visions of sailing ships somehow.."

In the same behind-the-scenes interview, Goldsmith admitted, "I was crushed." Wise went onto explain his problem with the music — there was no theme. Specifically, there was no Star Trek theme.

The composer struggled on, but 10 days later, he played his new creation for the director.  Upon hearing the next version, Wise approved and asked, "Why didn't you come up with that in the first place?" With the themes written, Goldsmith revised the cues he had previously recorded, and the score was on its way.

Goldsmith recruited original Star Trek composer Fred Steiner to write several cues based on the material, and November of 1979 saw the belated arrival of some of the film's effects sequences. The score was finally completed on December 2, and five days later, The Motion Picture left drydock.

While reviews were mixed across the board, Goldsmith's score stood out as a towering achievement, one that not only gained him his 12th Oscar nomination (he had previously won for 1976's The Omen ), but also one that would be an integral part of Star Trek' s future legacy.

One of the challenges Goldsmith faced was to compose a symphonic score that was different from John Williams' Star Wars compositions, which hit two years prior. Instead of the leitmotif device Williams utilized, Goldsmith employed his main theme as a backbone, using it to encapsulate an approach that combined the romance and mystery of space exploration. This was a new direction for Goldsmith, venturing into a more romantic idiom of scoring.

"He was definitely a modernist," said composer David Newman in the liner notes for La-La Land’s definitive release of the soundtrack. Newman, who played the violin on The Motion Picture , added, "I think Star Trek was a turning point for him. I think he realized he couldn't be a Planet of the Apes modernist and compose [for] films."

But The Motion Picture is still very much a Jerry Goldsmith score, especially in the way it adds esoteric instruments and electronic augmentation to the traditional orchestra, harking back to previous scores such as Planet of the Apes (1968) and Alien (1979). One of the signature sounds of the film is the blaster beam, the instrument which emits the harsh electronic tones for V'Ger . This was built and performed by Craig Huxley, using "a long piece of aluminum with metal strings strung the whole way over it and amplifiers under each string," as Goldsmith described it.

Star Trek: The Motion Picture

Goldsmith introduces his main theme in a thundering fashion, setting out his intent in the opening credits, which, in the La-La Land liner notes, film score expert Jeff Bond calls "a musical distillation of Roddenberry's utopian vision." In the same notes, Goldsmith himself echoed Roddenberry's original concept of Star Trek as a western, saying that it was no different than "the stirring music you'd play in a western as they're going across the plains... The only difference is you're going across the universe."

Goldsmith's theme conjures up a bold feeling of exploration, cutting a path through the stars with the Enterprise in its wake, while its B-theme suggests not only adventure but the connection between Admiral Kirk and the starship herself. Goldsmith expanded on this in "The Enterprise ," the show-stopping cue that scores the moment when Kirk and the audience first glimpse the brand-new refitted starship.

Almost as a contrast to the Federation's benign mission, the opening sequence introduced Goldsmith's theme for the legendary warrior race of Klingons. Setting a trend for other composers to follow, Goldsmith used the theme to summarize their barbaric and aggressive tendencies, with the Indonesian angklung and plucked strings leading the sharp and angled main melody. Interestingly, Goldsmith would return to this material for his score to Star Trek: First Contact , where it was turned on its head to become a heroic motif for the character of Worf.

Goldsmith's music for V'Ger explores the dynamics between the idea of a living machine — a contradiction in terms — and its quest to meet its creator, with a long-lined undulating melody conveying a mechanical feel but also suggesting that something else lies under the surface. The score also features a haunting ostinato for the Enterprise 's journey through V'Ger , and surprisingly, another motive, which is a minor-mode version of Ilia's theme, foreshadowing the union at the climax of the film.

Ilia's theme, which also appears as the overture —one of the last for a theatrical film for several decades — is the main love theme of the film, a gorgeous but delicate melody representing the Deltan's previous relationship with Commander Decker. Also in tune with V'Ger is the composer's fascinating theme for Spock, a truly alien melody that captures the character's unemotional state as he unsuccessfully attempts to purge his human emotions in the Kolinahr ritual, which Goldsmith juxtaposes with the V'Ger material to indicate their destinies may be intertwined.

An interesting anomaly is the lack of music referring to The Original Series . While Star Trek as a franchise is still musically defined by Alexander Courage's famous opening fanfare, Goldsmith requested to not use any of Courage's music. Although, he later relented and allowed Courage to write an arrangement of his main theme to score two sequences where Kirk narrates the Captain's Log. The result is a pair of brief cues that present the theme in a very subdued manner, a far cry from its use in the original series but appropriate for the seriousness of the Enterprise 's mission.

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Jerry Goldsmith returned to the franchise in 1987 when The Next Generation debuted, with the opening credits of the show successfully combining the Courage fanfare and the Goldsmith theme (something the composer would later do himself in 1989 for Star Trek V: The Final Frontier ). He composed music for three additional movies, as well as wrote the main title theme for Star Trek: Voyager . Whether it was for film or television, where Star Trek was concerned, Goldsmith was omnipresent.

Sadly, Jerry Goldsmith passed in 2004. However, his music for Star Trek and particularly The Motion Picture continues to live on, through the wonderful La-La Land soundtrack release, as a concert staple, and in the hearts of Star Trek fans across the universe. For them, there is no comparison.

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This article was originally published on September 18, 2019.

Charlie Brigden (he/him) is a writer specialising in film music and is based in Wales in the U.K. He has a rather large tattoo of the TOS Enterprise and can be found on Twitter @moviedrone.

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Star Trek: The Motion Picture Original Soundtrack Remastered & Expanded

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Jerry Goldsmith's iconic original score to Paramount Pictures' 1979 feature film STAR TREK: THE MOTION PICTURE boldly returns with a limited edition 2-CD re-issue from La-La Land Records and Paramount Music. The first big screen voyage of Captain Kirk and Mr. Spock was a high budget and ambitious undertaking that introduced Goldsmith's famous and enduring Star Trek march (later used as the main theme for Star Trek: The Next Generation) as the cornerstone of an epic science fiction musical odyssey. Like the film's refit starship Enterprise, La-La Land's lavish 2012 restoration presented the score anew: fully restored, remixed and mastered from the first generation multi-track masters by Bruce Botnick, the original album co-producer and Goldsmith's long time scoring engineer. This new 2-CD edition is the official tie-in soundtrack to the forthcoming STAR TREK: THE MOTION PICTURE: THE DIRECTOR'S EDITION, premiering this year on the Paramount Plus streaming service. Post-Production Supervisor/Associate Producer Mike Matessino co-produces the album with Botnick, handling restoration, editing and assembly of the music. This edition definitively presents the full film score on CD1, continuing through the start of CD2. The program now begins with the long version of the "Overture," reflective of "The Director's Edition," with the short version heard in 1979 now kicking off a section of "Alternates" on CD2, which feature early versions of major score cues that were later reworked. Closing out the presentation is the enduring 1979 soundtrack album program, now re-created from the remixed first generation master material for consistent and superior sound quality throughout the set. Matessino collaborates with Jeff Bond on the thoroughly researched album notes, which feature interview excerpts by Goldsmith, Botnick and performers Craig Huxley and David Newman. The packaging and 28-page full color booklet are designed by Jim Titus and feature new images from "The Director's Edition."

Product details

• Package Dimensions ‏ : ‎ 5.51 x 4.96 x 0.31 inches; 4.2 ounces
• Manufacturer ‏ : ‎ La-La Land
• Original Release Date ‏ : ‎ 2022
• Date First Available ‏ : ‎ March 3, 2022
• Label ‏ : ‎ La-La Land
• ASIN ‏ : ‎ B09TTN9T55
• Number of discs ‏ : ‎ 2
• #7,691 in Soundtracks (CDs & Vinyl)

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Star trek: the motion picture complete score to be released by la-la land in june.

La-La Land Records, Sony Music and Paramount Pictures have prepared quite a treat for Star Trek fans as they reissue a deluxe 3-CD set of 1979‘s Star Trek: The Motion Picture , composed and conducted by Jerry Goldsmith.

To restore and remix the score, Goldsmith’s original scoring engineer Bruce Botnick has used the old analogue 16-track 2-inch sound rolls. Each of the 37 rolls had to “bake” for eight hours in a 110-degree convection oven before they were rolled onto brand new heads and converted to a digital format by John Davis at Precision Audiosonics.

The result is a 3-CD of the epic science fiction soundtrack supplemented by a wealth of bonus material including early cues that Goldsmith rejected before he composed the legendary Star Trek main theme. Disc 1 and 2 include the score for the 1979 theatrical release and Disc 2 ends with the 1979 album program, which was actually performed and edited differently from the film itself. Disc 3 offers 3 additional alternates and a number of bonus tracks such as a collection of early takes of the “Main Title,” Shaun Cassidy’s vocal version of the love theme, “A Star Beyond Time,” and Bob James’ disco cover version of Goldsmith’s theme. Wrapping up this lavish production, the CD packaging features a 40-page full color booklet designed by Jim Titus.

To officially present the CD set, a Star Trek: The Motion Picture Soundtrack Celebration will take place on June 4, 2012, 7:30pm at The Arclight Cinemas in Hollywood. The celebration will include CD soundtrack signing, exclusive audio and video, and a 90-minute panel discussion with performers, producers, and other special guests. As part of the panel, TMP synthesizer performer Craig Huxley demonstrate his famous 18-foot “Blaster Beam” instrument used in Star Trek: The Motion Picture’s score and sound design.

Producer Mike Matessino says that he felt honored to work with the original recordings of one of the greatest scores of all time and that everyone on the team worked on this project with great devotion. Matessino adds: ” The clarity and quality we now have is truly amazing. Thanks to the efforts of La-La Land Records, Sony Music and Paramount Pictures, the end product is an embarrassment of riches and a ‘must-have’ for every film music and Star Trek collection.”

Cover art for Star Trek: The Motion Picture - The Complete Score

Press Release:

ABOUT THE CD RELEASE:

STAR TREK: THE MOTION PICTURE (3-CD SET) Music by Jerry Goldsmith LLLCD 1207 LIMITED EDITION OF 10000 UNITS Album Reissue Produced by Mike Matessino and Bruce Botnick Album Reissue Producer for Sony Music Ent.: Didier C. Deutsch Liner Notes by Jeff Bond and Mike Matessino CD Art Direction by Jim Titus

La-La Land Records, Sony Music and Paramount Pictures boldly go where no soundtrack reissue has gone before with this deluxe 3-CD set of 1979‘s STAR TREK: THE MOTION PICTURE , composed and conducted by Jerry Goldsmith.

The first big screen voyage of Captain Kirk and Mr. Spock was a high budget and ambitious undertaking that introduced Goldsmith’s famous and enduring Star Trek march (later used as the main theme for Star Trek: The Next Generation) as the cornerstone of an epic science fiction musical odyssey. Like the film’s refit starship Enterprise, La-La Land’s lavish presentation presents the score anew: fully restored, remixed and mastered from the first generation multi-track masters by Bruce Botnick, the original album co-producer and Goldsmith’s long time scoring engineer.

“To put together the complete score the decision was to go back to the original Analogue 16-track 2-inch 30 i.p.s. masters,” Botnick explains. “John Davis at Precision Audiosonics baked each of the 37 rolls in a convection oven at 110º for eight hours so that they were playable, then rolled out a marvelous 3M 56 IsoLoop 16-track machine with brand new heads. The tapes were resolved at 60Hz to maintain the original orchestral pitch and sync. The Analogue-to-Digital transfer was done from the 16-track through the latest Black Lion A/D convertors and recorded to Pro Tools X at 192kHz 24-bit.”

This 3-CD set presents the score for the 1979 theatrical release (filling disc 1 and part of disc 2) and also premieres the legendary early “rejected” cues that Goldsmith recorded prior to composing his famous main theme. The 1979 album program (much of which is performed and edited differently as compared to the film) completes disc 2, with disc 3 offering additional alternates (including those heard on the previous Sony expanded release) along with a wealth of bonus material. Among the highlights are a collection of early takes of the “Main Title” (including extensive stage chatter), isolated segments featuring Craig Huxley’s famous “blaster beam” and assorted synthesizer excerpts, the domestic CD debut of Bob James’ disco cover version of Goldsmith’s theme and Shaun Cassidy’s vocal version of the love theme, “A Star Beyond Time.”

Reissue co-producer Mike Matessino (who handled restoration and editorial efforts) collaborates with Jeff Bond on the thoroughly researched album notes which feature interview excerpts by Goldsmith, Botnick and performers Huxley and David Newman. The clamshell packaging and 40-page full color booklet are designed by Jim Titus.

“It has been an honor to be able to work with the original recordings of this music and to document its production,” Matessino says. “This is one of the greatest scores of all time and everyone involved took the responsibility very seriously and happily devoted months to see it come together. The clarity and quality we now have is truly amazing. Thanks to the efforts of La-La Land Records, Sony Music and Paramount Pictures, the end product is an embarrassment of riches and a ‘must-have’ for every film music and Star Trek collection.”

Arclight Cinema in Hollywood

ABOUT THE EVENT:

CREATURE FEATURES AND LA-LA LAND RECORDS INVITE YOU TO BOLDLY GO…

TO THE “STAR TREK: THE MOTION PICTURE” SOUNDTRACK CELEBRATION

JUNE 4, 2012, 7:30PM, AT THE ARCLIGHT CINEMAS IN HOLLYWOOD 6360 W. SUNSET BLVD., LOS ANGELES, CA 90028

Join us in celebrating the release of the all-new, deluxe 3-DISC LIMITED EDITION soundtrack release of Jerry Goldsmith’s “STAR TREK: THE MOTION PICTURE” with a one-of-a-kind, multi-media event featuring:

A LANDMARK LIVE PANEL DISCUSSION & PRESENTATION EVENT, including exclusive video and audio clips, a live “BLASTER BEAM” DEMONSTRATION and MORE!

CD SOUNDTRACK SIGNING (Get your copy of the soundtrack at the event, for a special price, before it’s official release on June 5th!)

“TMP” PROPS AND COSTUME DISPLAY

A SCREENING OF “STAR TREK: THE MOTION PICTURE – THE DIRECTOR’S EDITON” (DVD source)

Film music writer and author of “The Music of Star Trek” JEFF BOND hosts a live PANEL DISCUSSION/PRESENTATION event that examines one of legendary composer Jerry Goldsmith’s most iconic and esteemed works.

PANEL GUESTS SCHEDULED TO ATTEND: Original TMP soundtrack album and TMP re-issue soundtrack producer, and longtime Goldsmith recording engineer BRUCE BOTNICK, TMP synthesizer and beam performer CRAIG HUXLEY, TMP session violinist and renowned composer DAVID NEWMAN, TMP soundtrack re-issue producer and TMP “Director’s Edition” restoration supervisor MIKE MATESSINO, TMP director of cinematography RICHARD H. KLINE and other special guests TBA!

This first-ever live event to focus on Goldsmith’s masterful TMP score will feature exclusive video and audio clips, as well as a rare, live demonstration by CRAIG HUXLEY of his famed “BLASTER BEAM” instrument, used prominently in TMP’s score and sound design.

Get the soundtrack before its general release at the show! STAR TREK: THE MOTION PICTURE (3-CD SET) SOUNDTRACK will be available for purchase at the event for the special price of $30 (cash only).

Then get your CD signed by BRUCE BOTNICK and CRAIG HUXLEY at the event!

After the panel presentation and signing, stay for a SCREENING OF “STAR TREK: THE MOTION PICTURE – THE DIRECTOR’S EDITION.” (DVD source)

ADVANCE EVENT TICKETS ARE $17.50 each and are available for purchase NOW at www.creaturefeatures.com

TICKETS will also be available at the door for $20 each.

The soundtrack will be officially released at www.lalalandrecords.com on Tuesday, June 5, 2012 at 1pm PST.

Alex works as a tax attorney advising non-profit organizations and, as a hobby, directs theater plays with the Bulgarian Amateur Theater in Boston. Like many performance art lovers, Alex enjoys writing reviews for plays, dance performances, and movies. She became an avid Star Trek fan in the ’90s, when she first watched TNG in her native country of Bulgaria. Alex is fluent in Bulgarian, Brazilian Portuguese, Russian and French.

May 18, 2012 at 2:30 pm

This is amazing!

May 18, 2012 at 2:31 pm

Man, I really wish I could go to the release celebration.

May 18, 2012 at 2:32 pm

Would anyone be willing to pick me up a copy of the CD and get it signed? I’ll pay for your trouble. Pretty please?

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La-La Land Records and CBS present our final collection of music from the STAR TREK television universe, STAR TREK COLLECTION – THE FINAL FRONTIER , a thrilling four-CD presentation with a bounty of previously unreleased music from STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, STAR TREK: VOYAGER and STAR TREK: ENTERPRISE. Travel at warp through some of your favorite musical moments in the STAR TREK television saga! Produced by Ford A. Thaxton, James Nelson, Mark Banning and Lukas Kendall, and mastered by James Nelson, this special 4-CD collection contains a 44-page booklet with exclusive liner notes by writer Randall Larson and stellar art design by Mark Banning. This deluxe release of musical gems from four of the most celebrated sci-fi television series of all time has a total running time of more than five full hours and is limited to 3000 units.

The complete box set totals over five hours of  Star Trek music, including material from  Star Trek: The Next Generation ,  Star Trek: Deep Space Nine ,  Star Trek: Voyager , and  Star Trek: Enterprise — with some long-awaited tracks finally coming to fans and collectors, such as the frequently-demanded “End Game” music from “Azati Prime” on Disc 4.

Here’s the full breakdown on the new collection, available today.

DISC ONE includes, for the very first time anywhere, “lost cues” by Jerry Goldsmith written, but never recorded, for STAR TREK THE MOTION PICTURE, performed here by renowned composer Joe Kraemer. The rest of Disc One features cues from STAR TREK: THE NEXT GENERATION by composers Dennis McCarthy and Jay Chattaway, including music from such episodes as “The Dauphin,” “Time’s Arrow Part 2,” “Lower Decks,” and more. *  *  * STAR TREK: THE MOTION PICTURE Music Composed by Jerry Goldsmith; Performed by Joe Kraemer. Orchestrations (tracks 2–4) by Arthur Morton. 1. Preludium (alternate, arr. and orch. Fred Steiner) (1:36) 2. Total Logic (early version) (3:01) 3. Pre-Launch Countdown (early version) (0:42) 4. Body Meld (early version) (3:16) STAR TREK: THE NEXT GENERATION 5. Star Trek: The Next Generation Main Title (Season 2) (1:40) Music Composed by Alexander Courage and Jerry Goldsmith Arr./Cond. Dennis McCarthy; Music by Dennis McCarthy JUSTICE 6. New Planet*/First Hugs/Dance Break (2:39) – Contains “Theme From Star Trek (TV Series)” by Alexander Courage 7. God (1:55) THE DAUPHIN 8. A Taste (1:27) THE ENSIGNS OF COMMAND 9. Aqueduct (2:47) Recorded September 8, 1989, at 20th Century Fox THE MOST TOYS 10. Zapped/Requiem (3:37) 11. El Yucko (3:00) IDENTITY CRISIS 12. Hickman (2:46) 13. Geordi (4:17) HALF A LIFE 14. Star Birth/Burial Plot (5:19) REDEMPTION, PART I 15. Battle Royale (4:08) 16. Worf’s Goodbye (2:41) TIME’S ARROW, PART II 17. Nicks of Time* (3:52) PHANTASMS 18. Data’s Dream (1:39) 19. Salvadore Data (2:53) ATTACHED 20. Still Friends (1:57) FORCE OF NATURE 21. Kablooie/Don’t Touch That Warp (3:16) GENESIS 22. Jurassic Worf (3:58) Music by Jay Chattaway HERO WORSHIP 23. Android Bonding (2:03) 24. Androids to the Rescue (3:38) LOWER DECKS 25. Waiting for Sito/Sito’s Wake (3:59) FIRSTBORN 26. Klingon Opera (instrumental) (4:04) – Dennis McCarthy 27. Star Trek: The Next Generation End Credits (Season 3, short version) (0:48) – Music Composed by Jerry Goldsmith, Arr./Cond. Dennis McCarthy Total Disc Time: 78:33

DISC TWO showcases music from STAR TREK: DEEP SPACE NINE by composers Dennis McCarthy, Jay Chattaaway, David Bell and Paul Baillargeon and features tracks from various episodes including “Blood Oath,” “Take Me Out To The Holosuite,” “Rocks And Shoals,” and more! *  *  * STAR TREK: DEEP SPACE NINE 1. Star Trek: Deep Space Nine Main Title (Seasons 4–7, alternate mix) (1:55) Music Composed and Conducted by Dennis McCarthy SANCTUARY 2. Sleepy Space Flute** (2:31) BLOOD OATH 3. The Fortress/Battle Prep/ To the Death/Pariah (8:06) – Dennis McCarthy THE WAY OF THE WARRIOR 4. Hammered (4:13) – Dennis McCarthy ARMAGEDDON GAME 5. Runabout Switch/Coffee Break (5:34) – Jay Chattaway DEFIANT 6. Run Noisy, Get Caught/Officer or Terrorist (9:38) – Jay Chattaway THE BEGOTTEN 7. Birth and Rebirth (3:59) – Jay Chattaway CHRYSALIS 8. Chrysalis Song (0:53) – Jay Chattaway 9. Love Lost (3:31) – Jay Chattaway VALIANT 10. Rough Start/Meet Red Squad (4:43) – Paul Baillargeon 11. Squad Montage (2:34) – Paul Baillargeon 12. Giant Hunters/Abandon Ship**/Decide for Themselves (8:27) – Paul Baillargeon **Contains “Theme From Star Trek: Deep Space Nine” by Dennis McCarthy TAKE ME OUT TO THE HOLOSUITE 13. Federation National Anthem (1:00) – David Bell ROCKS AND SHOALS 14. Plummeting Into Planet (2:19) – David Bell 15. Laughing at Trouble (1:20) – David Bell 16. Parley With Doomed Patrol/Not My Life to Give Up (4:17) – David Bell SACRIFICE OF ANGELS 17. Opened a Hole in Their Lines? (1:56) – David Bell 18. Kira in Corridor Combat (1:57) – David Bell 19. Prelude to White Flash/White Flash Prophets (4:25) – David Bell 20. Welcome Back Captain/Garek & Kira in Infirmary (2:40) – David Bell 21. Star Trek: Deep Space Nine End Credits Seasons 4–7, alternate mix) (1:04) Music Composed and Conducted by Dennis McCarthy Total Disc Time: 78:11

DISC THREE highlights tracks from STAR TREK: VOYAGER by composers Jay Chattaway, Paul Baillargeon and David Bell, including music from the episodes “The Darkling,” “Flashback,” “Real Life” and others! *  *  * STAR TREK: VOYAGER 1. Star Trek: Voyager Main Title (1:55) Music Composed and Conducted by Jerry Goldsmith DISPLACED 2. Nyrians Take Over/Chakotay Sabotages (6:27) – Jay Chattaway ONE 3. Seven’s Daily Routine/All by Myself/Sleepwalking (1:52) – Jay Chattaway 4. 17 Hours to Safety/Beating the Loneliness (5:54) – Jay Chattaway COUNTERPOINT 5. Kashyk’s Departure (2:12) – Jay Chattaway THE DARKLING 6. Doc’s Soliloquy (0:40) – Paul Baillargeon MELD 7. Tuvok Slams Cart (3:29) – David Bell 8. Tuvok Attempts to Execute Suder/No More Mind Melds (3:20) – David Bell FLASHBACK 9. Tuvok’s First Hallucination (1:53) – David Bell 10. Klingons Other Side of Galaxy/Tuvok and Janeway Meld/First Flashback/Energy Wave Hits Excelsior (3:48) – David Bell 11. Sulu: Intruder Alert/Our Last Chance—Concentrate!/Be Nostalgic for Both (5:19) – David Bell UNITY 12. Chakotay Attaches Power Conduit/Chakotay Phases Tuvok (5:06) – David Bell FLESH AND BLOOD, PART I 13. Doc Snatched (2:44) – David Bell EYE OF THE NEEDLE 14. Possible Way Home (1:50) – Dennis McCarthy DEADLOCK 15. Inexorable/Surprise, Surprise! (6:33) – Dennis McCarthy INFINITE REGRESS 16. Naomi the Detective (0:56) – Dennis McCarthy SURVIVAL INSTINCT 17. The Outpost/Realizations (4:13) – Dennis McCarthy 18. Rebellion/With Family (4:42) – Dennis McCarthy REAL LIFE 19. Ugly to the Max(Klingon teenager source) (2:34) – Dennis McCarthy 20. Dad School/Where’d He Go? (2:17) – Dennis McCarthy 21. Tom Dooley/El Plan-O/Hangin’ On (3:23) – Dennis McCarthy 22. Belle’s Death (3:59) – Dennis McCarthy 23. Star Trek: Voyager End Title (1:19) Music Composed and Conducted by Jerry Goldsmith Total Disc Time: 77:47

DISC FOUR features selections from STAR TREK: ENTERPRISE by composers Dennis McCarthy, Kevin Kiner, Paul Baillargeon, David Bell and Velton Ray Bunch, including tracks from the episodes “Silent Enemy,” “Marauders,” “Cold Front” and more! *  *  * STAR TREK: ENTERPRISE 1. Archer’s Theme (Unused Main Title) (1:24) Music Composed and Conducted by Dennis McCarthy DAMAGE 2. Hijackers/No Choice (5:30) – Dennis McCarthy & Kevin Kiner BORDERLAND 3. Slaves Are Loose (2:34) – Dennis McCarthy & Kevin Kiner ROGUE PLANET 4. Alien Hunters (3:07) – Paul Baillargeon MINEFIELD 5. Damage Report (3:14) – David Bell SILENT ENEMY 6. Aliens Return/Aliens on Board/Cannon Fire (7:18) – Velton Ray Bunch MARAUDERS 7. Klingon Defense/Deserted Colony (5:09) – Velton Ray Bunch 8. Hand to Hand/Klingon Trap/Ring of Fire (5:26) – Velton Ray Bunch JUDGMENT 9. Duras Tells His Story/Archer Tells His Side (5:23) – Velton Ray Bunch HARBINGER 10. Recap/Red Cloud (5:02) – Velton Ray Bunch 11. Jealous Fighter/Alien Attack (2:56) – Velton Ray Bunch THE COUNCIL 12. Recap/Into the Chamber (5:19) – Velton Ray Bunch HOME 13. Vulcan Wedding (1:32) – Velton Ray Bunch UNITED 14. Recap/Rigellian Attack (2:23) – Jay Chattaway COLD FRONT 15. Searching for Silik/Conduit Brawl/Space Diver (6:21) – Jay Chattaway THE SEVENTH 16. T’Pol Gets Her Man (2:44) – Jay Chattaway VANISHING POINT 17. Bombs (3:01) – Jay Chattaway ANOMALY 18. Osaarian Showdown (4:19) – Jay Chattaway AZATI PRIME 19. End Game (3:57) – Jay Chattaway 20. Archer’s Theme (End Credits) (Dennis McCarthy)/ Paramount Studios Logo (Lalo Schifrin) (0:50) Total Disc Time: 78:50

The new  Star Trek Collection — The Final Frontier legacy score collection is available now at La-La Land Records’ website for a retail price of $59.98; early purchasers will receive copies signed by composers Dennis McCarthy and Kevin Kiner at no additional charge (while supplies last; autographs not guaranteed).

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• Score as Written for the Film:   *****
• Music as Heard on the 1986 Columbia Album:   ****
• Music as Heard on the 1999 Sony Album:   *****
• Music as Heard on all 2012-2022 Albums:   *****
• Overall:   *****

Star Trek: The Motion Picture (expanded soundtrack)

• View history

The release includes a forty-page booklet featuring commentary from Mike Matessino and Jeff Bond and track-by-track breakdowns.

Production staff and IFMCA award [ ]

The expanded soundtrack won the production staff of La-La Land Records a 2012 International Film Music Critics Association Award . The award recipients were specified as follows:

• Jeff Bond - Liner Notes
• Bruce Botnick - Producer
• Didier C. Deutsch - Producer
• David C. Fein - Producer
• MV Gerhard - Producer
• Jerry Goldsmith - Music
• Mike Matessino - Producer, Liner Notes
• Jim Titus - Album Art Direction
• Matt Verboys - Producer

Track listing [ ]

• 3 ISS Enterprise (NCC-1701)

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• April 25, 2024 | Recap/Review: ‘Star Trek: Discovery’ Reflects On Its Choices In “Mirrors”

La-La Land Releases Expanded, Remastered ‘Star Trek II: The Wrath Of Khan’ Soundtrack

| August 17, 2021 | By: Neil Shurley 34 comments so far

Today La-La Land Records just released a new 2-CD limited edition extended soundtrack for James Horner’s Star Trek II: The Wrath of Khan, which has been totally remastered. There is also a new extensive set of liner notes. TrekMovie talked to the team who put it all together to get the details.

Wrath of Khan soundtrack remastered

“If Genesis is indeed ‘life from death,’ I must return to this place again.”

Good words, and maybe–just maybe–they were in the back of soundtrack producer Neil S. Bulk’s mind when he found out there was a hole in La-La Land Records’ CD release schedule.

“I had thrown out some suggestions,” he said in a recent phone interview with TrekMovie, “and Trek II was one I’d wanted to revisit.”

Bulk worked with veteran music mixer and editor Mike Matessino on Retrograde Records’ 2009 expanded CD release of James Horner’s beloved music for Star Trek II: The Wrath of Khan , and to this day remains very proud of that disc. But in the 12 years since, Bulk felt he’d learned a thing or two about how he could make a few things even better. “It may not be radically different,” he said, “but it would satisfy me.”

Cover of La-La Land’s remastered Star Trek II soundtrack

As it turns out, a surprise awaited him when he requested the master tapes from the studio. “I thought we were going to get the exact same tapes as last time,” he said. “I thought, ‘I know what the inventory is, we’re gonna get these tapes and I can get this done very quickly.’ And what happened was Paramount found a lot more tapes—and it turns out they were the recording sessions. Last time we had selected takes. This time I had the recording session.”

This wealth of material allowed Bulk to create a new two-CD release featuring the original score as presented in the film on disc one, with the original 1982 album release and additional bonus tracks on disc two.

“Everything on the score presentation is from the new high res tape transfers, and so are the bonus tracks. The original soundtrack album tracks are new transfers, but they’re the same tapes that we used for the Retrograde album.” Bulk said that the tracks were also fully remixed and remastered by Mike Matessino. “That specific album program has not been remastered since the first CD came out 30 years ago, so it felt like it was time to do it.”

Back cover and track list for La-La Lands’ remastered Star Trek II soundtrack

One of the bonus tracks, titled “Theme of Star Trek II,” is the first CD release of what was a special edit originally released in 1982 as a 45 rpm single—and it’s only there because your humble reporter told Bulk about its existence. “You’re in the thanks because of that!” he told me. “That was one of those things where I didn’t know that existed 11 years ago, nor was there space for it if I did.” And now we can all enjoy it.

Other bonuses include two tracks originally prepared for—but not used in—the 1982 album (“Kirk in Space Shuttle” and “Kirk Takes Command”) and unreleased alternate takes, including two additional versions of “Amazing Grace.”

“The bagpipes are tuned differently and play in a different key than a traditional orchestra,” Bulk explained, “so they recorded two versions of ‘Amazing Grace’—the orchestra part—in different keys [D and E flat] to see which one they could get closer to the bagpipes. And they went with D. So the E flat recording is new to this release. We also did one where we adjusted the bagpipes to better match the orchestra, because we can do that now, digitally.”

Listen to an exclusive sample of “Kirk Takes Command” from the remastered soundtrack below:

New liner notes

Another feature unique to this release: brand new liner notes from Deniz Cordell, who chose to approach his work in an essay style. “There had already been a terrific track by track dissection that Jeff Bond, Lukas Kendall and Al Kaplan did for the Film Score Monthly/Retrograde Records release,” Cordell said. “It just seemed that to do that again would be redundant. The last couple of liner notes I’ve written in the past few years didn’t have a track by track, and I found it liberating. It allows you to find a different way of talking about everything.”

Cordell’s approach, then, was to write the notes that he would like to read. “A lot of people who are going to get this, like me, probably have the Film Score Monthly edition,” Cordell said. “So I kept asking myself: What can these notes provide, so that they might occasionally say, ‘Oh, I didn’t know that,’ or ‘Oh, I never made that connection,’ or ‘Oh, I have to listen to that track again.’ I really wanted to find something new, so that the notes would sort of justify their existence. Because the release sounds amazing. I don’t think the score has ever sounded better.”

Fist pages from new liner notes for La-La Lands’ remastered Star Trek II soundtrack

A key part of Cordell’s approach was conducting new interviews with director Nicholas Meyer, producer Robert Sallin, former Paramount Vice President and Head of Music Joel Sill, James Horner’s widow, Sara, and many others. In the end, he conducted so many interviews that not all of them could be incorporated into the final product.

“I talked to Walter Koenig, and poor Walter had to end up on the cutting room floor,”

Cordell said. “But even if they’re not quoted directly, everyone I spoke to, their insights and reminiscences all deeply informed the way I approached talking about the score and film, and it’s all reflected in the final writing of these notes. It pieced things together for me in a way where I felt like the finished essay could sit comfortably next to the Film Score Monthly liner notes, where they could live nicely side by side.”

One of Cordell’s favorite quotes came from an interview with Jim Henrikson, who served as music editor for the first two seasons of the original Star Trek series and later became one of James Horner’s most frequent collaborators. Henrikson told Cordell about a musical philosophy that Horner shared with him. “The music’s job isn’t to make you cry. It’s to  allow  you to cry.”

“When he said that,” Cordell remembers, “I thought, well, that has to go into the notes, because it is as sure a crystallization of Horner’s style as I can think of. It really just gets at what makes his film work different from other composers.”

Sample page from new liner notes for La-La Lands’ remastered Star Trek II soundtrack

Available today

The new edition of the Star Trek II: The Wrath of Khan soundtrack went on sale today for $29.98. It is available exclusively as a 2-CD set at lalandrecords.com .

Find more Star Trek merchandise news and reviews at TrekMovie.com .

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HOLY…. ordered.

Wow. This could be a purchase.

I wonder if The Search for Spock will get one more re-do. I didn’t get the expanded OST on release and these two are the only ones missing from my collection. Though I’ve only got 20th Anniversary edition of TMP.

Hmmm…. I’m not so sure this is worth picking up. I do have that last album and as much as I love the score it just doesn’t seem like enough inducement to spend the money. I’ll think on it some more however.

Jumped on this quickly and ordered. I have the ST:TMP special release they did a long time ago and it is amazingly well done. It’s also impossible to find anywhere so glad I bought it when I did.

Tempting, but I would be very happy with an iTunes release too. Digital Hi-Fi has come a long way.

Digital releases are tough to do on an album like this. It takes a 3rd party like La-La Land Records to make a deal to combine material owned by one entity with material from another company. In the case of Star Trek II, the original album tracks are licensed from Warner Music Group while the unreleased material belongs to Paramount Pictures.

La-La Land Records would not be granted the digital rights, so the best way of releasing this is on CD.

Thanks for the reply Neil!

For people who want a nice digital copy, buy the CD to support La-La Land’s efforts and just rip the CD in a lossless format and call it a day :-)

That’s exactly what I do with all of the things I buy from La-La Land/Intrada/Varese. The problem with this specific release is that when you rip it in anything other than Windows Media Player, it places several tracks in their own folders and containers, and mis-identifies the artist as the track name, probably as a result of the reasons you mentioned with property vs licensing. Quite a mess to clean up and get it right.

there are only two programs you should use for ripping CDs to lossless or lossy file formats.

for windows, use exact audio copy: https://www.exactaudiocopy.de/en/index.php/resources/download/

for macOS, use XLD: https://sourceforge.net/projects/xld/

both pull tags from freeDB/CDDB, and all of those tags are editable before ripping (in case there are mistakes).

What about a vinyl release was that at all considered.

This was always intended as a CD release.

I’m leaning toward ordering one, but…

I’ve heard that in most digital media, a higher res original *does* sound better in a lower res final… particularly as explained in articles I’ve read about Buray and DVD. If I understand correctly, the audio source material for this new CD is higher res than CD audio (but can’t be released as a FLAC download, for example, for reasons Matt explains in a comment).

Can anyone speak to the probability that the CD will sound different (better?) than the last CD from a few years back? Perhaps the new mix/remaster is what will distinguish it, more than the fidelity?

I’m genuinely asking… not trying to instigate anything… my tech knowledge is more than some, but less than others. 😊

Thanks for any insights you may have!

I have my copy and can say I certainly does. The “sound” is the same, however this release is fuller, slightly warmer, and I can hear more detail, especially in the strings, and the brass, and really everywhere. It is also noticeably not “pinched” in the way the OST or the 2009 Retrograde release were.

The previous releases can be traced back to the 3-channel (Left-Center-Right) digital recording, and an analog backup of that recording, while this release was made from the Analog backup recording made at the same time as the digital recording.

The digital recording at the time was remarkable in many ways, but it was very early digital technology, which meant it was limited in terms of dynamic range and bitrate, leading to it sounding a little pinched etc.

The Analog tapes they found for this release does not have that restriction, and combined with improved production techniques from Neil S Bulk and Mike Matessino, and the high-res digital encoding you mentioned above, make this a considerable upgrade.

If you have not done so, please do yourself a favor and get this.

Thanks for your post… really appreciate it!

And… purchased!

I always wondered why the spacesuits had a handle on the front. Just so a genetically-engineered superman could lift it? Why would he even need a handle? And did he have assistance in real life?

The handle must have been added just for the lift; the suits were reused from TMP, in which they did not have the handles.

Oh, this was an insta-buy!

“The bagpipes are tuned differently and play in a different key than a traditional orchestra,”

This is where we are at with going back to the well so many times.

I wonder what the 2030 re-issue will sound like. I have literally 5 versions of this soundtrack over 30 years.

It’s my fault for buying the same thing over and over again.

Like a poor marksman, I keep. mising. the. target. on the other releases so I’m quite happy to have ordered this one. But – I don’t like them digitally monkeying with key changes decades after the fact. I could just buy a Prague Orchestra cover version if I wanted not quite but almost original orchestrations. I much prefer entirely original recordings (with the standard cleaning and such of course)

We present the adjusted version as a bonus track. The track in the main program on disc 1 is not altered.

woot woot! Make no mistake – I’m quite excited for this to arrive. Thanks for the good work!

The Trek movie that just won’t die. ever. Bow down before KHAAAAAAAN!!!!!!

I ordered it immediately upon hearing about it. I do wish that there were a blu-ray audio version. But, I am happy with this.

After I read this, I needed to take a four hour drive.

Nothing can be better than the windows rolled down, speeding through the summer air, passing and being passed by cars and trucks with BATTLE IN THE MUTARA NEBULA at full blast.

Mutara Nebula AND Genesis Countdown and I agree with you!!

Bit of a late reply, but my mind is on this score and release. I find some cues, such as the above mentioned and especially Surprise Attach have a way of making my accelerator foot heavier …

If only I had a CD player…

Chris, CD players are cheap and plentiful. Ever set foot In a thrift store?

An external cd to attach to a computer via USB ran about $12 the last I looked.

Not even a DVD or Blu-ray player?

Mine just arrived and I was very excited to open it. I haven’t listened to it yet, but upon opening the case to look at disk 2, I’m pretty sure the CD case broke. I’m not messing with it too much so it doesn’t break any further, but the part that’s supposed to swing open, the middle part that the disks are actually sitting on, seems to have not opened on the hinge but actually cracked and is bending. It’s hard to explain. Has anyone else received theirs and experienced anything similar?

I may have spoken too soon. This it might just be how this opens. I’ve never seen it before but my wife seemed to be familiar with it. Hopefully it’s ok!

‘Star Trek’: Long-Lost Original USS Enterprise Model Finally Makes the Voyage Home

The model was used for the pilot and credits of the original 'Star Trek' series.

The Big Picture

• The original USS Enterprise model has been found in a storage locker after going missing for decades.
• The model was used for the original unaired pilot and opening credits of Star Trek: The Original Series .
• Rod Roddenberry plans to restore and display the iconic starship model in a museum for public viewing.

The original model of the USS Enterprise from Star Trek: The Original Series has been located, after spending several decades missing — not in some distant region of space, but in a storage locker. The model has been returned to Eugene "Rod" Roddenberry , the son of original Trek creator Gene Roddenberry . ABC News reports that the three-foot-long model was given to Gene Roddenberry after the original Trek series ended in 1969, and graced his desk for several years before he loaned it to the makers of 1979's Star Trek: The Motion Picture . The model disappeared shortly afterward and remained missing until it turned up on eBay last year. It had been discovered in a storage locker by parties unknown, who contacted action site Heritage Auctions. Although the model would fetch an enormous price at auction as a one-of-a-kind pop-cultural artifact, an arrangement was made between the finders and Roddenberry, whose father died at 70 in 1991.

The model in question was the first finished model of the iconic starship; it was used for the series' original unaired pilot episode, "The Cage," which was later incorporated into a two-part episode , "The Menagerie," before it was released in full in the 1980s. It was also used for the shots of the Enterprise seen in the show's opening credits. A larger model was later created for the rest of the series; that model is currently on display at the Smithsonian National Air & Space Museum . Roddenberry intends for the original model to find a permanent home, as well:

"This is not going home to adorn my shelves. This is going to get restored and we’re working on ways to get it out so the public can see it and my hope is that it will land in a museum somewhere."

What Is the USS Enterprise?

The flagship of the United Federation of Planets' Starfleet, the USS Enterprise is a Constitution-class starship from the 23rd century. It was originally captained by Robert April, who appeared on Star Trek: The Animated Series before appearing in live-action for the first time in Star Trek: Strange New Worlds . April later passed on command to Christopher Pike , whose adventures are currently being chronicled in the prequel series Strange New Worlds . After Pike was promoted to fleet command, James Kirk was given command of the ship, taking it on a five-year mission that kicked off one of science fiction's most enduring franchises.

In Star Trek III: The Search for Spock , then-Admiral Kirk stole the Enterprise to journey to the unstable Genesis Planet and reunite his friend Spock's mind with his body; during that adventure, Kirk had the ship self-destruct to prevent it from being seized by the Klingons. It was later replaced by a near-identical ship, the Enterprise-A ; many subsequent Federation ships have borne the name, up to the rechristened Enterprise-J in the series finale of Star Trek: Picard .

The son of Roddenberry and actor Majel Barrett , Rod Roddenberry is the chief executive officer of Roddenberry Entertainment. He currently executive produces the latest generation of Star Trek series, including Discovery , Strange New Worlds , Picard , Lower Decks , and Prodigy .

The original model of the Enterprise is now back in the Roddenberry family. Viewers can see it in action in Star Trek: The Original Series , which can be streamed on Paramount+.

Star Trek: The Original Series

In the 23rd Century, Captain James T. Kirk and the crew of the U.S.S. Enterprise explore the galaxy and defend the United Federation of Planets.

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To Boldly Return —

Long-lost model of the uss enterprise returned to roddenberry family, it showed up in an ebay listing; now roddenberry's son wants to show it to fans..

Samuel Axon - Apr 19, 2024 9:05 pm UTC

The first-ever model of Star Trek's USS Enterprise NCC-1701 has been returned to the Roddenberry family, according to an ABC News report.

The 3-foot model was used to shoot the pilot and credits scene for Star Trek's original series in the 1960s and was used occasionally for shots throughout the series. (Typically, a larger, 11-foot model was used for shots after the pilot.) The model also sat on series creator Gene Roddenberry's desk for several years.

It went missing in the late 1970s; historians and collectors believe it belonged to Roddenberry himself, that he lent it to a production house working on Star Trek: The Motion Picture, and that it was never returned. Its whereabouts were unknown until last fall, when a listing for a mysterious model of the Enterprise appeared on eBay .

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The eBay account that posted the item specialized in selling artifacts found in storage lockers that end up without an owner, either because of failure to pay or death.

The model was turned over by the eBay seller to Texas-based Heritage Auctions. News spread that it had been discovered, and Gene Roddenberry's son, Eugene "Rod" Roddenberry, made public statements that he would like to see it returned to his family.

After that, there were months of silence, and its fate was unknown—until now. Heritage Auctions announced that it had given the model to Rod Roddenberry. Details of the exchange have not been shared, but Roddenberry said he did compensate Heritage in some way.

Heritage reached out directly to Roddenberry upon acquiring the object and reportedly decided to return it because it was "the right thing to do." Roddenberry said that he "felt it important to reward that and show appreciation for that" but didn't disclose a sum.

Roddenberry also revealed what he has planned for the model:

This is not going home to adorn my shelves. This is going to get restored and we’re working on ways to get it out so the public can see it, and my hope is that it will land in a museum somewhere.

He runs a group called the Roddenberry Foundation that has scanned and digitized many relics from Star Trek's ideation and production over the years, so it's likely the Foundation will get a crack at the model, too.

Listing image by eBay

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