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 Posted:   Oct 4, 2013 - 5:28 PM   
 By:   Traveling Matt   (Member)

I'd say the cream of the third season is

The Paradise Syndrome
Elaan of Troyius
Spock's Brain
The Empath


Agreed. For just a taste of S3, I find myself going back again and again to the last track in Spock's Brain. Seven minutes of joy. big grin

 
 Posted:   Oct 30, 2013 - 7:42 AM   
 By:   Other Tallguy   (Member)

Hi Gang! Long time! Just a reminder that this Saturday (11/2) is Conscience of the King and the Mullendore library cues from disc 5. See you then!

 
 Posted:   Nov 1, 2013 - 7:43 PM   
 By:   Adam B.   (Member)

The Conshunts of the King. Interesting score. Let's play!

Track 16 - The first 10 seconds was tracked into Galileo Seven (23 minutes?!). I liked the plucked strings to accompany the play as Kirk observes.

Track 17 - Nice title card music. Mullendore weaves the Trek fanfare into the conclusion.

Track 18 - Trek lounge music. I love it. Maybe I'll play that at my next Christmas party.

Track 19 - Lenore's theme also serving as a love theme. Very soothing.

Track 20 - I like the transition from a swelling love theme to the sad discovery of Tom's body. Very effective.

Track 21 - Upbeat "orbit" music. Interesting how different composers handled this. We then segue into Taxi Driver-like horns. Cool.

Track 22 - Back to Lenore's theme. Hard to tell who is seducing who here. Ends with a little comic flair.

Track 23 - Hearing Nichelle Nichols sing is a real treat. Fits in well with the episode.

Track 24 - Got milk? Riley gets a bad batch. Short but sweet cue.

Track 25 - More happy orbit music. Suspenseful search for the overloading phaser. Couldn't they have used another phaser to de-materialize the one about to explode? Not enough time, I guess.

Track 26 - Mournful opening as Kodos does the voice test. The rest was tracked into a number of episodes.

Track 27 - Lenore doesn't much like Kirk anymore.

Track 28 - Riley overhears the news about Kodos.

Track 29 - We're back to the play. Mullendore really captures the mood here in such brief simple cues. Wonderful.

Track 30 - Things take a turn for the worse. This music was used for Khan's "breakout" in Space Seed.

Track 31 - Those insane eyes! Lenore has lost it here and accidentally kills her father. Nice musical wrap-up.


I know I'm posting a little early. I'll be busy all day tomorrow. smile

 
 Posted:   Nov 2, 2013 - 6:45 PM   
 By:   Other Tallguy   (Member)

Woah, that went by faster than I expected.

I’m listening to the podcast Mission Log (and so should you). And we’re in the middle of season three. (Next week: Wink of an Eye!) So jumping back into season one is a little jarring. But hear we go! The Conscience of the King, 47 years later!

Dagger Sweetner seems so specific, but I seem to recall that it was used in other episodes. Actually, quite a bit of this episode was tracked into Balance of Terror. Whenever I didn’t know a cue, I went here.

Go for Baroque – yeah, I don’t like this type of stuff in Shore Leave either. Is twee the right word?

Man, Mulendore could do the Enterprise. Everyone did it a little different, but his was “Shining Ship at Sea” type stuff. He’s also the only one to use the Star Trek theme as opposed to the fanfare. What a different sound the show might have had if other composers had user the theme.

Yeaaaaah, the jazzy Star Trek. I bet there are people that HATE this. I adore it. All to pieces.

I like the love theme quite a lot. It has a different flavor from the Courage and Steiner love themes. A little more… Hopeful? Which is ironic, really.

The violins remind me of Young Frankenstein. I guess overall it’s a wonderful score, but it is a little over-wrought. This was one of the surprises of this set was how much I enjoy this score.

Ah, the unfortunate va-va-voom music. It was the 60’s I guess.

Beyond Antares. I always know when I start a project like this that I’m going to have to listen to the songs. Can someone recommend anything where Nichelle Nichols sounds good? (You don’t have to send me any Nimoy stuff, thanks.)

Phase Overload is quite good. It’s a bit like some of his library cues. (Also quite good, and I’ll be hearing them soon.)

I will always associate Voice Test with Balance of terror. I’m just more familiar with the episode. There’s a wonderful bit where the Theme comes in and it’s so subtle you almost don’t notice it.

Ahh, more “Shakespeare” music. Hmmm.

All Ghosts Dead is a wonderfully understated cue. Especially compared to some of the rest of this score.

And with a rousing Star Trek ending, we’re out! The whole thing has got a slightly more old fashioned sound than most of the rest of Trek. More like 1950’s motion pictures. Which is pretty cool.

Mullendore library cues:
Impension is wonderful. I remember watching Shore Leave one time and really hearing that for the first time. Then I combed through the GNP soundtrack looking for it. No luck. Now I know why. That last swell of the theme sounds like Ron Jones’ Starfleet Command II music.

Lonely to Dramatic sounds like, well, like Conscience of the King.

Pensive Mood sounds like something Courage would have written if he was more partial to his own theme.

Play-Off: Hey, it’s Let’s Make Fun of Spock music! Ha ha ha ha!

Wonderful stuff. It’s a pity that he was never asked back. He’s really a very large part of the “sound” of season one. Not as much as Steiner or Courage, obviously, but still very prominent.

See you all back in a month for Shore Leave!

 
 Posted:   Nov 3, 2013 - 1:25 PM   
 By:   Other Tallguy   (Member)

Nice review, Adam.

Track 23 - Hearing Nichelle Nichols sing is a real treat. Fits in well with the episode.


Beyond Antares. I always know when I start a project like this that I’m going to have to listen to the songs. Can someone recommend anything where Nichelle Nichols sounds good? (You don’t have to send me any Nimoy stuff, thanks.)


Heh. Well, your mileage may vary. smile

 
 Posted:   Nov 8, 2013 - 7:56 PM   
 By:   Other Tallguy   (Member)

Blast it! I'm not going to have time to post tomorrow. Tomorrow is Gerald Fried's Shore Leave. Well, I'll still listen tomorrow and post sometime Sunday or Monday.

 
 Posted:   Nov 9, 2013 - 9:56 AM   
 By:   dogplant   (Member)

Yeaaaaah, the jazzy Star Trek. I bet there are people that HATE this. I adore it. All to pieces...

Pensive Mood sounds like something Courage would have written if he was more partial to his own theme...

See you all back in a month for Shore Leave!


Love jazzy Star Trek, too, and Mullendore's 'Pensive Mood' is one of my all-time favorite Star Trek cues. Pardon me if I have posted this before, but I used it in a home movie of my puppy frolicking, here: http://youtu.be/_eha6YpxGZ4, and his lounge music piece 'Quasi-Sex' here: http://youtu.be/a2b1WieMtrs

'Shore Leave' is a magnificent little piece, and it was a thrill to see Gerald Fried play this in person at the La La Land TOS box set launch at the Egyptian Theatre last year. Ruth's Theme is so haunting, and he played it beautifully, but Gerald noted in the audience Q&A it was simply what the episode seemed to require, a wistful love theme, and it had no special significance for him. Now playing: Finnegan's Return!

 
 Posted:   Nov 9, 2013 - 12:09 PM   
 By:   Adam B.   (Member)

Blast it! I'm not going to have time to post tomorrow. Tomorrow is Gerald Fried's Shore Leave. Well, I'll still listen tomorrow and post sometime Sunday or Monday.

Shore Leave was recorded 12/2/66 according to the first season booklet.

 
 Posted:   Nov 9, 2013 - 1:41 PM   
 By:   Other Tallguy   (Member)

Blast it! I'm not going to have time to post tomorrow. Tomorrow is Gerald Fried's Shore Leave. Well, I'll still listen tomorrow and post sometime Sunday or Monday.

Shore Leave was recorded 12/2/66 according to the first season booklet.


Ha! I got it my head that it was a WEEK later, not a MONTH later. Ahhh, age is not my friend. Thanks, Adam!

 
 Posted:   Dec 2, 2013 - 11:56 AM   
 By:   Other Tallguy   (Member)

Shore Leave, 47 years later: Gerald Fried joins the team! I run hot and cold on Fried. The only one of his scores I am an unabashed fan of is Amok Time.

I’m not a fan of “zany” music (I may have mentioned) and the White Rabbit music delivers the zany in spades. But New Planet is quite nice.

This score is so literal. You got a knight? Here’s old swashbuckler music. You have a guy named Finnegan? Roll out the jig. It’s what the episode calls for, I suppose.

2nd Ruth: I don’t like this love theme at all – in this episode. For some reason when this is tracked into This Side of Paradise it’s just heartbreaking. Weird, huh? Also there’s a second part to this theme all on strings that gets very Herrmannesque. It’s a little darker, a little sadder. THIS part, I love.

Old English is another track that I don’t care for at the start but then it settles into something I like more.

Heh. Then Tiger comes on and we all say “Oh, THAT Gerald Fried!”

Joust is pretty good. It gets a little further away from the very sugary planet theme.

I do like the ”wounded” sound of the theme in Dummy.

Maybe this was Fried’s aim, to make everything sound very artificial and silly until the danger becomes more and more present and then he transitions into a more adult score?

I didn’t listen to the GNP album very much since this isn’t one of my favorite episodes or score. So I don’t really know what I was missing before that has been added in.

The jig! Make the jig stop! Then it suddenly becomes “Star Trek” music. Funny that.

There’s that wha wha wha saxophone. There must be LAAAADIES around.

I’m surprised nobody fell in a pond in this episode.

Hrmph. Ok, I guess I’m glad I got that out of the way, huh?

 
 Posted:   Dec 2, 2013 - 5:32 PM   
 By:   Adam B.   (Member)

Fried's debut episode - SHORE LEAVE


Track 32 - The tranquil setting is interrupted by some up-tempo beats and Fried's sense of playfulness and mystery. A good opening to the score.

Track 33 - Spock tricks Kirk into taking leave. Duh. Then Finnegan's theme smacks you in the face just as Fin belts Kirk in the jaw. Don't we all know some asshole like Fin we'd like to beat the "tar" out of?

Track 34 - Ruth? Kirk got around, didn't he? A very sweet love theme disarms Kirk as he falls in love all over again. Re-used extensively in This Side Of Paradise.

Track 35 - Can a dress have a theme? McCoy does a bit of "peeking" in the line of duty. I really like the jungle theme for the tiger.

Track 36 - More jungle bongos. Fried had a real knack for scoring character deaths. McCoy here. Miramanee in Paradise Syndrome. Kirk in Amok Time. Maab in Friday's Child. He's great at it.

Track 37 - Some mystery music here. Short cue.

Track 38 - This track will get your heart racing! Followed up by the Kirk/Fin fistfight. Break for commercial. Then more comical fisticuffs. The music makes it fun.

Track 39 - More jungle stuff, more samurai stuff, then Don Juan. The glade music comes back briefly followed by some funny "sexpot" music. A musical buffet.

Track 40 - Ruth returns. Now knowing that Ruth is a robot, do you think Kirk had sex with it? Hell, I'd nail the Summer Glau terminator from Terminator Chronicles, so why not?


I'm so glad the producers brought Mr. Fried back for more episodes. I love his scores.

 
 Posted:   Dec 2, 2013 - 5:55 PM   
 By:   ZapBrannigan   (Member)

There’s that wha wha wha saxophone. There must be LAAAADIES around.

I thought it was a muted trumpet.

Anyway, I give "Shore Leave" very high marks for having such a number of melodies and moods. It's true that "Ruth" worked better in "This Side of Paradise" (my favorite tracked score), but you don't have to visualize the episode a cue was written for. You can give it any mental "music video" you want.

 
 Posted:   Dec 2, 2013 - 8:26 PM   
 By:   Other Tallguy   (Member)

There’s that wha wha wha saxophone. There must be LAAAADIES around.

I thought it was a muted trumpet.

The dangers of posting where people know what they're talking about. I can identify an oboe 4 times out of 5. smile

That's true about the theme. I don't know why I have a totally different reaction if you just TELL me that it's from one episode or the other. Have any psychiatric organizations ever used this board as a case study?

2nd Ruth gets very close to The Ghost and Mrs. Muir, doesn't it?

 
 Posted:   Dec 16, 2013 - 6:47 AM   
 By:   Other Tallguy   (Member)

Squire of Gothos, 47 years later!

Well. That’s sure some harpsichord-y music, isn’t it? For a moment I thought I was playing Roller Coaster Tycoon.

If I’m reading this right, we have nothing until March 24th for City on the Edge of Forever. And that’ll be it for season one.

 
 Posted:   Dec 16, 2013 - 7:49 AM   
 By:   Scott M (Oldsmith)   (Member)

It's true that "Ruth" worked better in "This Side of Paradise" (my favorite tracked score).

I felt that "Ruth" was way overused in "This Side of Paradise." It would kick in, nice and loud, every time Leila walked on screen, or Spock got misty eyed. Over and over and over. Much as I love Trek and its music, that one cue, used repeatedly, ruins the episode for me. It works great in "Shore Leave," but in "Paradise," it's far too sappy for me and after the third usage, I find myself rolling my eyes. Especially when Spock beams up for the last time, they use a quick 5 seconds of it to unscore Spocks little kiss. We get it, he's in love. Ugh...

Sometimes, the music editors laid it on a little thick.... But that's just me.

 
 Posted:   Mar 25, 2014 - 10:24 AM   
 By:   Other Tallguy   (Member)

City on the Edge of Forever! (I listened to it yesterday. Honest!)

What a score. It’s short but it packs a punch. It’s amazing that they decided to write new music for this so late in the season.

I’m not always clear on what music made it in and what didn’t. I know New York 1930 didn’t. But Edit Suspects sure did. This is one of my top 10 Star Trek tracks. It has a quality to it that isn’t found anywhere else in Trek. It’s mysterious, it’s longing, It’s warm and cold at the same time (I think). The music plays up everyone in the scene (Kirk, Spock, Edith) all being off balance and not able to find their footing with each other.

If you had told me that one of the tracks I would want most from this massive set would be Goodnight, Sweetheart I never would have believed you.

This is an episode where I associate some of the tracked music more strongly with this episode than I do with the episode it came from. Hideous Balok is one example.

Wonderful how Edith Must Die and Edith’s Death echo each other. Totally appropriate for a time traveling “the future must be set” story.

Wow, that’s it for Season One! See you back on the recording stage on June 21st for Catspaw! (I'll start a new thread.)

 
 
 Posted:   Mar 25, 2014 - 11:24 AM   
 By:   Traveling Matt   (Member)

I always associate Hideous Balok with City. Never Corbomite Maneuver. smile

 
 Posted:   Jul 13, 2014 - 7:04 AM   
 By:   Anabel Boyer   (Member)

I'm not a trekkie but I have eventually watched -- and enjoyed -- the first remastered season, one episode per day. I don't own the gorgeous Lalaland box set release and can't have access to the explicit liner notes but I have a question about THE DEVIL IN THE DARK : are the 15-20 first seconds from stock music by Bernard Herrmann?

 
 
 Posted:   Jul 13, 2014 - 7:21 AM   
 By:   Graham Watt   (Member)

I'm not a trekkie but I have eventually watched -- and enjoyed -- the first remastered season, one episode per day. I don't own the gorgeous Lalaland box set release and can't have access to the explicit liner notes but I have a question about THE DEVIL IN THE DARK : are the 15-20 first seconds from stock music by Bernard Herrmann?

Anabel, I don't think STAR TREK ever used stock music from "outside their roster", so I'd rule out Bernard Herrmann. As "Devil in the Dark" had no original score, I'm guessing that the cue you refer to might have been by Fred Steiner, re-tracked from a previous episode. Steiner often used Herrmannesque touches on TREK.

I'm really now doubting what I have just written... memory not so good lately... Do I hit "Post Message" and risk being known as a nincompoop for the rest of eternity? Bah, why not. Here goes -

 
 Posted:   Jul 13, 2014 - 7:26 AM   
 By:   Adam B.   (Member)

I'm not a trekkie but I have eventually watched -- and enjoyed -- the first remastered season, one episode per day. I don't own the gorgeous Lalaland box set release and can't have access to the explicit liner notes but I have a question about THE DEVIL IN THE DARK : are the 15-20 first seconds from stock music by Bernard Herrmann?

When we see the matte painting of the caverns, the music was tracked from the episode "The Corbomite Maneuver" by Fred Steiner. The track title is Fesarius Approaches.

 
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