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Coming next Tuesday, September 27, 2016 at 12 pm pst
STAR TREK ENTERPRISE VOLUME 2
MUSIC BY DENNIS McCARTHY, JAY CHATTAWAY, KEVIN KINER, DAVID BELL, PAUL BAILLARGEON, BRIAN TYLER, JOHN FRIZZELL, VELTON RAY BUNCH
LLLCD 1397
LIMITED EDITION OF 3000 UNITS
RETAIL PRICE: $59.98
The first 150 or so customers who purchase the set directly from www.lalalandrecords.com will receive a signed booklet autographed by Dennis McCarthy at no extra charge. Quantities are limited and you are not guaranteed a signed copy.
Disc One: Music by Dennis McCarthy
* Music by Dennis McCarthy & Kevin Kiner
1. Where My Heart Will Take Me (Main Title, Season Three) (1:21)
Written by Diane Warren
Performed by Russell Watson
Breaking the Ice #008
2. Archer’s Comet/Comet Chasers (2:03)
3. The Comet (2:18)
Recorded October 30, 2001
Original Airdate: November 7, 2001
Sleeping Dogs #015
4. Dive (1:49)
Original Airdate: January 30, 2002
The Communicator #034
5. Searching/It’s Not There (3:59)
6. Great Escape (2:52)
Recorded November 5, 2002
Original Airdate: November 13, 2002
Stigma #040
7. A Promise/Yuris Saves the Day (3:11)
Recorded February 5, 2003
Original Airdate: October 8, 2003
Future Tense #042
8. Attacked (3:26)
9. Final Attack (3:10)
Recorded November 11, 2003
Original Airdate: February 19, 2003
Cogenitor #048
10. Visitor (2:31)
11. Responsibility (4:16)
Recorded April 15, 2003
Original Airdate: April 30, 2003
The Xindi #053
12. Recap/Xindi Meeting (2:34)
13. Escape (3:39)
Recorded September 2, 2003
Original Airdate: September 10, 2003
Doctor’s Orders* #068
14. Empty Ship (1:28)
15. Phlox to the Rescue (3:16)
Recorded February 9, 2004
Original Airdate: February 18, 2004
Damage* #071
16. Bad Dream (3:40)
17. Hijackers/No Choice (5:36)
Recorded March 17, 2004
Original Airdate: April 21, 2004
Observer Effect* #087
18. Your Move (1:45)
19. One Way Nap (3:13)
20. Hoshi Dies (4:18)
21. Archer Out of Options (2:31)
22. More Than Observe/Rules Need to Change (1:06)
Recorded February 16 & 22, 2004
Original Airdate: January 21, 2005
The Aenar* #090
23. Recap - Enterprise 090/Hunt Down Enterprise (2:18)
24. Telepresence Test Fails (2:31)
25. Freighter Fight (2:15)
26. Telepathic Siblings/ Trip Hits the Road (3:10)
Recorded February 2, 2005
Original Airdate: February 11, 2005
Total Time – Disc One: 75:28
Disc Two: Music by Jay Chattaway
1. Archer’s Theme (Bumper Version #1) (0:07) (Dennis McCarthy)
Fight or Flight #003
2. Archer Reverses Course (1:20)
3. Aliens Return/Damn the Torpedoes/Failure to Communicate/Hoshi Gets Through (10:08)
Recorded September 25, 2001
Original Airdate: October 3, 2001
Detained #021
4. Danik to Isolation (2:23)
5. Big Bang/Suliban Liberation (3:46)
Recorded April 5, 2002
Original Airdate: April 24, 2002
Carbon Creek #027
6. Welcome to Carbon Creek/Wearing It Backwards (1:31)
7. The Hustler (1:55)
8. Get a Job/Mestral’s Secret Date (1:39)
9. Glaring Vulcan (2:03)
10. Vulcan Velcro/Not Enough (3:32)
Recorded September 17, 2002
Original Airdate: September 25, 2002
Anomaly #054
11. The Sphere (1:20)
Recorded September 9, 2003
Original Airdate: September 17, 2003
E2 #073
12. Recap/Future T’Pol (1:11)
13. Enterprise 2/117 Years Early (3:24)
14. Father Son Talk 2/Reunion (2:29)
15. Lorian’s Plan/Standoff (4:28)
16. Joining Forces/Team Enterprise/Subspace Passage/Remembrance (6:26)
Recorded April 14, 2004
Original Airdate: May 5, 2004
Cold Station 12 #081
17. Lucas Cracks/Stasis Chamber/Soong Escapes (7:40)
Recorded October 27, 2004
Original Airdate: November 5, 2004
Divergence #092
18. Recap - Enterprise 092 (1:03)
19. Prepare for Transfer/Trip Transfer (4:15)
20. Warp Drive Reboot (3:31)
21. Krell Demands Surrender (3:00)
22. Krell Attacks/Klingons Disabled/Phlox Fools Krell (6:20)
23. Thanks for the Help/One Captain (0:44)
Recorded February 25, 2005
Original Airdate: February 25, 2005
Total Time – Disc Two: 75:14
Disc Three: Veterans
1. Where My Heart Will Take Me (Bumper #1) (0:07) (Diane Warren)
Fusion #017 (David Bell)
2. T’Pol Tells Dream (1:58)
3. First Dance I Went To (1:50)
Recorded February 19, 2002
Original Airdate: February 27, 2002
Dawn #039 (David Bell)
4. Trip Crash Lands (1;33)
5. Trip Tosses Phaser/The Big Fight (4:31)
6. Trip Reviews Life (2:09)
7. Leave This System/Glad I Missed (1:22)
Recorded December 20, 2002
Original Airdate: January 8, 2003
The Crossing #044 (Paul Baillargeon)
8. Enterprise Swallowed (1:04)
9. Wisps First Contact (4:06)
10. Wisps Take Trip (2:50)
11. Wisps Chase Reed/Alien Reed/More Crew Taken (6:39)
12. They’re Lying to Us (1:15)
13. Alien Trip Listens In/Phlox Pulls Panel/Trip Fights Phlox/End of Wisps (7:24)
Recorded March 18, 2003
Original Airdate: April 2, 2003
Rajiin #056 (Paul Baillargeon)
14. Intimate Intruder/Rajiin Captured (5:09)
Recorded September 24, 2003
Original Airdate: October 1, 2003
Chosen Realm #064 (Paul Baillargeon)
15. Crew Fights Back/Hand to Hand/Final Fight (8:18)
Recorded December 16, 2003
Original Airdate: January 14, 2004
Hatchery #069 (Paul Baillargeon)
16. Recap/Crashed Ship (1:31)
17. Endangered Mission (2:37)
18. Hatching Time (1:37)
19. Mutiny/Return to Duty (6:40)
Recorded February 18, 2004
Original Airdate: February 25, 2004
The Forgotten #072 (Paul Baillargeon)
20. Recap/For the 18 (2:16)
21. Emotions (1:51)
22. Trip Dreams (1:21)
23. Reptilian Attack (3:06)
24. Goodbye Elizabeth (2:27)
Recorded March 3, 2004
Original Airdate: April 28, 2004
Total Time – Disc Three: 74:44
Disc Four: New Recruits
1. Where My Heart Will Take Me (Bumper #2) (0:12) (Diane Warren)
Canamar #043 (Brian Tyler)
2. Shuttlepod Adrift/Start the Investigation/Kuroda Gets Free (2:37)
3. Pilot Knocked Out/Crew Gets Message (2:15)
4. Kuroda’s Plan (1:25)
5. Piece of Cake (3:34)
6. End of Kuroda (6:17)
Recorded February 18, 2003
Original Airdates: February 26, 2003
The Forge #083 (John Frizzell)
7. Vulcan Catacombs (1:17)
8. Rogue Bomb (2:09)
9. Sandfire/Mindmeld (4:25)
10. Syrranite Sanctuary (2:25)
Recorded November 11, 2004
Original Airdate: November 19, 2004
Acquisition #019 (Velton Ray Bunch)
11. Krem & Muk on Board (3:40)
12. Trip Chased (1:43)
13. Ferengi Showdown/Seductive Vulcan (5:03)
14. Vault Scheme/Krem Gets His Ship (4:41)
Recorded March 19, 2002
Original Airdate: March 27, 2002
Exile #058 (Velton Ray Bunch)
15. The Voice Returns/Alien Garden/Meet Tarquin (4:59)
16. Space Landing (2:56)
17. Last Visit (1:01)
Original Airdate: October 15, 2003
The Council #074 (Velton Ray Bunch)
18. Into the Chamber (4:11)
19. Armaturi Attack (1:39)
20. Reprieve (1:34)
21. End of Degra/News of Degra (1:58)
22. Weapon Launched (2:31)
Recorded April 21, 2004
Original Airdate: May 12, 2004
Affliction #091 (Velton Ray Bunch)
23. Bad Medicine (1:00)
24. Mind Meld Memory (2:39)
25. T’Pol’s Daydream (2:25)
26. Klingon Augments (2:47)
27. Columbia First Flight (2:01)
28. Warp 5.2 (2:51)
Recorded February 10, 2005
Original Airdate: February 18, 2005
29. Archer’s Theme (End Credits) (Dennis McCarthy) / Paramount Studios Logo (0:51) (Lalo Schifrin)
Time – Disc Four: 78:17
Total Time – All Discs: 5:01:42
https://www.facebook.com/lalalandrecords/posts/10154650876728755
Dennis McCarthy autographs inserts for La-La Lands's upcoming release, The Star Trek Enterprise collection-Volume Two.
https://www.facebook.com/mark.l.banning/posts/10153790054122056
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The song is actually enjoyable, it was just one of many utterly terrible decisions to use it as the theme to a Star Trek series, for the show.
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I know this is not a popular opinion around here, but I actually think going with a song was a pretty good idea. But I don't happen to like this song so much.
The song was fine, fitting even- but on the whole a very middle-of-the-road choice.
But I think the songit became problematic in season 3 & 4- as the teasers became more dramatic and Archer became a darker character the wailing guitars were inappropriate and even downright comical for some episodes.
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Posted: |
Sep 23, 2016 - 3:27 PM
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By: |
FredGarvin
(Member)
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I know this is not a popular opinion around here, but I actually think going with a song was a pretty good idea. But I don't happen to like this song so much.
It's interesting. Almost everyone who I've talked to who watched the show (and is not really into film scores at all) agree that it was an odd, inappropriate choice (many even loathe it, even if they like that kind of music).
I, for one, think when you're doing Star Trek, it needs to be epic/adventurous. Otherwise, it dates the show and just makes it seem like they're pandering to the American Idol masses, which is always a bad idea any way you cut it.
The first time I saw it, I was like..."is that the Captain singing? Is this a musical?"
Heh
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Posted: |
Sep 23, 2016 - 7:23 PM
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By: |
SchiffyM
(Member)
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It's interesting. Almost everyone who I've talked to who watched the show (and is not really into film scores at all) agree that it was an odd, inappropriate choice (many even loathe it, even if they like that kind of music).
I, for one, think when you're doing Star Trek, it needs to be epic/adventurous. Otherwise, it dates the show and just makes it seem like they're pandering to the American Idol masses, which is always a bad idea any way you cut it.
They had done four series with orchestral main titles, and the shows were playing to increasingly diminishing returns. They wanted to do something different to try something unexpected for a franchise that was seeming increasingly formulaic. You can disagree with the choice (as obviously you do), but it's a not-unreasonable approach to take.
The goal, too, was to attract non-fans who felt that "Star Trek" was for other people but not for them. Paramount was failing to make new Trekkies, and old ones were leaving. So they tried to turn that around, and hoped a more contemporary title sequence would be a part of that. As it happened, they were not successful in that ambition. And so the people who watched the show were existing fans who tended to prefer tradition over reinvention. So yes, they found the choice odd, or loathed it. But they watched the show anyway.
As for dating the show, shows date regardless. The original feels a bit like kabuki theater now – you certainly wouldn't confuse it for a 2016 series, regardless of the music (which also hardly sounds contemporary). The synths in TNG clearly place it in the 80's (just as the design, the hair, the PADDs that are clearly inferior to an iPad, and the references to computer printouts do). It's inevitable. But it does make sense that the series that was supposed to take place closest to our current time has more pop-oriented theme.
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It's interesting. Almost everyone who I've talked to who watched the show (and is not really into film scores at all) agree that it was an odd, inappropriate choice (many even loathe it, even if they like that kind of music).
I, for one, think when you're doing Star Trek, it needs to be epic/adventurous. Otherwise, it dates the show and just makes it seem like they're pandering to the American Idol masses, which is always a bad idea any way you cut it.
They had done four series with orchestral main titles, and the shows were playing to increasingly diminishing returns. They wanted to do something different to try something unexpected for a franchise that was seeming increasingly formulaic. You can disagree (as obviously you do), but it's a reasonable approach to take.
As for dating the show, shows date regardless. The original feels a bit like kabuki theater now – you certainly wouldn't confuse it for a 2016 series, regardless of the music (which also hardly sounds contemporary). The synths in TNG clearly place it in the 80's (just as the design, the hair, and the references to computer printouts do). It's inevitable. But it does make sense that the series that was supposed to take place closest to our current time has more pop-oriented theme.
I can certainly agree with the notion that it made sense at the time to the powers that be that the show deviate from orchestral main titles and try something with more of a contemporary sound, but it still doesn't mean it was a smart choice. Most Star Trek main titles feel anything BUT dated. Goldsmith's main title for TNG, the main title for Deep Space Nine, and the main title for Voyager all easily sound as if they could have been composed yesterday. They are not dated at all.
And my opinion regarding the shows becoming increasingly formulaic is that there is a better way to fix this than to plunk down a (mediocre) pop song for the main theme. A good place to start would be with the writing. Perhaps an unexpectedly refreshing plot or character development would have served Enterprise better.
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Posted: |
Sep 24, 2016 - 7:08 AM
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By: |
jkannry
(Member)
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It's interesting. Almost everyone who I've talked to who watched the show (and is not really into film scores at all) agree that it was an odd, inappropriate choice (many even loathe it, even if they like that kind of music).
I, for one, think when you're doing Star Trek, it needs to be epic/adventurous. Otherwise, it dates the show and just makes it seem like they're pandering to the American Idol masses, which is always a bad idea any way you cut it.
They had done four series with orchestral main titles, and the shows were playing to increasingly diminishing returns. They wanted to do something different to try something unexpected for a franchise that was seeming increasingly formulaic. You can disagree (as obviously you do), but it's a reasonable approach to take.
As for dating the show, shows date regardless. The original feels a bit like kabuki theater now – you certainly wouldn't confuse it for a 2016 series, regardless of the music (which also hardly sounds contemporary). The synths in TNG clearly place it in the 80's (just as the design, the hair, and the references to computer printouts do). It's inevitable. But it does make sense that the series that was supposed to take place closest to our current time has more pop-oriented theme.
I can certainly agree with the notion that it made sense at the time to the powers that be that the show deviate from orchestral main titles and try something with more of a contemporary sound, but it still doesn't mean it was a smart choice. Most Star Trek main titles feel anything BUT dated. Goldsmith's main title for TNG, the main title for Deep Space Nine, and the main title for Voyager all easily sound as if they could have been composed yesterday. They are not dated at all.
And my opinion regarding the shows becoming increasingly formulaic is that there is a better way to fix this than to plunk down a (mediocre) pop song for the main theme. A good place to start would be with the writing. Perhaps an unexpectedly refreshing plot or character development would have served Enterprise better.
Exactly and this will make or break star trek beyond.
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