True. I still glance at it and ask myself what it is. Whats great about these releases is that much of the source stuff was included as well. Like "The Old Black Magic.." from III and "A Moon's the Window to Heaven" from V.
IIRC ST II came out of nowhere for everyone. III was hoped for but by no means a done deal. Then by the time V came out it was a question of WHEN not IF for IV, VI, and finally TMP.
That was the sentiment on the board, yes, but I was actually hoping for TOS as soon as II was released. Properly expanding the films was a miracle in its own right but, with the environment of recent years and Trek access to Paramount (finally!) I felt confident TOS would be realistic and feasible.
I certainly knew if it was ever going to happen, now would be the time.
True. I still glance at it and ask myself what it is. Whats great about these releases is that much of the source stuff was included as well. Like "The Old Black Magic.." from III and "A Moon's the Window to Heaven" from V.
I was particularly glad about the later, as much as I like Hiroshima version I was very disappointed to find it when first played the ST:V cassette. I wanted the Uhura version, so come the Expanded release LLL made me a very happy bunny.
OK, I keep hearing that A Fighting Chance to Live contains a quote from The Death of Juliet from Prokofiev's Romeo and Juliet. I'm not hearing it. (Of course I'm way more familiar with Horner than Prokofiev.) I can certainly hear The Fight at the beginning of the album version of Stealing the Enterprise. Can someone help me out here? Which part is the lift?
OK, I keep hearing that A Fighting Chance to Live contains a quote from The Death of Juliet from Prokofiev's Romeo and Juliet. I'm not hearing it. (Of course I'm way more familiar with Horner than Prokofiev.) I can certainly hear The Fight at the beginning of the album version of Stealing the Enterprise. Can someone help me out here? Which part is the lift?
The relevant portion of the Trek III cue covers the scene where the crew has beamed down to Genesis and is watching the Enterprise burn up in the atmosphere.
OK, I keep hearing that A Fighting Chance to Live contains a quote from The Death of Juliet from Prokofiev's Romeo and Juliet. I'm not hearing it. (Of course I'm way more familiar with Horner than Prokofiev.) I can certainly hear The Fight at the beginning of the album version of Stealing the Enterprise. Can someone help me out here? Which part is the lift?
The relevant portion of the Trek III cue covers the scene where the crew has beamed down to Genesis and is watching the Enterprise burn up in the atmosphere.
Chris.
Oh. Oh, I see. The recording I was playing had it broken up differently so I wasn't hearing in Juliet's Death, I think.
Oh. Oh, I see. The recording I was playing had it broken up differently so I wasn't hearing in Juliet's Death, I think.
Wow.
Still gorgeous. I still miss him.
Absolutely. It's still a fabulous score. Say what you will about Horner's borrowings... they pretty much always work dramatically and musically whenever they crop up. The full Romeo and Juliet ballet is really worth checking out if you like what you've heard so far - it's my favorite work by Prokofiev.
Oh. Oh, I see. The recording I was playing had it broken up differently so I wasn't hearing in Juliet's Death, I think.
Wow.
Still gorgeous. I still miss him.
Absolutely. It's still a fabulous score. Say what you will about Horner's borrowings... they pretty much always work dramatically and musically whenever they crop up. The full Romeo and Juliet ballet is really worth checking out if you like what you've heard so far - it's my favorite work by Prokofiev.
Chris
I started listening to it a bit earlier today. I'll do more tomorrow. I've heard the suite from Alexander Nevsky.
I've always liked Peter and the Wolf. I think so did Don Bluth. Both Secret of NIMH and Land Before Time seem to have been temped with it. With Horner I'm sure it was like throwing him into the brier patch!
Oh. Oh, I see. The recording I was playing had it broken up differently so I wasn't hearing in Juliet's Death, I think.
Wow.
Still gorgeous. I still miss him.
Absolutely. It's still a fabulous score. Say what you will about Horner's borrowings... they pretty much always work dramatically and musically whenever they crop up. The full Romeo and Juliet ballet is really worth checking out if you like what you've heard so far - it's my favorite work by Prokofiev.
Chris
I started listening to it a bit earlier today. I'll do more tomorrow. I've heard the suite from Alexander Nevsky.
I've always liked Peter and the Wolf. I think so did Don Bluth. Both Secret of NIMH and Land Before Time seem to have been temped with it. With Horner I'm sure it was like throwing him into the brier patch!
Not one to pass up on a Bluth comment. I know he temped parts of NIMH with Williams "Close Encounter of the Third Kind". Specifically the chorus parts
Does not appear at SAE, although STII:WOK is still listed. I guess there's no surprise there with the passing of both Nimoy and Horner?
I believe that Lukas said (back when SAE had that big 30% sale) that they would be revisiting some OOP titles that they preferred to be in stock. I think it was implied that STIII would be one of them... Not sure what the timeline is though.
I think Trek 3 this was one of the titles Lukas posted he was going to let go of.
Personally, I hope both go OOP at FSM so Intrada can get em...add on the Album mix of TWOK and remove Spocks narration for film version (alternate just doesnt have the feel of film mix) and update the cover art to match Intrada releases of 4,5 & 6.
Will Star Trek 3 really be Out Of Print after these 150 copies sell?
And his reply was
We are evaluating the FSM catalog to determine what will stay in print and what will go out of print. This entails checking the contracts (for expirations) as well as the physical parts (booklets, loose discs) and, of course, projecting sales. We're not going to invest money into making hundreds more copies just to use up booklets if they will take 15 years to sell out. Honestly: The vast majority of the titles will not be repressed. But some will be repressed, and one big one (the blue box) will hopefully return as we have the hardcover books in stock, just no slipcases. This sale is in part to pay for those repressings...if we can!
The Elmer box will not return—at least not from us. There's no way we are printing that hardbound book again. Very proud of that one!
Needless to say...the catalog is very important to me. Most titles were undertaken with shockingly little care to commercial prospects—I just wanted them to be available to the public! I still feel that way today. Many of these will never be reissued—I just don't see the demand. Some of them have clearance issues in which all the stars aligned for our edition (but have already un-aligned) that would make it highly unlikely anyone would undertake the effort to reissue them.
I hope people buy and enjoy these!
Lukas
He posted a few other times in the thread, but never specifically mentions Trek 3.
Sadly I wasn't able to get this score as it was released before I was aware of these speciality score labels (I hope it gets rereleased).
In any event, while listening to this soundtrack on youtube, I noticed a huge similarity between the Horner's Klingon music and a later video game from 1994 "Super Metroid" and 2002 "Metroid Prime".
Starts at 0:08, but 0:25-onward is so similar, everything from the beat to the percussion to the intervals in the low horns to the modulations up and down, even to Horner's danger motif:
"Metroid Prime" from 2002:
"Super Metroid" from 1994:
I think the Metroid music stands on its own though, so it's interesting to analyze the elements that carry over into a new interpretation of similar musical building blocks. It's also fascinating because I do know very broadly from interviews with other Japanese composers of videogames at the time that there was a big interest in Hollywood movies and film scores. Koji Kondo from the ZELDA games, Keiichi Suzuki and Hirokazu Tanaka from EARTHBOUND, etc.
I think the Metroid music stands on its own though, so it's interesting to analyze the elements that carry over into a new interpretation of similar musical building blocks. It's also fascinating because I do know very broadly from interviews with other Japanese composers of videogames at the time that there was a big interest in Hollywood movies and film scores. Koji Kondo from the ZELDA games, Keiichi Suzuki and Hirokazu Tanaka from EARTHBOUND, etc.
Very interesting my friend. As a lifelong fan of all three scores, I’m quite shocked to say I have no idea how I didn’t stumble on the similarity before. But as you seem to imply, my first thought also upon listening to those clips back-to-back-to-back was: everything’s derivative. I think it’s mere (if you can call it that) subconscious influence by which the Metroid scores were created and thus, contain similar signatures without being exactly similar. If Horner’s score was as such influential, then I can’t imagine a better foundation for a couple of spacefaring exploratory and recon missions!
Very interesting my friend. As a lifelong fan of all three scores, I’m quite shocked to say I have no idea how I didn’t stumble on the similarity before. But as you seem to imply, my first thought also upon listening to those clips back-to-back-to-back was: everything’s derivative. I think it’s mere (if you can call it that) subconscious influence by which the Metroid scores were created and thus, contain similar signatures without being exactly similar. If Horner’s score was as such influential, then I can’t imagine a better foundation for a couple of spacefaring exploratory and recon missions!
Yeah, I wasn't really that familiar with THE SEARCH FOR SPOCK score and just started listening to it yesterday and immediately made the connection when that song came on. The drums absolutely 100% follow that same rhythm but the melody I felt kind of needed to hear multiple times before I was sold.
To me, the METROID interpretation, be it conscious, unconscious, or coincidental, still stands on its own. I think it just fits its own environment, has enough of its own melodic variations and instrument choices, and ultimately comes down to matching the same rhythm - almost the same as a rock band copying a 4/4 rhythm from another rock band. But it formalizes its choices into a very clear and specific progression of instrument layering and modulations, perfectly set for repeatability and loop ability in the game. Whereas the movie cue is a bit more free-flowing as it's following more organic, non-looping onscreen action.
I don't view it in a negative copycat way. I have a lot of respect for those early videogame musicians because not only did they make good music but it was very difficult and tedious to make music to begin with on music tracker interfaces, keying everything in note by note in code. In some of these early games they often did their own video game interpretations of classic songs, almost like how early hip-hop heavily used samples. Also, I have always found these composers to be very transparent in identifying and praising their influences which I think is always a respectable thing to do in any creative industry.
Anyway, this was just a fun easter egg I enjoyed and I'm glad you appreciated it too!
Whats great about these releases is that much of the source stuff was included as well. Like "The Old Black Magic.." from III and "A Moon's the Window to Heaven" from V. 
