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Disk 1
01 - Ilia's Theme (3:01)
02 - Main Title (1:23)/
03 - Klingon Battle (5:27)
04 - Total Logic (3:44)*/
05 - Floating Office (1:03)*
06 - The Enterprise (5:59)
07 - Leaving Drydock (3:29)
08 - Spock's Arrival (1:58)*
09 - The Cloud (4:58)
10 - Vejur Flyover (4:57)
11 - The Force Field (5:03)*
12 - Games (3:41)*/
13 - Spock Walk (4:19)
14 - Inner Workings (3:01)*
15 - Vejur Speaks (3:50)*/
16 - The Meld (3:09)
17 - A Good Start (2:26)*
18 - End Title (3:16)
Disk 2
01 - Star Trek Theme (1:31)
02 - Introduction: Nichelle Nichols* (1:12)
03 - Inside Star Trek (1:04)
04 - William Shatner Meets Captain Kirk (9:11)
05 - Introduction to Live Show (0:25)
06 - About Science Fiction* (0:40)
07 - The Origin of Spock (1:44)
08 - Sarek's Son Spock (7:20)
09 - The Questor Affair (3:49)
10 - The Genesis II Pilot* (2:34)
11 - Cyborg Tools and E.T. Life Forms* (4:05)
12 - McCoy's RX for Life (6:14)
13 - The Star Trek Philosophy (4:39)
14 - Asimov's World of Science Fiction (6:27)
15 - The Enterprise Runs Around (1:49)
16 - A Letter from a Network Censor (5:03)
17 - The Star Trek Dream (Ballad I/Ballad II) (5:47)
18 - Sign Off: Nichelle Nichols* (0:45)
* Previously unreleased
Jerry Goldsmith's masterful score for Star Trek: The Motion Picture musically blends Star Trek creator Gene Roddenberry's romantic visions of idyllic 23rd Century life with the eerie mysteries of unknown space, earning an Oscar nomination in 1979 for "Best Original Score." In celebration of the 20th anniversary of its release, and working in conjunction with composer Jerry Goldsmith, Columbia/Legacy is proud to present the definitive version of this powerful and moving work.
Included as a special bonus is Inside Star Trek, the insightful and provocative Gene Roddenberry interviews with original cast/crew members, Isaac Asimov, and more. Originally released in 1976, and newly expanded, it gives a behind-the-scenes peek inside the "renegade sci-fi show" that became a worldwide phenomenon.
The Film
After a ten year hiatus, the cast of the classic 1960's television series was back in action at long last. James T. Kirk was once again in command of the newly refitted Starship U.S.S. Enterprise, leading his gallant crew against a possible hostile threat of unknown intent and power.
With famed director Robert Wise at the helm, this eagerly awaited encounter would be lavishly played out on the theatrical motion picture screen. With an ample visual effects budget, surely a breathtaking adventure could only result.
While the film's actual merits have been hotly contested since its 1979 release, two elements have always received unanimous approval. First, it undeniably launched the current wave of the Star Trek franchise, which has resulted in eight more feature films, three television spinoffs and, after 20 years, still shows no sign of ending.
The second issue everyone agrees on is that Jerry Goldsmith's masterful score deftly blended creator Gene Roddenberry's romantic visions of idyllic 23rd Century life with the eerie mysteries of unknown space.
Having completed the score for Alien just before he was to compose the music for this film, Goldsmith was already acknowledged as a master in creating underscores for science-fiction and fantasy. Among his early credits were the scores for such classics as Planet of the Apes, Logan's Run, The Omen, and The Illustrated Man.
Unlike many of his previous film assignments, however, he spent more time on this feature because much of the film was still being shot while he was composing. In an attempt to "push the limits" of optical technology (in answer to the success of Star Wars), Paramount had engaged the services of several effects houses who worked 'round the clock in conceiving breathtaking new imagery.
Goldsmith actually began writing in September 1979, with the first recording session scheduled for late October. With only half the film completed (mostly the live action sequences) at that point, and no title sequence available, he found himself grasping for some inspiration for a main theme.
These first sessions, which covered the early part of the film, were supervised by the composer's long time friend, the late Lionel Newman, the music director of 20th Century Fox who frequently conducted several of Goldsmith's scores (in particular Alien and The Omen trilogy).
One of the first cues recorded was the theme for "The Enterprise." Although the first composition was a spectacular motif, Goldsmith admitted to a class at Boston's Berklee College that "it had no theme. It sounded brilliant, but it didn't work." Once the visual effects were finally delivered, he found in them the elements that inspired him to crystallize what eventually became the film's memorable signature tune.
The addition of special effects also changed his perception of the film so much that he had to eventually replace almost 25 minutes of music to properly color this ever changing canvas. Many of these modifications were done in late November with one session that actually continued at 3:00 a.m. on December 1st, less than a week away from the film's December 7th release!
In fact, such was the rush to get the film completed and into the theaters that the initial prints were not in the lavish 70mm format that Paramount had been touting for weeks prior, but in standard 35mm.
The Score
Three musical ideas constitute the cornerstones of this important score. The first is a sweeping heroic motif that represents the epitome of the Star Trek philosophy, used chiefly here for the Enterprise and its commander, Admiral Kirk ("Main Title", "The Enterprise" and "A Good Start").
The music for the vast Vejur entity ("The Cloud", "Vejur Flyover" and "The Force Field") invokes the unsettling brass and percussion arrangements of Bernard Herrmann, in particular his work on Wise's earlier sci-fi classic The Day the Earth Stood Still. Early in his career, Goldsmith had crossed paths with Herrmann several times. Both had not only worked on "The Twilight Zone" television series in the late 1950's, but they were also at 20th Century Fox a decade later when Lionel Newman utilized much of their work on the Irwin Allen television series "Voyage to the Bottom of the Sea" and "Lost in Space" (with which John Williams was also associated).
Having already made a trademark of peppering his scores with a variety of unusual musical effects, Goldsmith once again sought out even more startling sounds to represent Vejur. For these sequences, the orchestra was joined by artist Craig Huxley, who had developed a unique instrument called "The Blaster Beam." Highly polished artillery shell casings were used to create the spectacular unearthly sounds ("The Force Field") with motorized magnets on an instrument 15 feet long.
Suitably, Huxley had a strong connection to Star Trek. As a child actor, he appeared under the name Craig Hundley in two episodes of the original series, "And the Children Shall Lead" and "Operation: Annihilate," where he played Kirk's nephew, Peter. He would also go on to create the synthesized music for the "Genesis Wave" sequence for Star Trek II: The Wrath of Khan.
Another alumnus of the classic series, and a long time associate of Goldsmith, Alexander Courage, was called upon to help out during the ever shrinking recording schedule by contributing two wistful versions of his "Star Trek" T.V. theme for Kirk's "Captain Log" sequences.
1) Ilia's Theme (3:01) Reel R19P1 Take S223, Rec. 11/26/79
The second movement of this tender love theme for the Deltan navigator (starting at 1:25) also served as the film's overture. This practice was commonly reserved for epic presentations like "Ben-Hur" or "2001: A Space Odyssey." Pop singer Shaun Cassidy recorded a vocal version of this them as "A Star Beyond Time." Featuring lyrics written by L. Kuslik, the recording was released as a promotional single on the Warner Bros. label.
2) Main Title (1:23) Reel R1P1 Take S177, Rec. 11/15/79
The full 90 piece orchestra, with brass chorale, kicks off the memorable main theme, played behind a simple opening title sequence of white letters on a black background. Though the percussion was more prominent in the film version, it was mixed down for the album release.
3) Klingon Battle (5:27) Reel R1P2 Take S235, Rec. 11/29/79
The "Main Title" segues into a thrilling visual sequence as three Klingon warships are obliterated by a mysterious energy cloud. A primal motif, with low register brass and repetitive beat, it is the music for the hunter stalking its prey. This became a blueprint for James Horner's Klingon theme for Star Trek II & III, as well as Ron Jones and Dennis McCarthy's compositions on the subsequent television series. The blaster beam makes its first appearance here representing the cloud.
4) Total Logic (3:44)* Reel SC28 Take S123, Rec. 11/2/79
On the planet Vulcan, Spock is about to finish the Kolinar, a discipline designed to exorcise the last remnants of emotions. The ceremony is abruptly halted as he begins to sense a consciousness calling to him from afar. More of Goldsmith's clever use of sound design is present to create an alien atmosphere. Soft ceremonial drums represent the primitive religious aspect of traditional Vulcan, while the blaster beam again symbolizes the ever growing influence of Vejur. Meanwhile on Earth, Kirk arrives at Starfleet Headquarters to a bold fanfare of the main theme. The Admiral is intent to once again take command of the starship Enterprise in the impending crisis.
5) Floating Office (1:03)* Reel SC38 Take S42, Rec. 9/25/79
High above the Earth is a glittering complex housing Starfleet's orbital repair control. Kirk beams up to meet with Chief Montgomery Scott to evaluate the readiness of the Enterprise.
6) The Enterprise (5:59) Reel 40B Take S92, Rec. 10/25/79
Scotty takes Kirk on an exterior tour of the newly refurbished starship. This piece, in reality a love theme, is structured to build a certain amount of suspense as the Admiral (and the audience) first sees the majestic Enterprise peeking out from behind the lattice work of the drydock orbiting Earth. As the travel pod moves around to the open front and the ship is revealed in all its glory, Goldsmith pours in the full power of the orchestra.
7) Leaving Drydock (3:29) Reel SC95 Take S103, Rec. 11/1/79
Though not fully completed, the Enterprise is launched into space for its rendezvous with Vejur. A bolder variation of the main theme is hear here as the starship glides out of the rising sun towards its uncertain destiny.
8) Spock's Arrival (1:58)* Reel SC144A Take S67, Rec. 10/24/79
After the near disastrous failure of the ship's warp drive, an alien vessel makes an unplanned docking. Aboard is former science officer Spock, whose timely rendezvous with the Enterprise allows his participation in the repairs. This cue starts with a melancholy string motif as Kirk is forced to question his ability to command a ship whose new technology is almost unknown to him.
9) The Cloud (4:58) Reel R8P1 Take S186, Rec. 11/21/79
The Enterprise enters and explores the massive energy cloud that surrounds Vejur. This show stopping sequence of visual effects had very little dialogue, leaving Goldsmith the opportunity to tell much of the story. Initially, wind and surf effects are used to create an unearthly mood, but as they penetrate deeper into more bizarre territory, the composer adds in ore odd sounds and drops the orchestra's register down further with sounds similar to a grand church organ.
10) Vejur Flyover (4:57) Reel R9P1 Take S192/S193, Rec. 11/25/79
Now through the exterior cloud, the Enterprise discovers a massive space craft. Kirk orders a close range flyby of its weird surface. This piece further develops the motif from the previous cue.
11) The Force Field (5:03)* Reel R10P1 Take S208, Rec. 11/26/79
A jarring proclamation from the blaster beam alerts us that a tractor beam now draws the Enterprise uncontrollably into the vast, dark interior of Vejur.
12) Games (3:41)* Reel Sc268 Take S73, Rec. 10/24/79
Decker attempts to make an emotional connection with the Ilia/Probe by introducing it to one of the Deltan's favorite games. As Ilia's awakening memories disappear under Vejur's emotionless control, the composer buries her theme under a flurry of effects, particularly the glass rub rods also used in this score to represent an alien ambience.
13) Spock Walk (4:19) Reel SC273 Take S163/165, Rec. 11/14/79
Mr. Spock embarks on an unauthorized and dangerous excursion further into the interior of Vejur. The first half of this sequence, as the Vulcan subdues a guard and steals a space suit, was previously unreleased. "Spock Walk," features a dazzling flurry of percussion and effects.
14) Inner Workings (3:01)* Reel SC367 Take S83, Rec. 10/25/79
Kirk and company are allowed into the heart of Vejur when the Admiral forces their unknown host to reveal its true identity. Once again, Goldsmith piles on layer upon layer of effects to add to the wonder and mystery of their odd surroundings.
15) Vejur Speaks (3:50)* Reel R17P2B Take S170, Rec. 11/15/79
Now revealed to be the super evolved Voyager space probe launched from Earth centuries earlier, Vejur demands that Decker key in the command code personally. It needs the Starfleet officer to physically join with it and push the machine into a higher level of consciousness. This will allow it to evolve beyond the bounds of our universe.
16) The Meld (3:09) Reel R16P3 Take S237, Rec. 11/29/79
As Decker's body transmutes to energy, he joins not only with Vejur but the essence of his former love, Ilia. The cue for this sequence is permeated with a musical fervor often reserved to back up images of a biblical miracle.
17) A Good Start (2:26)* Reel R16P4/5 Take S197, Rec. 11/25/79
As Vejur continues its journey to "learn all that is learnable," Kirk once again orders Enterprise to do what they do best, boldly go where none have gone before.
18) End Title (3:16) Reel R16P6 Take S203, Rec. 11/25/79
"Ilia's Theme" is book-ended by two versions of the "Main Title."
Ensign Music Corp. (BMI). Original soundtrack recording (p) 1979 Paramount Pictures Corporation. *Previously unreleased (p) 1998 Paramount Pictures corporation. Total playing time: 65:05
Future's Past
The score for Star Trek: The Motion Picture was eventually nominated for "Best Original Score" at the 1979 Academy Awards, though it lost to Georges Delerue's A Little Romance.
At the time the original soundtrack LP was released, Columbia Records put out a single by jazz great Bob James of Goldsmith's "Main Theme from Star Trek-The Motion Picture." (Columbia/Tappan Zee 166823). Countless other versions have since been recorded by artists ranging from orchestral disco king Mecco to John Williams, who recorded the theme for one of his Boston Pops albums.
While the general public had always associated Alexander Courage's theme for Star Trek with the original T.V. series, Goldsmith's film theme has so become closely identified with films and subsequent television spinoffs. Roddenberry was so enamored with The Motion Picture theme that when the time came to launch Star Trek: The Next Generation, he insisted that the Goldsmith theme be united with Courage's fanfare for the new series' main title.
Goldsmith also wrote the main theme for the UPN television series Star Trek: Voyager, for which he won an Emmy Award.
He eventually returned on three more occasions to the film series, composing the music for Star Trek V: The Final Frontier, Star Trek: First Contact and the latest, Star Trek: Insurrection. In each case, he augmented his new scores with themes established in the first feature. —David Hirsch and Ford A. Thaxton
Original Issue: JS 36334, released 1979
1st CD Issue: CK 36334, released 1986
Producer: Jerry Goldsmith
Executive Producer: Bruce Botnick
Recorded at 20th Century Fox Music scoring stage
Engineer: John Neal
Assistant Engineers: Terry Brown, Randy Saunders and Barry Walter
Orchestrations: Arthur Morton
Additional Orchestrations: Alexander Courage and Fred Steiner
Music Editor for the Film: Ken Hall
Sony Digital Recording System Consultants: Rick Plushner and Roger Pryor
Editing Engineer: Bruce Botnick
Disc Mastering: Wally Traugott, Capitol Records Studios
For 20th Century Fox Music Department: Lionel Newman
For Paramount Pictures Music Department: Hunter Murlaugh
For Columbia Records: Michael Dilbeck, Bruce Lundvall, Joe Dash and Gary Spellman
Front Cover Art: Bob Peak
Special thanks to Lois Carruth and to Jerry Goldsmith, without whose kind cooperation this reissue would not have been possible; and to Marybeth Roberts, at Famous Music
SBM: Super Bit Mapping
Inside Star Trek
Originally released as PC 34279 on September 5, 1976
Original Producer: Ed Naha
Reissue Producers: Didier C. Deutsch and Darcy M. Proper
Original Recording Engineers: Russ Payne, Bob Schoppe, Stan Tonkel and George Ball
Tracks 3-4, 8, 12, 14 and 17 recorded July 1976 at United Wester Studios, Los Angeles
Track 1 produced by Don Devito, arranged and conducted by Charles Callelo, and recorded May, 1976 at Columbia Recording Studios, New York
Tracks 2 and 18 produced by Didier C. Deutsch and recorded March, 1998 at Sony Music Studios, Santa Monica
Special thanks to Nichelle Nichols and Jim Meechan; to Steve Berkowitz; and to Lee Ann Paynter, Sony Music Studios, Santa Monica
Associate Producer: Ford A. Thaxton
Mixing and Mastering: Darcy M. Proper, Sony Music Studios, NYC
Project Director: Jessica Sowin
A&R Research and Sequencing (Motion Picture Soundtrack): Ford A. Thaxton
Legacy A&R: Steve Berkowitz
A&R Coordination: Patti Matheny
Art Direction: Ron Jaramillo
Design: Ron Jaramillo and Pat Jerina
Packaging Manager: Lily Lew
Archival Research (Motion Picture Soundtrack): Stephen Laszlo and Jon Naatjes
Thank you to David Agnew, Tom Burleigh, Tom Cording, Rocky Delbalzo, Howard Fritzson, Randy Haecker, Joe Marziotto, Paul Rappaport, Michal Roberson, Noah Rosenthal, Darren Salmieri and Dave Santaniello.
Producer's Note: Due to the wide variety of sources used in this project, including live lecture recordings, there are many hiss level/quality changes throughout, along with bias pops, lip smacks, bad analog splices, and background noises.
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