01 - Ba'Ku Village / (6:52)
        02 - In Custody (1:14)
        03 - Children's Story (1:47)
        04 - Not Functioning (1:45)
        05 - New Sight (5:44)
        06 - The Drone's Attack (4:10)
        07 - The Riker Maneuver (3:09)
        08 - The Same Race (1:16)
        09 - No Threat (4:12)
        10 - The Healing Process* (7:15)
        11 - End Credits / (5:25)

When Gene Roddenberry pitched his idea for a television series called Star Trek, he described it as "Wagon train to the stars." But beyond his high concept description, Roddenberry's goal was to create a program that would reflect an optimistic message. In this producer's utopian future, mankind's noble spirit wouldn't be lost admist the wonder and danger of other galaxies. Instead; it would be a benevolent force among the alien worlds and civilizations it visited, bestowing them with the best qualities of the human race.

Gene Roddenberry's idealism continues to be heard in the themes that Jerry Goldsmith has composed for two of Star Trek's TV incarnations and the scores of four motion pictures,a musical journey that now reaches the edge of the 21st century with Star Trek: Insurrection. Goldsmith's sound is a bold combination of the symphonic and electronic, the orchestra's brass and string sections giving audiences the sense of excitement, wonder and space-age patriotism that's come to represent Roddenberry's vision.

Jerry Goldsmith has already blazed new musical trails in science fiction with PLANET OF THE APES, THE ILLUSTRATED MAN and ALIEN before taking his first cruise on board the U.S.S. Enterprisewith 1979's Star Trek: The Motion Picture. He wrote a swashbuckling theme that would bridge the old and new generations of Star Trek. It's become perhaps the second most popular TV theme next to Alexander Courage's music for the original series. And like Courage's music, Goldsmith's theme would grow beyond the big and small screens to become the music for our continued explorations ino space. It was a leap into the public consciousness that represents the hold that Star Trek has on imaginations the world over.

Goldsmith's themes and underscores take on a different role for every Star Trek theme he's worked on. His music represented the immeasurable scale of the Vejur spaceship in Star Trek: The Motion Picture, the mythical quest for God in Star Trek V: The Final Frontier and the cold, robotic menace of the Borg in Star Trek: First Contact. Now with Star Trek: Insurrection, Jerry Goldsmith takes the Enterprise E to a world of eternal youth. It's peaceful Ba'Ku inhabitants are menaced by the Son'a, a vengeful empire that has allied itself with the misguided Federation Admiral. Only the crew of The Next Generation can save paradise, defying the admiral's orders of non-interference to rescue the Ba'Ku, as well as the ideals that the Federation was founded on.

The Star Trek films have always placed as much importance on their "moral" battles as ones which are fought in space,and Star Trek: Insurrection provides Jerry Goldsmith with a dramatically rich story on which to paint his musical textures. Just as Gene Roddenberry used science fiction as a metaphor for topical events. Jerry Goldsmith uses any number of fantastic melodic effects as a way to make us believe in the film's characters. His talent for weaving strong themes through his scores has always distinguished his work as a composer and when Goldsmith's multiple themes once again draw viewers into the reality of the Star Trek universe.

Star Trek: Insurrection continue's Goldsmith's experimental use of electronic and orchestral instruments, a style he's been applying to Star Trek since his landmark score to The Motion Picture. Goldsmith uses it here for a snese of wonder, synthesizer chords becoming the magical existence of the Ba'ku. He adds flutes, strings and harps, letting the instruments play as ethnic music for another world. It's subtle throughoput, even when playing the wonder of the crew's new found youth. But Goldsmith can also make his electronic music considerably darker to personify an out-of-control Data, or become the doomsday pulse of the Son'a's solar injector.

Goldsmith's score also continues its noble, military tradition here, trumpets, strings and other brass instruments reflecting the chain of command that bonds Picard to his shipmates. The Son'a's theme is ominous, yet proud, giving audiences an idea that there's more to their villainy than meets the eye.When the Son'a finally attack, their pursuit of the Federation mutineers with drones and attack ships is accompanied by a relentless action theme. Its steady beat is contrasted with the symphonic bravery of Picard and his crew. Goldsmith's strings and piano flourishes explosively convey both the tragedy of paradise lost, and the heroism of the people who are trying to save it. The Klingon theme which Goldsmith created for the first Star Trek picture is also on hand again for the valiant Worf.

Perhaps Jerry Goldsmith's greatest talent is in his ability to tell a story with music alone, and he keeps the film moving at light speed, never failing to engage our emotions. Star Trek: Insurrection continues his remarkable journey on the starship Enterprise into the next millenia.

Daniel Schweiger
Soundtrack Editor, Venice Magazine

Album Produced by Jerry Goldsmith
Executive Album Producer: Neil Norman
Associate Executive Album Producer: Mark Banning

Original Music Composed and Conducted by Jerry Goldsmith
Orchestration by Alexander Courage
Recorded, Mixed and Edited by Bruce Botnick
Music Editor: Ken Hall
Music Preparation: Jo Ann Kane Music Service
Computer Programming: Nick Vidar
Recorded October 19-23, 1998 at Paramount Pictures - Scoring Stage M
Assisted by Paul Wertheimer, Norman Dlugatch and Dominic Gonzales
Orchestra Contractor: Sandy De Cresent
Assistant to Jerry Goldsmith: Lois Carruth
Digitally Mastered by Bruce Botnick at DIGEFEX
Album Art Direction: Mark Banning
Additional Graphics by John Eaves

Special thanks to Rick Berman, Jonathan Frakes, Peter Lauritson, Jerry Goldsmith, the Gand at Avenue L & 8th St., the Gang at the Star Trek Art Department and the Gang at Marathon