Star Trek IV: The Voyage Home (Newly Expanded Edition)

Star Trek IV: The Voyage Home (Newly Expanded Edition)Marking the first foray of soundtrack label Intrada into the neutral zone of Star Trek movie music, Star Trek IV: The Voyage Home is a risky thing to release, then or now. It’s also the only Star Trek adventure for Leonard Rosenman (Beneath The Planet Of The Apes, Ralph Bakshi’s animated Lord Of The Rings), and it’s been misunderstood since the original 35-minute soundtrack album was released by MCA in 1986. Rosenman’s approach to film scoring was always steeped in his classical background, and while that doesn’t mean that he wasn’t suited to making movie music, his old-school sensibilities on such things as formal structure haven’t won him as wide a fan base as, say, Jerry Goldsmith or John Williams.

Intrada’s single-disc release almost fills the running time of its CD, doubling the amount of music that was available before by finally revealing the alternate versions of many key pieces of music. There are so many alternates here that it almost constitutes a second soundtrack that we never got to hear. Rosenman has taken a lot of heat from critics for the almost Christmas-like main titles, and his original main titles are quite a departure from that – a stately, fully orchestral version of the theme from the original Star Trek series, for the first and only time in the movie series (that we never got to hear). Not just a quotation, not just the four-note fanfare, but the entire theme as heard on TV in the ’60s, upgraded to the splendor of a full orchestra rather than the bongos and the warbling female vocal. It’s pretty magnificent stuff, though of course using that would’ve gotten Rosenman bashed for lack of originality (a charge already leveled at the screen-used titles, which bore a slight resemblance to Rosenman’s Lord Of The Rings). The poor guy couldn’t win.

The other alternates reveal a slightly darker take on the themes for the inscrutible, cylindrical alien probe and the whaling ship at the end of the movie, both of which are looking for the same thing; the alternate whaling ship cue is a more violent, guttural sounding piece, almost like Goldsmith action music.

Heard in the movie, but previously unheard on a soundtrack album, are the series of vignettes at the beginning of the movie, reintroducing us to the Enterprise crew and their purloined Klingon ship, setting up the conflict with the Klingons in a diplomatic vanue on Earth, and setting up the probe crisis from the vantage point of Starfleet Command. This music is presented as a single suite, mainly because the scenes were presented that way too. Another series of vignettes, “In San Francisco”, follows Kirk’s fish-out-of-water crew through their haphazard attempts to function on 20th century Earth, and is perhaps a bit less successful as it falls back on stereotypical samplings of various “ethnic” music types to represent the nationalities of the crew. There’s somewhat predictable Eastern-scale music for the Sulu scenes that we barely got to see (much of the 20th century Sulu scenes, including a run-in with a potential ancestor, were cut from the movie), as well as Scottish and Russan refrains for Scotty and Chekov.

Several of the cues may leave Trek music fans cringing precisely because they don’t fit neatly into the template established by Goldsmith and James Horner in the first three movies. Rosenman was assigned to score a movie that was basically a comedy with a dramatic framing device, and that’s how the movie is scored. It worked well with the movie, but purely as a listening experience, even with the added material, it probably won’t satisfy listeners expecting a “hey, the music wasn’t that bad” revelation like the expanded Star Trek V soundtrack gave us.

It’s good to finally be able to hear more than 35 minutes of music, though, and even the movie’s comedy trappings have a musical payoff: the song written especially for the punk-on-the-bus scene, “I Hate You”, is heard in full, performed by an ad hoc band formed by some of the movie’s production team. In the film, the song gets shut down in the first chorus thanks to Spock’s timely nerve-pinching intervention, but here we get to hear it in all of its recorded-in-one-take lo-fi glory. It sounds like a local punk band’s recorded-on-cassette-in-the-living-room opus, which succeeds in ways that a licensed, “bought-in” and professionally produced song wouldn’t have. It also provides the Trek soundtrack library with its first explicit lyrics warning label (!) with an F-bomb right before the song ends.

4 out of 4It’s still too early to say whether or not this new release of the Star Trek IV soundtrack will lead to the movie’s music be any better understood, but it at least gives students of film music a more complete picture of what Rosenman was trying to accomplish (and in some cases, what he was told to accomplish differently). It’s a stronger listening experience for the added material, and may well be the Star Trek film score that most needed this expanded treatment.

Order this CD

  1. Logo / Main Title (2:52)
  2. Starfleet Command / On Vulcan / Spock / Ten Seconds of Tension (1:40)
  3. The Probe (1:16)
  4. The Probe—Transition / The Take-Off / Menace of the Probe / Clouds and Water / Crew Stunned (3:08)
  5. Time Travel (1:28)
  6. Market Street (4:38)
  7. In San Francisco (2:01)
  8. Chekov’s Run (1:21)
  9. Gillian Seeks Kirk (2:42)
  10. Hospital Chase (1:14)
  11. The Whaler (2:00)
  12. Crash / Whale Fugue (8:38)
  13. Kirk Freed (0:44)
  14. Home Again / End Credits (5:39)
  15. Ballad of the Whale (4:59)
  16. Main Title (alternate) (2:56)
  17. Time Travel (alternate) (1:29)
  18. Chekov’s Run (album ending) (1:19)
  19. The Whaler (alternate) (2:05)
  20. Crash / Whale Fugue (album track) (8:15)
  21. Home Again and End Credits (alternate) (5:16)
  22. Main Title (album track) (2:40)
  23. Whale Fugue (alternate) (1:05)
  24. I Hate You (1:59)

Released by: Intrada
Release date: 2012
Total running time: 72:44

Electric Light Orchestra – Balance Of Power (remaster)

ELO - Balance Of PowerReleased in tandem with the 30th anniversary edition of Out Of The Blue is, oddly, the last album released by anything resembling ELO’s original lineup as a band. In the years after Secret Messages, bassist Kelly Groucutt vanished from the lineup, leaving a three-piece outfit of Bev Bevan, Richard Tandy and Jeff Lynne, looking in this album’s photography like three guys angling for a chance to be extras in the background of a Miami Vice scene. With Lynne tired of touring, and Bevan tiring of Lynne’s increasingly elaborate studio sessions, this was the end of the road for ELO as a group. There’s a certain weariness to the songs that, while it doesn’t prevent them from being decent music, lets one read between the lines a bit. It was all over.

For this remastered edition of the now 21-year-old album, we’re treated to more honest-to-God outtakes recorded at the same time as the rest of the album’s tracks than any other ELO remaster since the group’s 1972 album. A strikingly different version of “Heaven Only Knows” is presented here, having become the stuff of legend, played only at pre-concert fan club gatherings and other such functions, as well as vintage 1986 B-sides “Destination Unknown”, “A Matter Of Fact” and “Caught In A Trap”. Some of these have been heard before, on the 1990 box set Afterglow (proof that, even in “retirement,” ELO wasn’t out of circulation for long). The real gem of this CD’s bonus tracks is “In For The Kill” – it’s essentially “Caught In A Trap” in a slightly different form, with almost identical music with completely different and (for Jeff Lynne) atypically almost-political lyrics, but the best part is Lynne’s exploration of almost Crosby, Stills & Nash-inspired harmonies. It’s a crying shame this got left off the original album (especially an album that arrived just a year before the movie Wall Street) because in retrospect, it would’ve been the best, most energetic follow-up single to “Calling America”. This song alone is just about worth the price of the album.

There were still other rarities from this era that could’ve filled out the CD to its full capacity – there also exists a lyric variation for “Matter Of Fact” – but alas, that opportunity was missed and the CD only runs to about an hour.

The album itself is still quite good, better than most critics would have you believe, with tunes like “Calling America” and “Is It Alright” living up to ELO’s best standards, although produced with much more modern technology. In a way, though, the 80s instrumentation and style is probably what hurts Balance Of Power the most – the album is robbed of the relative timelessness of, say, A New World Record, and some songs just become casualties of the 80s. With some of ELO’s best (and better known) material, when Lynne was able to overcome his fixation on a four-to-the-flour disco beat and Chic-style guitar riffs, the songs withstand the test of time better; one listen can pretty much nail this album down to the late ’80s. Not that that’s a bad thing.

Rating: 4 out of 4The only truly sad part about it is that this represents the end of the remastered ELO albums, and possibly the mining of that band’s vaults as well. The liner notes booklet talks about Lynne’s revival of ELO for 2001’s Zoom in the past tense, as if that marks the end of the band’s legacy. One wonders if we aren’t being sent a bit of a secret message there.

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  1. Heaven Only Knows (2:56)
  2. So Serious (2:43)
  3. Getting To The Point (4:30)
  4. Secret Lives (3:32)
  5. Is It Alright (3:27)
  6. Sorrow About To Fall (4:04)
  7. Without Someone (3:51)
  8. Calling America (3:30)
  9. Endless Lies (3:00)
  10. Send It (3:10)
  11. Opening (0:24)
  12. Heaven Only Knows (alternate version) (2:34)
  13. In For The Kill (3:16)
  14. Secret Lives (alternate take) (3:26)
  15. Sorrow About To Fall (alternate mix) (3:50)
  16. Caught In A Trap (3:47)
  17. Destination Unknown (4:10)

Released by: Epic / Legacy
Release date: 2007 (originally released in 1986)
Total running time: 56:10

Namco Video Game Music

Namco Video Game MusicEven though we now live in an age where ringtones outstrip them with actual sampled sounds, I’ve always thought the bite-sized video game music cues of yesteryear were really catchy in their own hypnotic way. Granted, they weren’t exactly great music in cases, and some of them weren’t even particularly complex – but with repeat exposure, they had a way of lodging themsselves in my brain all the same.

Namco Video Game Music is a CD that gives you a chance to hear those sounds away from the games that inspired them. In come cases, that’s brilliant, while in others, it comes across as little more than a sound effects disc for serious retrogaming enthusiasts. It’s hard to take it to task too much, however, for this is a CD pressing of one of the very earliest releases of video game music in the world, having originally appeared on vinyl in Japan around 1986.

There’s a decent balance struck here between popular games whose sounds everybody will recognize, and obscure, less obvious titles. Phozon and Libble Rabble never even made it to North American arcades, but they each boast some outstanding pieces of intricate music. On the other hand, as familiar and popular as Pac-Man is, it really only has a couple of pieces of music; much of its track is taken up by the sound of the game being played. You could hook up any machine running Namco Museum to your stereo and get much the same effect.

Other games have great music that are a little bit buried behind sound effects. When the Pole Position track finally got to the end of its “sound effects” section and started playing the game’s numerous post-game ditties in a row, I found that I remembered each one of them well (and while I’m sure some would say “well, that’s because you’ve been playing it nonstop for 24 years!”, I don’t really go reaching for a Pole Position fix that often – the music is, in fact, that catchy).

The first and final tracks, however, are the real bonus fruit at the end of the round. The track devoted to Xevious kicks off with a wonderfully authentic arcade soundscape, with the sound of that game front and center in the mix. Gradually, though, it segues into something else: the repetitive Xevious background tune becomes the backdrop for an Art Of Noise-esque collage of samples from the game, carefully arranged to provide their own beat. Given the original release date of this album, and the fact that Art Of Noise was only just catching on at the time in its original form, this means Namco Video Game Music was way ahead of its time.

The final track kicks off with what sounds like a Galaga audio chip test, cycling through all of the possible sounds and musical interludes that the game contains, until it settles upon the almost hypnotic post-game tune that accompanies your final score and hit ratio statistics. Again, new instrumentationRating: 3 out of 4 is gradually added to the mix, with not-quite-lounge-style organs expanding on and developing that tune until it’s actually upbeat and relaxing. Given the way that the sparse music from these two games is developed into music that stands on its own, it’s really a shame that the rest of the album wasn’t along the same lines.

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  1. Xevious (6:15)
  2. Bosconian (0:15)
  3. Pac-Man (2:57)
  4. Phozon (2:12)
  5. Mappy (3:36)
  6. Libble Rabble (3:35)
  7. Pole Position (2:43)
  8. New Rally-X (3:11)
  9. Dig Dug (1:30)
  10. Galaga (4:23)

Released by: Scitron Digital
Release date: 2003 (originally released in 1986)
Total running time: 30:37

R.E.M. – Lifes Rich Pageant

Lifes Rich PageantR.E.M. changed producers again for their fourth studio album, having been frustrated by the gloominess that pervaded the recording and songs of Fables of the Reconstruction. They turned to Don Gehman, who had recently had significant chart success with John Mellencamp, and brought a group of faster, more energetic songs to the studio. The band may not have really been ready to record again; they were so short of material that they had to dig into their archives, the outtake reel, and their repertoire of covers to amass 12 tracks that don’t even break the 40 minute barrier. The songs they did have were so strong, however, and Gehman’s fresh approach so helpful, that Lifes Rich Pageant ranks as my favorite album from the group’s IRS years.

The opening track, the appropriately named “Begin the Begin,” clearly sets forth the album’s agenda with louder electric guitars from Peter Buck, enthusiastic drums from Bill Berry and clearer, more distinct vocals from Michael Stipe. (Clearer in the sense that you can figure out what words he’s singing. What those words might mean, on the other hand . . . not necessarily.) “These Days” has a very similar feel to it, while “I Believe” adds a banjo intro and Hyena has some nice piano work in the background to play off the guitars. “Just a Touch,” one of the band’s earliest songs, doesn’t sound out of place here; comparing the album version with a performance I’ve heard on a bootleg recording from the early 80s helps show Gehman’s influence as well as the growth in the group’s proficiency. All of these songs have a ‘can-do’ energy and confidence about them that’s reflected in the music and the lyrics, from “I Believe”‘s title to “These Days'” “We are hope despite the times” and “Begin the Begin”‘s “I looked for it and I found it, Miles Standish proud.”

It’s not all up-tempo all the time. “Fall on Me,” a song that started off as being a warning against acid rain and turned into a general plea against overwhelming pressure, and “Cuyahoga,” about the famed polluted river in Ohio, play up Mike Mills’ bass with a more somber pace. Both songs reflect the somewhat oblique political tone of Stipe’s work on this album, as does the beautifully sad “The Flowers of Guatemala.” Whatever Stipe is trying to get across with “Swan Swan H,” I never quite get it – but I get and enjoy its brooding atmosphere just fine.

The album closes out with “Superman,” a cover of an obscure 60s song by the Clique that features lead vocals by Mills. The cover’s actually gained a fair amount of notoriety over the years, and it’s a fun way to end the album. Both “Superman” and “Underneath the Bunker,” the brief outtake that closes the album’s first side, were added to the album so late that they were not listed on the album cover – which also does not list the other 10 tracks in the order they appear.

rating: 4 out of 4 Lifes Rich Pageant boasts a lot of strong material. The songs do have a lot of similarities to each other; the band seems to be focusing on variations on themes here, rather than explore a lot of different directions on one album. For me, the approach works – the songs flow together very well and make listening to the full album a very enjoyable experience. The short running time probably works in its favor here; 60 minutes of such variations might get tiresome, but 40 feel just right.

After R.E.M. achieved international success with Warner Bros., IRS Records re-released the band’s early catalogue overseas with additional tracks, mostly live performances and remixes along with the occasional b-side. These additional tracks remain unavailable on U.S. versions of the album.

Order this CD

  1. Begin the Begin (3:28)
  2. These Days (3:24)
  3. Fall on Me (2:50)
  4. Cuyahoga (4:21)
  5. Hyena (2:51)
  6. Underneath the Bunker (1:27)
  7. The Flowers of Guatemala (3:56)
  8. I Believe (3:50)
  9. What If We Give It Away? (3:34)
  10. Just a Touch (3:00)
  11. Swan Swan H (2:50)
  12. Superman (2:52)

(Track listing reflects original U.S. release; foreign re-releases contain additional tracks)

Released by: IRS Records/Capitol
Release date: 1986
Total running time: 38:29

Star Trek: Newly Recorded Music, Volume 2

Star Trek soundtrackIt took me years to find this second volume, and though after a while a lot of Classic Trek music starts to sound the same, the music from Mirror, Mirror was an eye-opener for me – I had never realized how frequently the “Black Ship Theme” (for the evil Enterprise) was used from then on in the series, nor where it had originated. Now I know. The cues from Mirror, Mirror and The Empath alone make this a worthwhile purchase for any Trek musicologists out there, and again the 3 out of 4sound quality – since it’s a digital re-recording – is exceptional.

  1. Star Trek main title & closing theme (1:19)

    Suite from By Any Other Name

  2. Neutralizer, Kelvan theme, More Neutralizer, Broken (3:42)
  3. Rojan’s Revenge, Rojan’s Blocks, Pretty Words, Victory (5:32)

    Suite from The Trouble With Tribbles

  4. A Matter of Pride, No Tribble At All, Big Fight (4:19)

    Suite from Mirror, Mirror

  5. Mirror Mirror, Black Ship Theme, Agonizer, Meet Marlena (4:38)
  6. Order this CD Black Ship Tension, Goodbye Marlena, Short Curtain (3:51)

    Suite from The Empath

  7. Enter Gem, Kirk Healed (2:07)
  8. Vian Lab, The Subjects, Cave Exit, Star Trek Chase (3:37)
  9. Help Him, Spock Stuck, McCoy Tortured (5:17)
  10. Time Grows Short (5:06)
  11. Vian’s Farewell, Empath Finale (2:20)

Released by: Varese Sarabande
Release date: 1986
Total running time: 41:57

XTC – Skylarking

XTC - SkylarkingI bought this album when it first came out and was immediately entranced. I lost it a few years ago, and only managed to find it again today. It’s not that difficult to find, but I have very limited time for that sort of thing. The reason I wanted it back was that after all the time without the disk to listen to, I still found myself singing bits of the album to myself.

This is not an album for everyone, by any stretch. A severe diversion from earlier XTC, this album contains none of the punk/new wave with which the band first made their mark, and yet it’s unmistakably an XTC album. When I listen to this album, I have always thought that this is the type of music John Lennon would have produced had he survived. There are some extremely Beatles-esque sections, but the themes are very mature. There are also some very somber (if not experimental) sections which I could see Lennon exploring.

I couldn’t critique this album without mentioning Todd Rundgren. Whoever conceived of bringing Todd in to produce an XTC album deserves a pat on the back. It’s unusual to see a producer of that magnitude brought in when the band includes someone with the creative talents of Andy Partridge. Todd is so influential that it’s almost unheard of for his tastes to not show in one of his productions (e.g. the Bourgeois Tagg album which was released at about the same time as this one). I had forgotten that Todd produced this album until I read the liner notes a few minutes ago. It’s also interesting to note that the liner notes give Todd credit for the “continuity concept”. Given that this is very nearly a concept album, I have to wonder how much input Todd had in the final product. I would think if he was instrumental (pun intended) in the underlying concept, we’d hear more of his influence. Since we don’t, I’m a bit puzzled by that idea. Still, it’s a stunning album, so on with the show.

The album opens like the first Klaatu album, and sounds almost as whimsical. “Summer’s Cauldron” draws a picture of “Summertime and the living is easy”, but there’s a surreal undertone underlying the entire piece. He tells us “Please don’t pull me out, I’m relaxed in the undertow”. On the surface it’s all peace and love – “Miss Moon lays down and Sir Sun stands up” – and that’s definitely the scene of the song. Still, Andy is singing about a situation that, while pastoral in the extreme, he knows he’s (forgive the pun) in over his head when he adds “Me, I’m found floating round and round like a bug in brandy”. This song also introduces the concept which guides the album: the seasonal procession. We begin in high Summer, and we’ll end in late Fall.

“Grass” marks the happiest point on the album, and is really more an extension of the first song rather than a piece unto itself. This song increases the East Indian flair of the first song, but it’s still a subtle effect. This is a very happy, simple song about making out while high. It completes the first section of the album.

Our couple has had the early “magical” portion of their relationship in “The Meeting Place,” and now they’re maturing. She’s working now, and her life is more regulated. She’s taken up smoking. Still, they can sneak out for a tryst on her lunch hour at the meeting place, but they have so much passion for each other that she’ll be “late back again”.

But in “That’s Really Super, Supergirl,” as her career grows, she’s forced to make endless choices between job and boyfriend. Guess who loses? It’s not him that’s claiming she’s super – it’s her co-workers. In the end, he’s swept “like dirt underneath your cape”. He “might be an ape, but I used to feel super”. Not anymore.

In “Ballet For A Rainy Day,” we get a picture of how he spends his days these days. He’s painting. He’s trying to be true to his youthful ideals. But no matter how he tries, he feels trapped in a rainy day. She’s climbing the ladder, while he sees no progress.

And the inevitable happens. “1000 umbrellas couldn’t catch all the rain that drained out of my head when you said we were over.” In typical response, he can’t see what she’s saying, and has to interpret it in context with his current situation – “and just when I thought that my vista was golden in hue.” He wallows through misery, but vows to pick up and carry on.

And he does. He works at his painting and he works at her. Seasons pass, and he keeps trying to win her back. As she grows in her business career, he grows in his calling as a painter. He makes her think about life outside her cubicle. He makes her think about having a family. He even makes her think about God (“Who’s pushing the pedals on the Season Cycle?”) Finally when Spring comes around and life is waking up all around her (“It’s growing green”), she takes him back.

Now, in “Earn Enough For Us,” it’s his turn. He wants to provide for her. He’s taken a job, and he wants to be the breadwinner. He wants to buy a house and settle down in the whole DIY thing. He must have done a good job, because she wants to get married. Before long he finds out why she wants to get married – she’s pregnant. He tells her he’ll get a second job to help pay for the baby, but he’s not sure he wants to get married.

But the “Big Day” comes. It “could be heaven; could be hell in a cell for two”. Either way, he’s committed. They do the deed, despite all the advice to the contrary.

But our hero gets his big break all of a sudden. His painting is recognized, and suddenly his creative juices are in demand. He begins working at a feverish pace. He’s in his studio constantly. He finds he simply doesn’t have the time to spend with the wife he worked so hard to earn. More than that, he finds her a nuisance. Any time that she wants to spend with him takes away from time he could be using to create a new painting. In short, he doesn’t “need another satellite”. And of course, that sentiment encompasses his child as well. More time passes and they remain “Circling we’ll orbit another year, two worlds that won’t collide.” Now instead of lying beside him, Miss Moon “still tries to steal the tide away”.

“The Man Who Sailed Around His Soul” is the quirkiest song on the album. While most of the songs have the aforementioned Beatles feel about them, this one is fashioned after a 60’s style jazz combo – something I’ve always found to be very inaccessible. Still, I probably relate more to this song than any other on the album. The entire sentiment is captured in the first lines, “The man who sailed around his soul, from East to West, from pole to pole, with Ego as his drunken captain, Greed, the mutineer, had trapped all reason in the hold.” He gives himself over to his career, forgetting the lesson his wife taught him along with everything else. The magic is gone, the dream is over. Eventually he realizes what he’s sacrificed, but it’s far too late.

“Dear God” is the focal point of the entire album. We’ve come a long way from the carefree images of the early songs. This song is a duet sung by a father and child who are nowhere near each other. Both see the cruelty of the world, and both reach the same conclusion. But they do it apart from each other. Perhaps the sins of the father are paid by the son. They sing of the problems of the world, and how they can’t believe that a benevolent god would allow them to happen. The irony is in the title itself. To whom are they singing? As with the vast majority of us – even those claiming to be atheists – when push comes to shove, if you were brought up with a Judeo-Christian training, you fall back on the concept of God when all else fails. The child is calling on God because that’s where you go when you really need help. The father is turning back to God after years of neglect, simply because he has no other place to turn. He never managed to replace that belief system that was ingrained in him as a child. The result is a gut-wrenching polemic that tears a reaction from anyone who listens to it.

It’s not clear just who dies in “Dying”. It may be his child that dies. It could, however, be himself that dies. Rather than a song of death, this could be a song of rebirth where our hero lets go of the pain and finds the ability to grow and move on. That could explain why his reaction to the death is “I don’t want to die like you.” No matter how we die, almost any of us would say we don’t want to die that way. Death is seldom peaceful and never pretty.

“Sacrificial Bonfire” is a bookend piece. While it may not appear to, it does indeed wrap up the themes of the album. It tells of an Autumn Harvest Festival, but it’s clearly told from the perspective of an observer. It doesn’t have the frenzied feel of a participant, but the heartfelt rhythmic tempo of someone who watches and feels the ceremony in his soul. We also revisit the career of our hero with the brightness of the bonfire surrounded by the blackness of the Autumn night. “And the clothes that were draped was all that told man from ape.” Instead of taking part in the festival, he’s painting the scene. Perhaps the man who wooed his wife by showing her the world in which she lived found his salvation in a ceremony that took him back to that world – even if he was too old to participate directly. That may be the ultimate ironic twist. He felt he had to deny one of his earliest beliefs, but as he inevitably returned to the beliefs of his youth, he had moved so far up the “verdant spiral” of the Season Cycle that all he could do was watch and remember. We have no real idea 4 out of 4how many years the album crosses, but we almost always know what season we’re in.

As I said before, this isn’t for everyone. However, if you like the presentation, these songs will stick with you for years. The concepts are terribly human, and are not limited to little rubber people who don’t shave yet. It’s certainly worth a listen.

Order this CD

  1. Summer’s Cauldron (3:15)
  2. Grass (3:05)
  3. The Meeting Place (3:13)
  4. That’s Really Super, Supergirl (3:22)
  5. Ballet For A Rainy Day (2:50)
  6. 1000 Umbrellas (3:44)
  7. Season Cycle (3:21)
  8. Earn Enough For Us (2:54)
  9. Big Day (3:32)
  10. Another Satellite (4:16)
  11. The Man Who Sailed Around His Soul (3:25)
  12. Dear God (3:36)
  13. Dying (2:31)
  14. Sacrificial Bonfire (3:46)

Released by: Virgin
Release date: 1986

Star Trek: Newly Recorded Music, Volume 1

Star Trek soundtrackDespite all my ravings about the wonders of GNP Crescendo’s original soundtrack releases, this is an example of how nice it would be to have more than one party releasing Star Trek music (do you hear me, Silva America?). This Varese Sarabande compilation of newly recorded suites from the original series is a vast improvement over Label X’s over-long extended suites, and also features music from episodes that GNP Crescendo hasn’t touched, such as The Corbomite Maneuver and Charlie X, both of 4 out of 4which generated some of the best-remembered musical cues in the entire series. Very highly recommended!

  1. Star Trek main title & closing theme (1:19)

    Suite from The Corbomite Maneuver

  2. The Corbomite Maneuver (5:03)

    Suite from Charlie X

  3. Kirk’s Command / Charlie’s Mystery / Charlie’s Gift (3:37)
  4. Kirk Is Worried / Card Tricks / Charlie’s Yen (3:23)
  5. Zap Sam / Zap Janice / Zap The Cap / Zap The Spaceship (4:18)
  6. Order this CD Charlie’s Friend / Goodbye Charlie (2:44)

    Suite from The Doomsday Machine

  7. Goodbye Mr. Decker / Kirk Does It Again (5:39)

    Suite from Mudd’s Women

  8. Three Venuses / Meet Mudd / Hello Girls… (3:10)
  9. Hello Ruth / The Last Crystal / The Venus drug (4:30)
  10. Planet Rigel / Eve Is Out / Space Radio (4:09)
  11. Eve Cooks / Pretty Eve / Mudd’s Farewell (3:17)

Released by: Varese Sarabande
Release date: 1986
Total running time: 41:09