Here at last, this glorious end result has probably had the most drawn out release history of any soundtrack. Depending on your completist level, this should hopefully satisfy most.. There are just a few cues still missing, but it’s as close as Goldsmith actually wants you to get.

So live with it !

The first sign that we are being looked after is the considerate placing of "Ilia’s Theme" at the start of the disc. This was the now defunct idea of an Overture to the presentation of a film, and so is much better off preceding the score than slowing the pace half way through as it did in the earlier releases.

It is naturally the previously unreleased cues that are the kindest gift to the listener however. The material for Spock is ("Total Logic" and "Spock’s Arrival") are wonderful to have since they demonstrate just how diverse the score always was. We’ve become so familiar with the brassy fanfare, Klingon percussion, and digital cloud effects. The fact that at least one alien culture was represented musically got lost behind that.

A couple more new cues allow for the appreciation of the Blaster Beam in all its glory for the mysterious cloud. A great example is "Inner Workings", which seems to want to deify the machine they discover with a religious fervour to the music. In "Vejur Speaks" we get the impression that when Decker tells us V’ger (correct spelling) wants to "touch God", Goldsmith took this as a cue to imbue the pre-Borg conscious machine with a truly Godly aura.

There are so many blindingly bright points to the score really. I have personally always considered it to be one of the greatest scores ever written, and that it should have won from its Oscar nomination. Technically everything was against the composer - timing especially. Yet it still stands as one of the most sought after soundtracks some 20 years on.

The other talking point about the release is the 2nd disc featuring interviews with cast

members. It should be noted that this relates to the series. Makes for a fun listen nonetheless.

Reviewer

Paul Tonks

(& beyond !)

After years of lies, deceit, treachery, broken promises, and sad excuses, there is finally proof that the "Star Trek: The Motion Picture" expanded CD does exist! Hooray!

While an overrated score in some respects ("Star Trek: TMP" is not better than Goldsmith's collaborations with director Franklin Schaffner), it deserves the vast majority of its mountainous praises. The use of 'blaster beams,' 'glass rub rods,' electric guitars, synthesizers, and water-submerged bells in a predominately orchestral score give a brightly original soundscape not incomparable to the work of Igor Stravinsky. Full of innovation and high inspiration, this symbolized film music on the edge of a new cinematic and dramatic frontier. For example, less than a year after the original soundtrack's release composer James Horner utilized large portions of Goldsmith's score in "Battle Beyond the Stars," arguably more closely than the law should concede.

This recording presents the music in film chronological order and as complete as the composer would allow. Every single one of the old favorites returns alongside newly released tracks such as the excellent (logically so) 'Total Logic,' the surprise of 'Spock's Arrival,' the questing 'Games,' the eerie 'Inner Workings' of Vejur, and a good 'A Good Start.' The assortment of ideas is altogether astonishing.

The 'bonus' "Inside Star Trek" CD warrants a one-time listen. Limited educational value and excessive corniness keep it from being more worthwhile. However, there are a few things that shine, particularly Gene Roddenberry's lecture. Much of the disc is unquestionably archaic, but if approached as a time capsule there is the potential for some fascinating discoveries.

The packaging is a combination of the original soundtrack design by Bob Peak, as well as the ship schematics look of the "Inside Star Trek" record, inside a handsome lasered slipcover (anyone attracted to shiny objects should get some fun out of the construction). The sound for the OST is superexcellent. The sleeve notes by David Hirsch and Ford A. Thaxton are concise yet informative.

The Enterprise theme, Ilia's theme, the space station music, the Vejur music, the deep motives for Spock, the aggressive Klingon motif, the emotional charge of the orchestrations: This is classic filmusic and should not be missed by anyone, anywhere, for any reason.

Besides, this is an item where computer dweebs, sci-fi geeks, and soundtrack nerds can happily converge...

Reviewer

Jeffrey Wheeler

Reviewers

Paul Tonks
&
Jeffrey Wheeler

(& beyond !)