Considering that I've gotten a good majority of all my movie scores from this board, I figured it was high time that I added my little contribution. Below are links to 9 feature films. I didn't include The Final Frontier, because let's face it..it sucked out loud. All of the albums have original artwork either embedded in the files, or in the folder itself. Enjoy!


Star Trek: The Motion Picture
Jerry Goldsmith. Encoded at 128 Kbps.


Track List

01: Illia's Theme
02: Main Titles
03: Klingon Battle
04: Total Logic
05: Floating Office
06: The Enterprise
07: Leaving Drydock
08: Spock's Arrival
09: Cloud
10: Vejur Flyover
11: Force Field
12: Games
13: Spock Walk
14: Inner Workings
15: Vejur Speaks
16: Meld
17: Good Start
18: End Title.

Download Link (http://rapidshare.com/files/147632735/Star_Trek_The_Motion_Picture.rar.html)

Star Trek II: The Wrath of Khan
James Horner. Encoded at 128 Kbps.


Track List:

01: Main Title.
02: Surprise Attack.
03: Spock
04: Kirk's Explosive Reply.
05: Khan's Pets
06: Enterprise Clears Moorings.
07: Battle in the Mutara Nebula.
08: Genesis Countdown
09: Epilogue, End Title Sequence.

Download Link (http://rapidshare.com/files/147637072/Star_Trek_II_The_Wrath_of_Khan.rar.html)

Star Trek III The Search for Spock
James Horner. Encoded at 128 Kbps.


Track List

01: Prologue and Main Title
02: Klingons
03: Stealing the Enterprise
04: The Mind Meld
05: Bird of Prey Decloaks
06: Returning to Vulcan
07: End Title
08: The Search for Spock

Download Link (http://rapidshare.com/files/147641126/Star_Trek_III_The_Search_for_Spock.rar.html)


Star Trek IV The Voyage Home
Leonard Rosenman. Encoded at 192 Kbps.


Track List

01: Main Title
02: The Whaler
03: The Yellowjackets, "Market Street"
04: Crash / Whale Fugue
05: The Yellowjackets, "Ballad of the Whale"
06: Gillian Seeks Kirk
07: Chekov's Run
08: Time Travel
09: Hospital Chase.
10: The Probe
11: Home Again / End Credits.

Download Link (http://rapidshare.com/files/147645245/Star_Trek_IV_The_Voyage_Home.rar.html)

Star Trek VI The Undiscovered Country
Cliff Eidelman. Encoded at 320 Kbps.

Track List

01: Oveture
02: An Incident
03: Clear All Moorings
04: Assassination
05: Surrender for Peace
06: Death of Gorkon
07: Rura Penthe
08: Revealed
09: Escape from Rura Penthe
10: Dining on Ashes
11: The Battle for Peace
12: Sign Off
13: Star Trek VI Suite

Download Link (http://rapidshare.com/files/147654029/Star_Trek_VI_The_Undiscovered_Country.rar.html)

Star Trek Generations
Dennis McCarthy. Encoded at 128 Kbps.


Track List

01: Star Trek Generations Oveture
02: Main Title
03: The Enterprise B / Kirk Saves the Day
04: Deck 15
05: Time is Running Out
06: Prisoner Exchange
07: Outgunned
08: Out of Control / The Crash
09: Coming to Rest
10: The Nexus / A Christmas Hug
11: Jumping the Ravine
12: Two Captains
13: The Final Flight
14: Kirk's Death
15: To Live Forever

Download Link (http://rapidshare.com/files/147670110/Star_Trek_Generations.rar.html)

Star Trek First Contact
Jerry Goldsmith. Encoded at 128 Kbps.


Track List

01: Main Titles / Locutus
02: Red Alert
03: Temporal Wake
04: Fully Functional
05: Welcome Aboard
06: Evacuate
07: 39.1 Degrees Celsius
08: The Dish
09: First Contact
10: End Credits
11: Steppenwolf, "Magic Carpet Ride"
12: Roy Orbison, "Ooby Dooby"

Download Link (http://rapidshare.com/files/147674391/Star_Trek_First_Contact.rar.html)

Star Trek Insurrection
Jerry Goldsmith. Encoded at 128 Kbps.


Track List

01: Main Titles / Ba'ku Village
02: In Custody
03: Children's Story
04: Not Functioning
05: New Sight
06: The Drones Attack
07: The Riker Maneuver
08: The Same Race
09: No Threat
10: The Healing Process
11: End Credits

Download Link (http://rapidshare.com/files/147679319/Star_Trek_Insurrection.rar.html)

Star Trek Nemesis
Jerry Goldsmith. Encoded at 128 Kbps


Track List

01: Remus
02: The Box
03: My Right Arm
04: Odds and Ends
05: Repairs
06: The Knife
07: Ideals
08: The Mirror
09: The Scorpion
10: Lateral Run
11: Engage
12: Final Flight
13: A New Friend
14: A New Ending

Link Removed

sweet, thanks man it was worth it.

I'm just finishing uploading Star Trek VI. The Next Generation movies will be done by the end of tomorrow evening.

Edit. Star Trek VI added. Rest to be added this evening.

thanks for this brother Love Star Trek :)

Update. All links active. If any go down, send me a PM and I'll re-up. :D

Totaly Brilliant nice one

230 some odd views already and I just uploaded them all this morning? Wow. Wasn't expecting that. Glad all of you are enjoying the upload.

"The Final Frontier" was a piece of shit, without a doubt - but the score was one of Jerry's later masterpieces... In a debate about Star Trek movies per se, I'd happily pretend it never existed, but in a discussion about good music, it simply cannot be ignored. The music transcends the half baked nonsense movie for which it was written...

I agree dannyfrench. Ignoring the score for STV is sacrilege. Especially keeping in the scores for Insurrection and Nemesis which were equal if not worse than STV.

Indeed - don't get me wrong, I love all of them (Goldsmith's especially) but, leave out TFF but leave in Nemesis? Huh?

Though it has to be said, you pretty much have to love Nemesis... I do, dearly - score, not film, (grade A stinker) purely because it was Goldsmith's last Trek. I think it's fairly obvious that he knew that it would be - his health was failing by 2002, and the whole thing has this very uneasy sense of melancholy that doesn't appear to be much to do with the movie - and beginning with Nemesis through to his final score only two years later, he was quoting his older scores more often, in an almost morbid nostalgic look back at his astonishing career. This man wrote music for over fifty years - and he had so many more years left in him, but alas was taken from us by cancer way, way before his time was up. It felt like he was waking up after a five year snooze (Jerry's late nineties, early noughties output weren't his best) and was on the verge of another creative shift - when in reality, he was terrified of dying and was trying to spill out as much music as he could before it caught up with him.

The end titles breaks my heart because all I hear in there is a man who is so tired, whose mind is as powerful as ever, but who is failing physically. The sequence follows the traditional "main theme / love theme / main theme reprise" pattern for possibly the last time in Hollywood - and the love theme... what an absolutely heartbreaking, emotional, golden piece, made all the more amazing by being written for a movie that was almost completely emotionally void.

At the end of recording session of Nemesis, the entire orchestra rose to their feet and applauded - at the time, we all said "what the hell, this score is crap!" but with hindsight, we can now understand that this outpouring of emotion probably wasn't exclusively related to the quality of the music. Finally, in the sea of utter artless rubbish film music in which we're currently sinking, even a sub-par Jerry reminds us all, so poignantly, of what we have lost.

Sorry - off topic.

Please don't leave out TFF. If you don't have it, or don't wish to upload it, with the original poster's permission of course, I will post it myself.

I absolutely agree with every word that dannyfrench said on the last post.

Sometimes I feel like I'm the only one in the world who likes McCarthy's score for Generations and finds it superior to The Undiscovered Country. It's not the best orchestral performance, but I really like the harmonies, the bad guy motif, and other such aspects. Maybe I'm too sentimentally attached to the tv series and its music, but it does sound like something Ron Jones or even David Newman would write in parts.

And the only cue I like from The Voyage Home is the time-traveling one. The effect in the trumpets for the first 13 seconds before the basses come in and make a stupid major chord is great. I can think of a million uses for that sound. At least we get a lot more of it in Bakshi's Lord of the Rings.

But of course I hold Horner's Wrath of Khan in the highest regard. Scoring the Mutara battle like a swashbuckling epic is a stroke of pure genius, and one I'm hoping Giacchino takes into consideration.

I do have a soft spot for Generations, but in comparison to the others (even The Undiscovered Country, although I don't hold it up as the unsurpassable masterwork other reviewers have observed) it feels like a lot of blow and no go. Captain f***king Kirk DIES, for Christ's sake - and what do we get? Not what we should've done - that's what!

With his 100 piece orchestra, McCarthy managed to write a score that sounds lethargic pretty much from start to finish. Obviously the Berman influence was being felt still - thank God the score didn't turn out like so many of the later TV scores, but nevertheless... Having said that, the main theme isn't bad (although it could use a decent arrangement) and the Nexus theme is absolutely delicious. I thought the very subtle scoring of Picard's in-the-nexus scenes were some of the best scored scenes in all cinema. But the trouble with it was, the subtlety never gave way and as a whole, the score was largely subtle and unaffecting throughout.

As far as The Voyage Home is concerned, it was a gigantic great silly slapstick romp. Lord Of The Rings was absolutely great in there. I have no respect for Rosenman as a musician - anybody who blows their own trumpet as much as he did, obviously feels he has something to prove, and appears incapable of proving it through his music. So when all else fails, insult everybody, and continuously pound on about how marvellous is every note you've ever written. Herrmann was a dick head, but his talent justified it. With Rosenman, I saw just a dick head - one who had it in his head that he was the reincarnation of Jesus and who had nothing but malice towards the un-educated knuckle draggers (ie, everybody) who didn't understand his great gift.

And, the guy only wrote one melody in his entire career. C'mon...

Edit: TWOK is superb, absolutely superb. It could never happen now. My hopes for Giacchino's efforts aren't great. Even with Jack Hayes orchestrating (yes, really - he employed Horner's orchestrator from Star Trek II - he'll be 90 at the session) I think it's going to suffer from the following:

a) Giacchino is not that great.
b) He's not Goldsmith or Horner.
c) Modern-sci-fi-movie-syndrome. (Electronics, banging percussion.)
d) Studio-Zimmer-Loving-pressure.
e) JJ Abrahms.

What we are going to get is a very limp score that knows it can't compete with the previous efforts so doesn't even try. It will be 90 minutes of rubbish interspersed with "re-imagined" (read: crap) arrangements of Courage's theme.

If it isn't, I'll eat my hat - and believe me, I'd cheerfully do so and not in the slightest bit complain about being proven wrong, if it meant we got a truly great Trek score, but what are the odds?

If Giacchino by some miracle pulled his finger out and did something amazing - and the movie did well, that might, just might, do for modern film music what Superman / Jaws did in the seventies - kick-start another age of intelligent, symphonic scoring...

Or, we'll get a) a load of electronica samples and cack, b) a soul-less melange of good themes (from previous films and the TV series) orchestrated to hell and back, but completely dead inside, c) all of the above, or d) a vaguely competent effort that beats the arse off anything else written in 2009, but still in no way matches its predecessors.

c) Modern-sci-fi-movie-syndrome. (Electronics, banging percussion.)

Yeah, the percussion is going to be an inevitability, I'm afraid. I'm not the biggest Giacchino fan either. He's treats strings like a xylophone.

There is currently an obsession in Hollywood (not to mention Western video games) to get a whole bunch of percussionists in a room and let them go nuts on a whole bunch of fancy instruments. It's just another facet of the textural scoring craze, but I think it's had a negative affect on Giacchino and his "associates."

Ha. Another reason why I left out TFF was because I actually don't have it.

Ah, that's a good reason. I think i have it on one of my comps. If not, i think i can hunt it up for ya.

Like dannyfrench said, It'd be sacrilege to not include TFF's score. it was about the only thing good about that movie.

I liked the later movies, especially the scores, but i admit, the older ones were better.

Go ahead. I don't think anyone else'll mind since they all seem to be clamoring for it.

At the risk of going off-topic, what do you guys think is responsible for the shift towards more percussion-centric scores? Seems like Battlestar Galactica went whole hog in '01, and everyone since has followed. Was there something else behind it?

(And FWIW, please do include ST: V, please!)

I'm uploading the Star Trek V Expanded Sountrack for you guys now. Took me forever to find it a few months back. If anyone has any issue with it i'll remove it per request :-)

Star Trek V: The Final Frontier (Extended) (http://rapidshare.com/files/148112095/StVext.zip.html)

Album pictures included in the directory.

Hope nobody will mind, but here's a little bonus for the Star Trek 5 connosieur... A 22 minute continuous suite of Jerry's magnificent score.

0:00 - 1:08: 1. The Mountain (March)
1:08 - 3:27: 7. Let's Get Out Of Here (excerpt)
3:27 - 7:57: 4. A Busy Man
7:57 - 10:42: 2. The Barrier
10:42 - 13:47 8. Free Minds
13:47 - 16:42 5. Open The Gates (excerpts)
16:42 - 18:42 1. The Mountain (Main Title - Mountain Climbing)
18:42 - end 10: Life Is A Dream (End Credits)

http://massmirror.com/1e8cd03be2bd5ddeb4a832e0e607d960.html

(Edited from a lossless EAC rip of the GNP Crescendo release, encoded to MP3 at -V0 Lame 3.97)

:)

I'm not sure which had the best music out of all of them. All I know that II and VI has the best I've heard.

Does anyone knows how i get the John Williams version of the Main Theme from Star Trek?

Lovin' the star trek music! Thanks

Does anyone knows how i get the John Williams version of the Main Theme from Star Trek?

If you mean the Goldsmith theme that Williams conducted with the Boston Pops, I really really REALLY wouldn't if I were you... It's absolutely terrible. Williams takes it so slowly it becomes painful to listen to. Hearing it, I can imagine that the ship has broken down, and Scotty has got out to push. The Enterprise lumbers slowly and painfully through space, sparks flying out of the warp engines and all the lights flickering on and off, whilst Kirk sits on the bridge falling asleep, trying to steer into oncoming traffic just for fun.

Honestly, it's mind-bogglingly AWFUL. If you want it, I'll upload it, but don't say I didn't warn you. ;)

To mention Voyage Home again for a moment.
If I were to guess, a lot of the reason Rosemann got the gig in the first place may have been his score for Lord of the Rings, since Nimoy is a huge Tolkien fan (remember the "Ballad of Bilbo Baggins?") It is also possible that when discussing what Nimoy wanted in a score, that he said, give me something like Lord of the Rings. The great struggle composers can have is the fight between the their own vision and whatever got laid down as a temp track. (The most notorious example being 2001, where what you hear IS the temp track.)

Of course, he may also be a one trick pony.

Sorry to interrupt,
JonC

If I were to guess, a lot of the reason Rosemann got the gig in the first place may have been his score for Lord of the Rings, since Nimoy is a huge Tolkien fan (remember the "Ballad of Bilbo Baggins?")

Interesting thought. LOTR was 1978, however, against ST4's 1986. Nimoy is an intelligent man - I really wonder if he'd phone up the guy who scored a film on a subject matter he enjoyed, nearly a decade ago, and say "I like Lord of the Rings... I see that you wrote music for that crappy animated movie of it in 1978. Your music was pretty good! Would you mind rehashing it for this hokey sci-fi movie I'm making? Live long and prosper!"


It is also possible that when discussing what Nimoy wanted in a score, that he said, give me something like Lord of the Rings.

Knowing Rosenman's temperament, I suspect that if somebody *had* asked that question of him, his response would've been "F*&% OFF!"

Rosenman was the kind of guy who told the director what sort of music he would be getting - and if he didn't like it, he could bloody well hire another composer.


The great struggle composers can have is the fight between the their own vision and whatever got laid down as a temp track. (The most notorious example being 2001, where what you hear IS the temp track.)

Most definitely. The ironic thing about 2001 is that Alex North was asked to write a score purely to keep the studio sweet and off Kubrick's back whilst he made the movie - he always intended from day one to use his temp score in the finished picture. North was aware of the temp track scenario (but only believed Kubrick to particularly enjoy it - I doubt he was expecting to have his score thrown out and replaced with Messrs Strauss and Ligeti, et al! His score did make some concessions to the temp track - notably the Main Title, which was structurally derived from Also Sprach Zarathurstra. He composed Space Station Docking as a waltz, also, but that's about it. He wrote his own score - he just used the temp score to suggest mood, or a vague sense of structure, and went off and used his own creativity to fashion the music. The way a good composer should approach the dreaded temp track scenario.

Rosenman, on the other hand, recycled that theme throughout his career. It's in Robocop, it's in LOTR, and it's in Star Trek. I don't know enough about his career to tell you if it appears anywhere else, but it's safe to say it probably is - if he'll use the same theme in 1978, 1986, and 1990 in three completely unrelated films for three different directors, who knows? I'd be most interested if any Rosenman fan can shed some light upon this...

:)


Of course, he may also be a one trick pony.

I'm biased because I don't like the man or his music - although I have a lot of respect for him, and since he has now passed on (RIP) I wouldn't be quite as explicitly critical as perhaps I would of another composer... But I believe this to be the case. The guy hated film - and he didn't give a damn about film music. He wrote film music to rake in the cash to fund his torturous (and completely abortive) concert music career - he also used his film scores as "testing grounds" for new ideas that he would later incorporate into his classical music. So as far as he was concerned, his film music was nothing more than the conspicuously luxurious opportunity to run through his compositional sketch books with a large orchestra. That brazen disregard for the artform, combined with his legendary arrogance, leads me to believe that perhaps he was indeed a one trick pony. A man desperately convinced of his own skill, and absolutely pissed off with the world for not indulging him in his desire to be constant praised, adored, and reverred.

Rosenman, in short, is NOT my cup of tea. :)


Sorry to interrupt,
JonC

Not at all! :)

If I were to guess, a lot of the reason Rosemann got the gig in the first place may have been his score for Lord of the Rings, since Nimoy is a huge Tolkien fan (remember the "Ballad of Bilbo Baggins?")

Interesting thought. LOTR was 1978, however, against ST4's 1986. Nimoy is an intelligent man - I really wonder if he'd phone up the guy who scored a film he liked nearly a decade ago, say "Would you mind rehashing that for this sci-fi movie I'm making?" and hoping nobody would notice...


It is also possible that when discussing what Nimoy wanted in a score, that he said, give me something like Lord of the Rings.

[Knowing Rosenman's temperament, I suspect that if somebody *had* asked that question of him, his response would've been "F*&% OFF!"

Rosenman was the kind of guy who told the director what sort of music he would be getting - and if he didn't like it, he could bloody well hire another composer.


The great struggle composers can have is the fight between the their own vision and whatever got laid down as a temp track. (The most notorious example being 2001, where what you hear IS the temp track.)

Most definitely. The ironic thing about 2001 is that Alex North was asked to write a score purely to keep the studio sweet and off Kubrick's back whilst he made the movie - he always intended from day one to use his temp score in the finished picture. North was aware of the temp track scenario (but only believed Kubrick to particularly enjoy it - I doubt he was expecting to have his score thrown out and replaced with Messrs Strauss and Ligeti, et al! His score did make some concessions to the temp track - notably the Main Title, which was structurally derived from Also Sprach Zarathurstra. He composed Space Station Docking as a waltz, also, but that's about it. He wrote his own score - he just used the temp score to suggest mood, or a vague sense of structure, and went off and used his own creativity to fashion the music. The way a good composer should approach the dreaded temp track scenario.

Rosenman, on the other hand, recycled that theme throughout his career. It's in Robocop, it's in LOTR, and it's in Star Trek. I don't know enough about his career to tell you if it appears anywhere else, but it's safe to say it probably is - if he'll use the same theme in 1978, 1986, and 1990 in three completely unrelated films for three different directors, who knows? I'd be most interested if any Rosenman fan can shed some light upon this...

:)


Of course, he may also be a one trick pony.

I'm biased because I don't like the man or his music - although I have a lot of respect for him, and since he has now passed on (RIP) I wouldn't be quite as explicitly critical as perhaps I would of another composer... But I believe this to be the case. The guy hated film - and he didn't give a damn about film music. He wrote film music to rake in the cash to fund his torturous (and completely abortive) concert music career - he also used his film scores as "testing grounds" for new ideas that he would later incorporate into his classical music. So as far as he was concerned, his film music was nothing more than the conspicuously luxurious opportunity to run through his compositional sketch books with a large orchestra. That brazen disregard for the artform, combined with his legendary arrogance, leads me to believe that perhaps he was indeed a one trick pony. A man desperately convinced of his own skill, and absolutely pissed off with the world for not indulging him in his desire to be constant praised, adored, and reverred.

Rosenman, in short, is NOT my cup of tea. :)


Sorry to interrupt,
JonC

Not at all! :)

Interesting thought. LOTR was 1978, however, against ST4's 1986. Nimoy is an intelligent man - I really wonder if he'd phone up the guy who scored a film he liked nearly a decade ago, say "Would you mind rehashing that for this sci-fi movie I'm making?" and hoping nobody would notice...

Actually this sort of things happens all the time. And I can completey imagine Nimoy doing this. Stranger things, from smarter people, are a daily occurrence.

And sorry about the duplicate post, my graphics tablet is doing wierd things.
JonC

He wrote his own score - he just used the temp score to suggest mood, or a vague sense of structure, and went off and used his own creativity to fashion the music. The way a good composer should approach the dreaded temp track scenario.
And this of course, is where the conflict comes in. If the director has a limited vision, or if two people (director and composer,) hear the exact same sample and come to different conclusions... well, that is where rejected scores come from.
JonC

If you mean the Goldsmith theme that Williams conducted with the Boston Pops, I really really REALLY wouldn't if I were you... It's absolutely terrible. Williams takes it so slowly it becomes painful to listen to. Hearing it, I can imagine that the ship has broken down, and Scotty has got out to push. The Enterprise lumbers slowly and painfully through space, sparks flying out of the warp engines and all the lights flickering on and off, whilst Kirk sits on the bridge falling asleep, trying to steer into oncoming traffic just for fun.

Honestly, it's mind-bogglingly AWFUL. If you want it, I'll upload it, but don't say I didn't warn you. ;)

Well i never heard it, can you uploaad it?
Just curious to hear this.

Well i never heard it, can you uploaad it?
Just curious to hear this.

As you wish. ;)

Sorry - this is 128kbps. I aquired this MP3 years and years ago, before I was intelligent enough to know any better. I wouldn't worry too much though - crap at a high bitrate is still crap!

I have not re-tagged it or retitled it. Too tired for that..

http://sharebee.com/98fd3dd1

Actually this sort of things happens all the time. And I can completey imagine Nimoy doing this. Stranger things, from smarter people, are a daily occurrence.

Perhaps... I still maintain that Rosenman would've responded with a stream of abuse and refused to do it, though. ;)


And this of course, is where the conflict comes in. If the director has a limited vision, or if two people (director and composer,) hear the exact same sample and come to different conclusions... well, that is where rejected scores come from.
JonC

Ain't that the truth... Although there are three types of rejected score... There's the "You didn't copy the temp track - you're fired!" rejection, and there's the "Dear God, this music is absolutely terrible and inappropriate - you're fired!" rejection, and finally the "The music is great, appropriate, and original, but the studio don't like it or don't think it's marketable, so you're fired!"

Conflict comes about because a director is unable to understand that the composer should be in charge of the music, not him. Obviously, the composer should receive guidance - it is, after all, the director's film but the score should be his own. I don't see any directors running around special effects department and saying, "You know this thing you're building right now? Make it look *EXACTLY* like the Death Star, but different enough so we don't get sued, or you're all sacked!"

Yet, I see dozens of cases where musically illiterate directors insult the skill of their composers by forcing them to ape the temp track, rejecting them, placing saleability ahead of high standards, and finally the greatest insult of all - not trusting the composer's ability to score appropriately. If you don't trust the guy, why did you hire him?

The very best film scores throughout history have come from talented composers who have been allowed to do what they do best - write music, without having their art stifled or distorted by committees or marketing departments.

I don't think Nimoy asked Rosenman to copy LOTR. I think Rosenman thought, "Bah, this is a film score, who gives a shit? Let's just have a quick look in my notebook... Happy tune, happy tune, ah, there it is! Let's just change two notes, that'll be enough for those inbred saddo film music nuts! Oh, and I have to use some silly piece of music that already exists in this score? Um, OK, I'll just throw that in here, and go straight into happy tune, and occasionally quote that dumb fanfare... Repeat ad nauseum for 45 minutes, throw in a bit of pompous, avant-garde pontification from Fantastic Voyage - that was twenty years ago, nobody'll remember that - and there we go! Check, please!" and went on his merry way.

If you mean the Goldsmith theme that Williams conducted with the Boston Pops, I really really REALLY wouldn't if I were you... It's absolutely terrible. Williams takes it so slowly it becomes painful to listen to. Hearing it, I can imagine that the ship has broken down, and Scotty has got out to push. The Enterprise lumbers slowly and painfully through space, sparks flying out of the warp engines and all the lights flickering on and off, whilst Kirk sits on the bridge falling asleep, trying to steer into oncoming traffic just for fun.

Honestly, it's mind-bogglingly AWFUL. If you want it, I'll upload it, but don't say I didn't warn you. ;)

Hey, sorry for my bad english (i'm Dutch). I have listen it on Youtube and i think it's a beautifull (like most of the other scores from Williams) and overall better then the other composers like James Horner who didn't use the main theme from Goldsmith. John Williams is not my favorite composer but he composed some of the most epic scores (Star Wars saga) and the music from The Last Crusade is beautifull. Jerry Goldsmith's score in Star Trek The Motion Picture is great and the main theme gets me every time. I also like Goldsmith's music from Rambo 1, 2 and 3 (The 4th movie didn't have the action theme from Rambo 2 and 3). Any way, if you can upload Williams version, please do. I liked it, altough Goldsmith is the king of course! But Williams version reminds me of the sc�ne where Captain Kirk and Scotty aproache the Enterprise (in the docking bay). The music there is slow and beautifull just as Williams tribute.

As you wish. ;)

Sorry - this is 128kbps. I aquired this MP3 years and years ago, before I was intelligent enough to know any better. I wouldn't worry too much though - crap at a high bitrate is still crap!

I have not re-tagged it or retitled it. Too tired for that..

http://sharebee.com/98fd3dd1

Holy God. This ...sucks. It's like they took the original Goldsmith version and slowed it down.

I wonder if there are soundtracks for the TV series ones.

Holy God. This ...sucks. It's like they took the original Goldsmith version and slowed it down.

I don't get it..all the negative posts. Goldsmith is the best of course but Williams version is also very beautifull. Is this because the Star Trek fans hated Star Wars and John Williams..and therefore dislike his version? I like both sagas and i think Williams trubute to Goldsmith is very beautifull. Slow...that maybe. But think of the sc�ne where Kirk and Scott aproaches the Enterprises in the Docking Bay (Motion Picture). The main theme is just as slow. I loved it.

Williams is HIGHLY overrated in my personal opinion. It's because of rapid Star Wars fans that I've come to loathe him greatly.

Oh. And there's only one L in beautiful, genius.

I don't get it..all the negative posts. Goldsmith is the best of course but Williams version is also very beautifull. Is this because the Star Trek fans hated Star Wars and John Williams..and therefore dislike his version? I like both sagas and i think Williams trubute to Goldsmith is very beautifull. Slow...that maybe. But think of the sc�ne where Kirk and Scott aproaches the Enterprises in the Docking Bay (Motion Picture). The main theme is just as slow. I loved it.

No... it's because John Williams made a complete bollocks of the theme when he conducted it in the recording we're discussing. Nobody is hating Williams because he's not Goldsmith - we're hating this recording because it's dreadful.

Yes, the theme turns up that slow in places in TMP - but it's never that simple. This performance - of the theme in its MARCH ARRANGEMENT - is no bloody good! :)

Williams is HIGHLY overrated in my personal opinion. It's because of rapid Star Wars fans that I've come to loathe him greatly.

Williams is wonderful, but he's not God, and I wish people would stop saying he was... I went through a period of disliking Williams - for exactly the reasons you don't (except mine were Harry Potter fans) and it lasted a long while... Then I finally sat down and gave the guy another chance - it would be a great shame if you turned away the music of a great composer because of the company he attracts... ;)

De problem with Williams scores is that the most time it's great, allmighty and mindblowing (like the Emperial March, the opening of Star Wars, the piece at the end of A New Hope where the rebels getting the rewards and the Battle of Endor theme) but it almost never gets me in a sensitive/touching way (sorry for my bad english but i hope you are all know what i mean). Altough some themes like the one from The Last Crusade (the ending where Henry Jones puts Indy over the edge till the part where they ride to the sunset), the theme (i thought it was called 'Harry's Wonderous World' or something) in Harry Potter and the Philosopher's Stone and the romantic theme in Attack of the Clones are very beautifull and gets me every time. But there are other composers with scores where you almost cry or does something with you when you hear it. Like the ending theme in Dances With Wolves from John Barry and the ending theme in Legends of the Falls from James Horner (who did the same beautifull job with Bravehearth..and yes..even Willow!). Altough i didn't like Horner's score in the Star Trek movies that much. Any way, my all time favorite composer who made the most beautifull, touching and greatest scores in my opinon: Masamichi Amano. Sure, he used the same themes over and over again and he is a copycat...but i like his scores in general. Battle Royale 1 and 2, Giant Robo, Stratos 4: Advanced, Princess Nine, The Geisha House..very beautifull! I also liked Joe Hisaishi very much with his great scores in Hayao Miyazaki's movies (Spirited Away, Howl's Moving Castle, Laputa: Castle in the Sky, Princess Mononoke..etc).

I think you may've reached exactly the reason Williams doesn't resonate with me the way Goldsmith does, or any other number of composers. Everything is technically superb, flawless in construction, magnificently orchestrated, thematically rich, and all the rest of it... But, for me at least, he often misses out on the (seemingly simple, but never so) act of tugging at my heartstrings. I've never heard a note of Williams out of place, and it's very exciting, and BELIEVE ME, I'd rather listen to a bad Williams score than almost *anything* being turned out by the cookie-cutter score factories of today, but it just doesn't reach beyond my brain.

There are exceptions - AI tugs at my heartstrings like no other... but there's always an exception that proves the rule.

I think you may've reached exactly the reason Williams doesn't resonate with me the way Goldsmith does, or any other number of composers. Everything is technically superb, flawless in construction, magnificently orchestrated, thematically rich, and all the rest of it... But, for me at least, he often misses out on the (seemingly simple, but never so) act of tugging at my heartstrings. I've never heard a note of Williams out of place, and it's very exciting, and BELIEVE ME, I'd rather listen to a bad Williams score than almost *anything* being turned out by the cookie-cutter score factories of today, but it just doesn't reach beyond my brain.

There are exceptions - AI tugs at my heartstrings like no other... but there's always an exception that proves the rule.

The saddest and most emotional theme Williams has ever written is You Are The Pan from Hook. When you think about how much more emotional the music was in Braveheart or Glory compared to The Patriot, you have to wonder what's keeping Williams from laying on the schmultz thick like Horner does.

When you think about how much more emotional the music was in Braveheart or Glory compared to The Patriot, you have to wonder what's keeping Williams from laying on the schmultz thick like Horner does.

I'm one of the biggest Horner fans in existence (and I can't stand Williams' music because of how emotionless it is to me) and I can say with certainty that Horner lays on that 'schmaltz' because that's what he's asked to do, and in cases of films like Braveheart, Field Of Dreams and other examples where his music has really shined in the public's ears it has to do with how emotionally connected he gets to the film's characters and events. While that latter reason may mean nothing to you, for Horner the emotions he expresses in his music are totally genuine in those cases, and hearing all his scores and seeing the films they were written for has enabled me to see just where that genuine emotion and forced directorial wishes show through each time.

Horner has said on more than one occasion that it's because he gives directors and producers precisely what they want that is key to his success, NOT talent. Even if it's against his better judgment. One example is Radio, a film judged as having too schmaltzy a score, was basically Horner having all his requests to tone things down and avoid using the main theme so often ignored by director Mike Tollin.

I'm one of the biggest Horner fans in existence (and I can't stand Williams' music because of how emotionless it is to me) and I can say with certainty that Horner lays on that 'schmaltz' because that's what he's asked to do, and in cases of films like Braveheart, Field Of Dreams and other examples where his music has really shined in the public's ears it has to do with how emotionally connected he gets to the film's characters and events. While that latter reason may mean nothing to you, for Horner the emotions he expresses in his music are totally genuine in those cases, and hearing all his scores and seeing the films they were written for has enabled me to see just where that genuine emotion and forced directorial wishes show through each time.

Horner has said on more than one occasion that it's because he gives directors and producers precisely what they want that is key to his success, NOT talent. Even if it's against his better judgment. One example is Radio, a film judged as having too schmaltzy a score, was basically Horner having all his requests to tone things down and avoid using the main theme so often ignored by director Mike Tollin.


as much as i love horner's scores [esp. jack the bear/jumanji!]; he is nowhere in league with williams.the inly problem i have with williams scores is either the best stuff is left off album or is has been altered, [ex: Harry potter,star wars 2/3,hook,jurassic park] which sometimes i take over film versions;so really, even thought its never gonna happen, if e vrey williams score got complete releases i would love everyone of his ost's.

I was never comparing Horner and Williams, and I don't care about who's "better" than the other. I was only saying that I understand Horner's approaches and sensibilities, and was crystal clear as to why I don't enjoy Williams' music.

Thanks for the uploads man, I got them all again :]

Star Trek, awesome! I will be snagging Nemesis and Wrath of Khan :) Thanks a ton! :D

do you have the complete nemesis score..!

Hey guys,

Here's a link to the 3-disc complete recording sessions for Star Trek: The Motion Picture, which includes music not released on the 20th anniversary soundtrack as well as material not used in the film:

http://www.megaupload.com/?d=TYL6KZ5D

The score is encoded at 192kbps and 320kbps.

(The link is courtesy of Chief Dundee. Check out his blog for more awesome film/TV music: http://chiefdundee.blogspot.com/)

Oh and thanks for your stuff ixaigus!

do you have the complete nemesis score..!

Ask and ye shall receive at 320kbps: http://rapidshare.com/files/148416947/Star_Trek_Nemesis.rar

(Courtesy of Soundtrack Central: http://soundtrackcentral.blogspot.com/)

would yer belive it...i was just about to post the link as well
looks like we think alike lol
thanks anyway..;)

thanks for ST-TPM
does anybody have ST-V -TFF

Does anyone know where Star Trek The Motion Picture 3 CD Complete Score can be found in lossless version? Any help is appreciated. Thanks.

Veen looking for the STTMP 3 CD set for awhile much aprciated

Loving all these Star Trek Soundtracks Thanks a lot

Edit: TWOK is superb, absolutely superb. It could never happen now. My hopes for Giacchino's efforts aren't great. Even with Jack Hayes orchestrating (yes, really - he employed Horner's orchestrator from Star Trek II - he'll be 90 at the session) I think it's going to suffer from the following:

a) Giacchino is not that great.
b) He's not Goldsmith or Horner.
c) Modern-sci-fi-movie-syndrome. (Electronics, banging percussion.)
d) Studio-Zimmer-Loving-pressure.
e) JJ Abrahms.

What we are going to get is a very limp score that knows it can't compete with the previous efforts so doesn't even try. It will be 90 minutes of rubbish interspersed with "re-imagined" (read: crap) arrangements of Courage's theme.

If it isn't, I'll eat my hat - and believe me, I'd cheerfully do so and not in the slightest bit complain about being proven wrong, if it meant we got a truly great Trek score, but what are the odds?

If Giacchino by some miracle pulled his finger out and did something amazing - and the movie did well, that might, just might, do for modern film music what Superman / Jaws did in the seventies - kick-start another age of intelligent, symphonic scoring...

Or, we'll get a) a load of electronica samples and cack, b) a soul-less melange of good themes (from previous films and the TV series) orchestrated to hell and back, but completely dead inside, c) all of the above, or d) a vaguely competent effort that beats the arse off anything else written in 2009, but still in no way matches its predecessors.

So did you eat your hat?

Who has the new expanded score of STAR TREK II - THE WRATH OF KHAN?

http://www.filmscoremonthly.com/cds/detail.cfm/CDID/431/Star-Trek-II--The-Wrath-of-Khan/

Lois Lane. You would benefit from using the all wonderful search function here.

This has been posted multiple times already. Don't be lazy. Look for it.

Better yet, all Lois has to do is scroll through the front pages. It's on page 4.

,

Where are the ENTERPRISE soundtracks?

So did you eat your hat?

Sadly not, because what we got was option D. ;)

Do you have those on disc? I'd love to get some lossless rips of them. :D


Hi All,

Love the Star Trek music. In fact, I'm wondering if anyone out there has promos for full episodic scores from TNG, DS9, VOY or ENT that haven't been released commercially?

I'm aware of the following promos existing (and already have access to them, so no need to post here if you have them, hehe):

Enterprise - In a Mirror Darkly, I & II
Enterprise - Similitude
Enterprise - Silent Enemy
Enterprise - Canamar
Enterprise - Regeneration
Enterprise - These Are The Voyages...
TNG - The Face of the Enemy

The fact these are out there makes me think, there's gotta be more!

If anyone knows of additional promos (non-DVD rips) for these Trek TV series, please let me know!

There's literally hundreds and hundreds of episodes out there, some of them with really great scores, I'd wish it was possible to get a hold of.

A handy resource for Star Trek soundtracks, btw, is http://www.startreksoundtracks.com/index.php, which contains individual composer/episode listings for every single episode.

Who has the expanded score of STAR TREK XI?

Who has the new expanded score of STAR TREK II - THE WRATH OF KHAN?

http://www.filmscoremonthly.com/cds/detail.cfm/CDID/431/Star-Trek-II--The-Wrath-of-Khan/

I do and it's fantastic. It's nice to finally have the complete score, and every song sounds like it's brand new.

If you want to grab it, I posted it on Demonoid in FLAC. I might be able to post it to rapidshare in the future.

Wanted:

STAR TREK: ENTERPRISE promo scores

STAR TREK: YOYAGER - ELITE FORCE I & II game music

Wanted: Star Trek TAS score- anything that exists! ;-)

The Insurrection link appears to be dead...

Thanks for these!

Forget that old version of Star Trek II: the Wrath of Khan.
I want the extended version now.
http://www.aintitcool.com/node/41753

That Wrath of Khan release came out nearly a year ago; hardly news. Great CD, though, well worth the money for anyone who can afford it. Supposedly, The Search For Spock is next to get that treatment. It's nowhere near as good a score as The Wrath of Khan, but FSM will still sell one to me when and if they release it.

music from the movie Star Trek, and 3 cd's, woooooow ...

Williams is HIGHLY overrated in my personal opinion. It's because of rapid Star Wars fans that I've come to loathe him greatly.

Williams had a few good cues in star wars, but when it comes to battle cues, they just sucked! Imagine how well star wars would have been if, hmmm.... hans zimmer did the music? Even James Horner...

My vote goes for John Barry being the ultimate score king pity i'd love to have seen Barry score a trek movie.

Okay, so I would like to get my hands on the full scores of Wrath of Khan and Nemesis. Anybody knows where I can get these? I read through the whole thread but the links appear to be dead to me. :( Any help would be appreciated. Low quality mp3 is fine. ;)

Hi, I'm looking for the Star trek (2009) Ost, extended. I saw others posts but they are dead. Anybody know where I can get this? Thank you ^^

Hi, I'm looking for the Star trek (2009) Ost, extended. I saw others posts but they are dead. Anybody know where I can get this? Thank you ^^

What you're looking for is from the label "Varese" and is not allowed to be posted (forum rules!). P.M. me for further information...

looks nice :)

Track Listing



DISC ONE
1. Remus* (2:01)
2. The Box (2:21)
3. My Right Arm (1:04)
4. Star Field** / Positronic Signal (1:57)
5. The Argo (1:17)
6. Odds And Ends (4:39)
7. Your Brother / Course Plotted** (2:07)
8. Repairs** (6:27)
9. The Knife (3:10)
10. Perfect Timing / Allegiance (2:21)
11. Secrets (1:28)
12. The Mine (1:30)
13. Ideals (2:16)
14. Options (0:55)
15. Bed Time / Transport (1:38)
16. Blood Test (1:23)
17. The Mirror (5:23)
18. The Scorpion** (2:24)
19. His Plans / Data & B-4 (2:39)
20. Battle Stations** (2:40)
21. Attack Pattern (2:22)
22. The Invitation / True Nature / Let’s Go To Work (4:38)
23. Lateral Run (3:55)
24. The Viceroy (:20)

DISC TWO
1. Engage (2:14)
2. Full Reverse (1:41)
3. Not Functional (2:54)
4. Final Flight (3:49)
5. Firing Sequence (:54)
6. A New Friend (2:38)
7. That Song** / An Honor (1:24)
8. A New Ending*†** (8:30)

Source Music:
9. Riker’s Strut #1 (Mike Lang) (1:07)
10. Riker’s Strut #2 (Mike Lang) (1:09)
11. Blue Skies† (Vocal By Brent Spiner) (3:17)
12. Blue Skies† (Instrumental) (2:37)

Additional Music:
13. Secrets (Alternate Mix) (1:29)
14. The Mine (Alternate) (1:33)
15. Options (Alternate) (:57)
16. Options (Alternate Mix) (:58)
17. Data & B-4 (Alternate) (1:39)
18. Battle Stations** (Alternate Mix) (2:44)
19. Attack Pattern (Alternate Mix) (2:24)
20. True Nature (Alternate Mix) (1:30)
21. A New Ending*†** (Alternate) (6:11)
22. Director And Composer (2:35)

https://elitesoundtracks.ssl-encrypt.com/index.php?main_page=product_info&cPath=8&products_id=932

Yeah I'm looking forward to this too

looks nice :)

Track Listing



DISC ONE
1. Remus* (2:01)
2. The Box (2:21)
3. My Right Arm (1:04)
4. Star Field** / Positronic Signal (1:57)
5. The Argo (1:17)
6. Odds And Ends (4:39)
7. Your Brother / Course Plotted** (2:07)
8. Repairs** (6:27)
9. The Knife (3:10)
10. Perfect Timing / Allegiance (2:21)
11. Secrets (1:28)
12. The Mine (1:30)
13. Ideals (2:16)
14. Options (0:55)
15. Bed Time / Transport (1:38)
16. Blood Test (1:23)
17. The Mirror (5:23)
18. The Scorpion** (2:24)
19. His Plans / Data & B-4 (2:39)
20. Battle Stations** (2:40)
21. Attack Pattern (2:22)
22. The Invitation / True Nature / Let’s Go To Work (4:38)
23. Lateral Run (3:55)
24. The Viceroy (:20)

DISC TWO
1. Engage (2:14)
2. Full Reverse (1:41)
3. Not Functional (2:54)
4. Final Flight (3:49)
5. Firing Sequence (:54)
6. A New Friend (2:38)
7. That Song** / An Honor (1:24)
8. A New Ending*†** (8:30)

Source Music:
9. Riker’s Strut #1 (Mike Lang) (1:07)
10. Riker’s Strut #2 (Mike Lang) (1:09)
11. Blue Skies† (Vocal By Brent Spiner) (3:17)
12. Blue Skies† (Instrumental) (2:37)

Additional Music:
13. Secrets (Alternate Mix) (1:29)
14. The Mine (Alternate) (1:33)
15. Options (Alternate) (:57)
16. Options (Alternate Mix) (:58)
17. Data & B-4 (Alternate) (1:39)
18. Battle Stations** (Alternate Mix) (2:44)
19. Attack Pattern (Alternate Mix) (2:24)
20. True Nature (Alternate Mix) (1:30)
21. A New Ending*†** (Alternate) (6:11)
22. Director And Composer (2:35)

https://elitesoundtracks.ssl-encrypt.com/index.php?main_page=product_info&cPath=8&products_id=932

When did that come out?!?!?

When did that come out?!?!?

It didn't. Release date will be the week of January 6th, 2014.

I am looking forward to that

Is there anyone who could send me the links from the OST's below?

Original Series:
Star Trek: The Motion Picture - Jerry Goldsmith
Star Trek II: The Wrath Of Khan & Star Trek III: The Search For Spock - James Horner
Star Trek IV: The Voyage Home - Leonard Rosenman
Star Trek V: The Final Frontier - Jerry Goldsmith
Star Trek VI: The Undiscovered Country - Cliff Eidelman

The Next Generation:
Star Trek Generations - Dennis McCarthy
Star Trek: First Contact -Jerry & Joel Goldsmith
Star Trek: Insurrection & Star Trek: Nemesis - Jerry Golsmith

I would be very thankful!!
Very very much thanks in advance!!!

hi and this one Star Trek The Astral Symphony


Star Trek: The Astral Symphony (CD, Compilation)

1 –Jerry Goldsmith Life Is A Dream / Star Trek V 3:57
2 –Jerry Goldsmith The Meld / Star Trek 3:16
3 –James Horner Returning To Vulcan / Star Trek III 4:56
4 –James Horner Battle In The Mutara Nebula / Star Trek II 8:04
5 –James Horner Enterprise Clears Moorings / Star Trek II 3:33
6 –Leonard Rosenman Chekov's Run / Star Trek IV 1:21
7 –Jerry Goldsmith Ilia's Theme / Star Trek 3:01
8 –Jerry Goldsmith Without Help / Star Trek V 4:20
9 –Jerry Goldsmith The Enterprise / Star Trek 6:00
10 –James Horner Prologue And Main Title / Star Trek III 6:30
11 –Leonard Rosenman Hospital Chase / Star Trek IV 1:13
12 –Leonard Rosenman The Whaler / Star Trek II 2:00
13 –Jerry Goldsmith An Angry God / Star Trek V 6:58
14 –James Horner Genesis Countdown / Star Trek II 6:37
15 –James Horner The Katra Ritual / Star Trek III 4:32
16 –Leonard Rosenman Home Again: End Credits / Star Trek IV 5:37