Review: Star Trek: The Next Generation: The Ron Jones Project | TrekMovie.com
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Review: Star Trek: The Next Generation: The Ron Jones Project March 3, 2012

by John Tenuto , Filed under: Merchandise,Music,TNG , trackback

In the last couple of years we have seen a renaissance in expanded releases of Star Trek music, including the Star Trek VI complete soundtrack announced earlier this week. One of the best of these releases has been Film Score Monthly's "Star Trek: The Next Generation: The Ron Jones Project." We have been remiss in not putting out a detailed review, but that ends today. See below to find out what is in this epic 14-disc set.

 

Review: Star Trek: The Next Generation: The Ron Jones Project

With the release of "Star Trek: The Next Generation: The Ron Jones Project," Film Score Monthly/Screen Archives Entertainment bring TNG fans the most ambitious soundtrack offering in the 46 year history of the franchise. Priced at $149.95 for the 14-disc set (or song by song at iTunes or Amazon), the Ron Jones Project provides more than 16 hours of music. The set includes music from more than 40 episodes of TNG all composed by Ron Jones, from "The Naked Now" to "The Best of Both Worlds." The discs also include music from the video games "Starfleet Academy," "Starfleet Command," and more than 70 different alternative tracks and alternate cues.

Packaging and Design

The Ron Jones Project set arrives in a handsome box and includes three multidisc jewel cases holding all 14 discs. Each jewel case is color coded, and uses the famous LCARS design motif associated with TNG which is a nice nostalgic nod to the era when Picard's crew reigned supreme.

The only real misstep with the packaging and design is that these multidisc jewel cases are somewhat clunky to handle and close, although the alternative of 14 individual jewel cases would have been too cumbersome. The disc design are especially nice, featuring main and secondary character pictures on the front of the disc. Every major character, and favorites such as Reginald Barclay, are included.

The packaging and design shows a great deal of care, much like FSM/SAE showed on their previous Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock expanded scores released last year.

Liner Notes

The liner notes are included in an excellently produced 60 page booklet included with the set. The pictures includes both episode/video game images and behind the scenes moments with Jones as he conducts or composes. A six page essay by Jeff Bond and Lukas Kendall begins the liner note book, and it includes many interesting tidbits of soundtrack trivia. For example, even though the pilot episode "Encounter at Farpoint" was composed by Dennis McCarthy, it was Jones who recorded the first ever TNG score because of scheduling. The notes detail why Jones music was selected for the collection, making a convincing argument for why Ron Jones is significant in the pantheon of Trek composers. After the essay, the booklet becomes an indispensable guide to each of the tracks on each of the discs.

For those who enjoy unusual track titles (think the names of the offerings on the Star Trek 2009 movie soundtrack), the tradition continues with such titles "Horny Doctor" (Track 7) of "The Naked Now" or "P for Picard" (Track 28) of "Lonely Among Us." Also of value to soundtrack aficionados is that the liner notes reveal the dates which the score was recorded, usually at the Paramount Pictures Scoring Stage M, although interestingly also at the 20th Century Fox Scoring Stage. All in all, the liner note achieves a level of detail and trivia that most fans will probably enjoy.

The Music

Listening to all 14 discs is a dauntingly fun assignment. In doing so, certain trends and ideas emerge. For example, Jones' work on more than 40 episodes represents a history lesson of how TNG music changed when control went from Gene Roddenberry to Rick Berman. Early episodes have a tonality and fullness more in line with the original 1960s show and reference the Jerry Goldsmith theme song often. Later episode scores reflect a more 1990s TV sensibility with more ambiance, less motif and melody. It is quite a testament to the talents of Jones and his fellow composers that they were able to work with these new requirements, although there are perhaps some moments of incidental ambiance music that goes on too long. However, Star Trek writer and director Nicholas Meyer has a theory that art thrives on limitations and Jones' work is consistently of such a quality and enjoyability that it almost proves the theory.

There are many episode scores worth mentioning in their entirety, including "Final Mission," "Who Watches the Watchers," and "The Offspring." One of the best is "The Naked Now." Track 3, "Longing for Sight" is beautiful if brief at one minute, 51 seconds. Track 8, "Exploding Star" is heroic and truly exciting music. A personal favorite is the Romulan themes and music from "The Defector" which syncopates with sulky intrigue. TNG's episodic music isn't perhaps as instantly recognizable as the cues from TOS, however this collection goes a long way in rectifying that because while listening, associations with various characters and moments are relived without the distraction from the composition that dialog and sound effects present. I listened to the Romulans themes again and again in giddy excitement, to tell you truth, and it made me want to rewatch "The Defector."

Interestingly, some of the very best music is from the video games. Track 1, "Starfleet Academy Themes" from disc 14 could have easily been utilized for one of the feature films. It bends the original themes of Star Trek in such a way that an original and beautiful theme emerges with a healthy respect for the history of Trek music.

Concluding Ideas

This is a serious set that would be appreciated by many fans. It is a piece of TNG history and for soundtrack aficionados, it really is an ambitious and rewarding experience to enjoy the most complete collection of a Trek composer's music ever collected.

Available on CD and Digital Download

The limited edition set is available at FilmScoreMonthly.com for $149.95 (also at ScreenArchivesEntertainment).

You can also download individual songs, or individual "albums" from the set at iTunes or Amazon.

And you can still enjoy the liner notes, which are available for free at FilmScoreMonthly.

 

FSM provided sample for this review.

Comments

1. bradley1701 - March 3, 2012

I bought all of the Ron Jones stuff off of iTunes and it is wonderful! I always used to think that early TNG music was especially generic but it was actually quite nice (in a synthetic 80’s sort of way) and now I have a new appreciation for it. I also like to listen to the RJ stuff instead of the ingame music in Star Trek: Online. Adds so much to the game!

2. Jerry Modene - March 3, 2012

Jones has been busy in his post-Trek years, too – one quick example: he works with Billionfold, Butch Hartman’s cartoon company, and wrote the theme to “The Fairly Oddparents” and other toons.

3. Goosenecked Fan - March 3, 2012

It’s a superb set for sure! My wonderful trophy wife gave it to me as an anniversary gift. Anyway, Ron Jones is my favorite composer from TNG. Now, if only…we had those TOS unreleased scores (mostly second and third season) all in one set like this!

4. Romulus - March 3, 2012

Give me Jerry Goldsmith and James Horner any time.

5. mayem - March 3, 2012

where are the scifi tv and scifi movies columns/it’s been since oct. 2011

6. sean - March 3, 2012

Oh, I’ll gladly take Ron Jones over James Horner. Horner just cannibalizes his previous scores and calls them ‘new’.

7. Marvin the Martian - March 3, 2012

You’ve actually forgotten to mention that Ron is the composer for the most culturally dominant animated series, Family Guy. (Love it or hate it, it’s eclipsed the Simpsons.)

That said, I had the wonderful opportunity to meet Ron Jones in person when they offered this set at a special meet-and-greet with Ron at a local comics bookstore in Burbank. (So, not only do I own the set… but it’s autographed by him as well!) I was surprised that the event was not particularly well-attended, but that gave each of us more time to chat with Ron, who posed for pictures and hung out with us for quite some time.

I found Ron to be genuine, warm and funny, and he seed to really enjoy answering questions and telling stories about his experiences on Next Gen. I wish I remembered more of the details… I just remember laughing a lot.

I haven’t made my way through the entire set yet, but it is definitely worth the money, autograph or no autograph.

8. Jeyl - March 3, 2012

Ron Jones. Even with most duds in Season One and Two of Star Trek: The Next Generation, you could hear in his music that he was one of the hardest working people on the show. Listening to “Q Who” and “Where science has lease” really showcases how much he wanted to give each episode it’s own musical identity. It was marvelous.

Kind of paints an ever more positive image of Rick Berman when he fired Ron off the show.

9. Goosenecked Fan - March 3, 2012

#7 — I always wanted to meet RJ so I could ask him what it was like working for Rick Berman…lol…

Oh, and to get his opinion on sonic wallpaper…lol!!!

“Box #05″ represent, btw…LOL!!!

10. Basement Blogger - March 3, 2012

I see the Rick Berman bashing has begun. Okay, his biggest mistake was firing Ron Jones. But let’s forget the Berman controversy and stick to Ron Jones, the composer.

Ron Jones did great work for TNG. His scores were rich in melody, harmony and featured exciting syncopated rhythms. Of course, the pinnacle of his work was “The Best of Both Worlds.” But I love his work on “The Nth Degree” also. He is one of the great composers of Star Trek.

11. MJ - March 3, 2012

@6 “Oh, I’ll gladly take Ron Jones over James Horner. Horner just cannibalizes his previous scores and calls them ‘new’.”

Oh sure, “Titanic” sounds just like “Star Trek II, which sounds just like “Field of Dreams” Come on dude, you can do better than that, can’t you?

Perhaps there is a reason why James Horner does major movies and wins Oscars, and Ron Jones now works on Family Guy and American Dad. LOL

12. Trekboi - March 3, 2012

Want Now!

13. MJ - March 3, 2012

Not to mention Horner’s incredible score of Avatar (and another Oscar nomination there for Horner…cha-ching!)….yea,the Avatar soundtrack sounded a like like Star Trek II…..NOT! :-))

14. Greenberg - March 3, 2012

Don’t care, bring on the TOS scores.

15. Vultan - March 3, 2012

I have noticed bits and pieces of Horner’s work, particularly his stuff in the 80s, that sound similar to each other, but he’s hardly a hack or anything. He’s one of the best adventure movie composers out there, and Trek was lucky to get him when it did.

Same goes for Ron Jones. Another one of the greats.

16. Blink182 poster - March 3, 2012

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17. son-of-shatner - March 4, 2012

I must admit to not being a fan of TNG but those early episodes have some great themes. Alas, as you say, the other Treks suffered from a dull drone throughout, a nature of TV then and now, and not Bermans doing. It’s something which continues too today, that and the loss of the opening credits.
As for Horner….if you have heard Battle Beyond the Stars main theme…TWOK! The Titanic hitting the iceberg….Klingon Theme from SFS. or the Aliens attacking… for me personally Horner is a one note wonder… not in Jerry Goldsmiths league.
Back to these CD’s… now must be the time for a Original Series boxset. ‘Bread and Circuses’ for example!!!

18. CmdrR - March 4, 2012

Love a lot of the music of Ron Jones.

Quick conspiratorial shout-out for Bear McCreary, too!

19. DS9 IN PRIME TIME - March 4, 2012

Jerry Goldsmith is number one but ron is good too

20. Christopher Roberts - March 4, 2012

Heh-heh. The Ron Jones Project sounds like a 70’s Prog Rock band. :)

21. Christopher Roberts - March 4, 2012

Not to bash later Trek, and Berman’s decision to let Jones go… but it did suffer from a lack of distinctive music. Occasionally a great sounding score would stand out,from the norm, like Bryan Tyler for Enterprise “Canamar” and “Regeneration” or somebody collaborating with Dennis McCarthy would reintroduce some synth, as in “Terra Prime”. My ears would prick up, but it never seems to last and the guest composer wouldn’t be heard from again…

22. Goosenecked Fan - March 4, 2012

James Horner hasn’t written a great score since the 80’s. He used to be excellent, but now he’s a hack. Sorry. I’m a film score collector since 1976. I have my favorite composers. Horner used to be one but now he writes sonic wall paper like a lot of other composers do now. It might be softer, prettier sonic wallpaper but it’s sonic wallpaper. Ever since Titanic, everything he writes sounds a lot like Titanic. I suspect he’s trying to recapture lightning in a bottle…either that, or James Cameron likes wussified soft scores. Either way, I gave up on Horner and Williams a long time ago. Honestly, I’m not sure who writes great bombastic and epic scores anymore since I got bored with the style composers use now. If Goldsmith were still alive and in his prime, you’d know what a great composer is! Up until Insurrection, that man could take a mediocre film and make it great just through the music! Now THATS talent!! And probably talent such as we won’t see again in the film industry!

23. Goosenecked Fan - March 4, 2012

#10 — Ok Rick…sorry…lol!!!!

24. CarlG - March 4, 2012

Oh dear God I want this. Ron Jones’ music rocks!

….And now I have to go re-install Starfleet Command and crank the volume up. His Romulan and Lyran themes for that game are absolutely delicious.

25. Goosenecked Fan - March 4, 2012

#23 — You’ll love it…and it’s definitely worth the investment! :-)

26. rm10019 - March 4, 2012

Wow MJ you are so wrong. AVATAR does sound just like many of Horners other scores and of you can’t hear that then I have little respect for your musical knowledge. Go watch ST III, Titanic and especially Glory, and you willunderstand. Qtips aren’t that expensive, you might want to invest in some.

I love James Horner Trek scores, btw.

27. Capt. Brando - March 4, 2012

I bought this set a year ago, I guess better late than never on the review. Its definitely worth getting.

28. Met - March 4, 2012

What a bunch of losers. Throwing away good money for crappy soundtracks from a TV show. Like Shatner said “Get a life”

29. Pensive's Wetness - March 4, 2012

$150 dollars? ill wait for it on iTunes, TUVM….

30. Capt. Brando - March 4, 2012

No, I just make more money than you, don’t be jealous.

31. Goosenecked Fan - March 4, 2012

#26 — Horner’s Trek scores and Krull were among his best. Coccoon was great too but it’s true he was mostly recycling his own work and absolutely NOT in the same league as Goldsmith…

32. Goosenecked Fan - March 4, 2012

#28 — It’s OUR money to “throw away”.

Troll.

33. Met - March 4, 2012

No I am not a troll. I like Trek too, but I’m not a fool to have my mouth water over every little toy or cd they throw out to grab your money. They know a lot of Trek people are weak when it comes to crap like this.

34. Vultan - March 4, 2012

Don’t feed the trolls, people.

35. Vultan - March 4, 2012

Totally off-topic here, but it’s been reported that concept artist Ralph McQuarrie has died.

http://www.ralphmcquarrie.com/

RIP

36. Anthony Pascale - March 4, 2012

Met

Warning for trolling

37. FiveMinutesToMidnight - March 4, 2012

This is great and all, but I just wish they’d release the track they used in Ben Sisko and Kassidy Yates’ wedding. It’s one of my favourite Trek tracks of all time.

38. Goosenecked Fan - March 4, 2012

#35 — AHHH!! That’s awful news!!! My heros are dieing off…:-(
R.I.P. Mr. McQuarrie — you were sure an influence to me. I still have my Star Wars Portfolio that came out around the same time as the film. This sucks.

39. sean - March 4, 2012

#13

Ahh yes, because we all know an Oscar is a pure measure of talent with no politics involved and not an award handed out by old white men patting each other on the back ;)

Horner is infamous for self-plagiarism. He’s done some very good scores (notice I never said he wasn’t a good composer, merely that Ron is a better one) but he tends to rip-off his own work in incredibly egregious ways.

Every composer steals from someone else, that’s hardly news or even a bad thing, really (everything is a remix, etc.). It’s not even news that composers use old scores for new work, it’s just that Horner tends to be really obvious about it.

40. sean - March 4, 2012

#35

Very said to hear about McQuarrie, he did great work.

41. danielcraigsmywookiebitchnow - March 4, 2012

Why did it take a year and a half and people asking to see a detailed review of this amazing set, Is it even available directly through them any more or just ebay price gougers?

this set came out sept 2010

42. Met - March 4, 2012

#36 And what are you going to do. I can can come on here and show you nerds what kind of weak geeks you are.

43. danielcraigsmywookiebitchnow - March 4, 2012

you might want to mention the material on the bonus discs (13 and 14) are not available through download on amazon or itunes.

44. Basement Blogger - March 4, 2012

@ 42

Um, Anthony can ban you, since it’s his site. Second, I admit I’m a nerd. I don’t care what you think about that.

45. Basement Blogger - March 4, 2012

@ 23

Ha. I’m not Rick Berman obviously. But I can defend him. But firing Ron Jones and changing the music direction of TNG was a mistake. And you are right. The music for seasons five through seven became music wallpaper since that’s what Berman wanted. It was a problem. Of course, when composers were allowed to write melodies or had to, you had good music. See “The Inner Light.”

46. danielcraigsmywookiebitchnow - March 4, 2012

MJ its no secret that he recycles alot (NOT ALL) but a lot of his previous musical cues. listen to his score of cocoon either before or after you listen to star trek II. Listen to the score Rocketeer and star Trek II, listen to his scores for the 2 zorro movies he composed and listen to Star Trek II, listen to his scores for a beautiful mind and bicentennial man and Deep Impact there are major moments in those 3 scores that are note for note flurish for flurish identical to each other. and yes even in Titantic and avatar there are few musical cues which are recycled from his earlier work.

Horner himself has even said he is a fan of finding new twists on his previous work to include into any particular score he is currently working on, sort of as an easter egg to his fans.

I love James Horner, but the guy does recycle his musical cues more than most composers.

47. danielcraigsmywookiebitchnow - March 4, 2012

33
The set is well worth the money.
And not just to trek fans,there is a huge market of film and tv score afficinados out there who spend way more than the msrp of this on a single score cd for a rare, limited pressing or out of print score cd.
even on movies or shows that dont have the fan base that trek does.

I dont regret spending my money on this when it was released back in sept of 2010

8 dont forget RJ was also working his musical magic on Ducktales those first few seasons of TNG as well.

48. Goosenecked Fan - March 4, 2012

#45 — Exactly. You seem to understand my beef with Berman, so why defend him? LOL!!

49. Basement Blogger - March 4, 2012

@ 48

I’m not talking about Berman’s bad decision regarding TNG’s music and for that matter the soft rock song for Enterprise. As much I hate that song, I do admit it grows on me. I just think overall, he gets a beating whenever his name is brought up. He’s done some good work. Producing many of the classic TNG shows.

But here’s a good article from a Trek blog defending Berman. And I liked Deep Space 9, Voyager and Enterprise.

http://startrekdom.blogspot.com/2007/06/in-defense-of-rick-berman-by-jared-buss.html

50. Basement Blogger - March 4, 2012

@ 35

Vultan,

Sorry to hear that Ralph McQuarrie passed away. He not only did work on Star Wars but worked on Star Trek IV: The Voyage Home. Won an Oscar for Cocoon. (1985) in the visual effects category.

51. Vultan - March 4, 2012

#49

Exactly. There are reasons to defend Berman because of the quality work made during his tenure—and there are many examples of this. Just as there are reasons to criticize him for the obvious mistakes he made, the firing of Ron Jones for his “noticeable” music being the worst, in my opinion.

Berman knew how to stay on target when it came to the overall spirit and message of Roddenberry’s universe, but, let’s face it, his presentation skills were… ahem, lacking.

52. The TOS Purist aka The Purolator - March 4, 2012

I hope they do this for the excellent and iconic TOS soundtrack music!

53. MJ - March 4, 2012

If Ron Jones is such a great composer, then why is it the only scoring jobs he has been able to get during the past 8 years are Family Guy and American Dad. Those of you criticizing Horner while praising Jones are not living in the real world. If Jones was that good, he’d be doing major work in Hollywood rather then fluff TV comedies.

Jones couldn’t hold Horner’s jock strap. Compare their bodies of work on IMDB and you will see that this is a fact, not an opinion.

54. MJ - March 4, 2012

@39 “Ahh yes, because we all know an Oscar is a pure measure of talent with no politics involved and not an award handed out by old white men patting each other on the back ;)”

But when you are nominated 10 fracking times over a 25 year period, winning twice, while the other guy, Ron Jones, has ZERO fracking nominations in his career….oh sure, it’s all politics…yea right…ha ha ha

What a joke! LOL :-))

55. Red Dead Ryan - March 4, 2012

There’s nothing wrong with being a tv composer. The problem is, most of today’s tv music scores are bland. Except for Michael Giaccino. His music is good. But I’ve been watching the first season of Bob Orci’s “Hawaii Five-O” and Bryan Tyler’s music sounds like a rip-off from John Powell’s “Bourne” score.

56. MJ - March 4, 2012

@55. Agreed. Which is exactly why all the really good tv composers like Giaccino eventually graduate onto movies…provided they are good enough to attract the attention of Hollywood producers and directors.

Going from The Next Generation to Family Guy and American Dad would be my defiition of a negative career patch in which your talents were not recognized by major producers and directors in Hollywood.

57. Vultan - March 4, 2012

Ron Jones has been working in the animation field since around the time of TNG with Disney’s Duck Tales, which debuted the same year as TNG, and later Rescue Rangers. It could be he’s still working in animation because that’s what he enjoys the most. Who knows? Find your bliss, right?

But I wouldn’t call working in network television slumming. Maybe if he was composing music for an early bird special dinner theater in Sarasota, Florida, for the geriatric crowd, then yeah, that would be a negative career patch.

58. Vultan - March 4, 2012

Correction: That should be: “Follow your bliss.”
Words of wisdom from the great Joseph Campbell.

59. Red Dead Ryan - March 4, 2012

#55.

But to be fair, films allow for more continuity in the music because there are no commercial breaks during movies, unlike televsion, where there are breaks every twelve minutes or so. Plus there are tighter deadlines for every episode, as opposed to several months of worktime for movie composers to come up with something for their project.

It’s a real testament to Michael Giaccino that he can do both. Not many can do either!

60. Goosenecked Fan - March 4, 2012

#56 — My main question regarding Horner is this: Why wasn’t he nominated when he was actually…oh, I dunno…GOOD?! The Academy only recognized Horner when he was (in my opinion) on the downside of his career.

Now, having said that, even when he was good he as derivative. His score of Battle Beyond the Stars was a great ST:TMP knockoff. The main title was innovative and good but some of those cues using The Beam were very derivative. And he did go on to rip himself off more than once.

There are TV composers and there are film composers. Ron Jones is one heck of a TV composer! :-)

61. Basement Blogger - March 4, 2012

@ 57

Agreed. I understand that somebody criticized James Horner. Ron Jones doesn’t have the Oscars. Jones is still doing what thousands of composers would love to do. Nothing wrong for working on Family Guy, a beloved cartoon. Plus he should be proud of his work for Star Trek. The story is about the release of Ron Jones Star Trek work. And Jones music gives me great pleasure.

62. Goosenecked Fan - March 4, 2012

“Jones couldn’t hold Horner’s jock strap.”

Why the hate towards this man? I admire what he tried to do for TNG — which is to give each episode he score a unique and signature sound. He also admired the work of Jerry Goldsmith. He had the right approach to scoring the episodes — in the grand tradition of the TOS scores!

How does any of this make the man not worthy of respect and admiration? He could have just rolled over like McCarthy, Chattaway and the others and just said yes to Berman and kept his job, but the man had CREATIVE INTEGRITY.

This, has earned him my eternal respect as a composer. Plus, his scores are great. You can also hear how he improved as the series went along. It’s true Best of Both Worlds was his best TNG score, but the man could compose and his scores stand out among anything else done for modern Trek (those series produced since TNG and onward).

63. Sebastian S. - March 4, 2012

TNG was just (for the most part) musical wallpaper.

There were interesting cues here and here, but IMO? They could compile a single CD of them, at most. No offense to Jones, I’m sure his hands were tied by the constraints of the producers and the show’s format, but TOS’ music (not to mention the lush, dynamic movie scores of Goldsmith, Horner, Rosenman and Eidelman) was far superior. It leaped right out of the TV speaker. People still hum it, reference it and play it to this day…
TNG’s music was just not all that interesting, certainly not worthy of a 14 disc set!

I’d be surprised if this sells well…

64. Goosenecked Fan - March 4, 2012

Dude,

The sonic wallpaper didn’t really start until AFTER Jones left! And his scores were NOT sonic wallpaper. You are really showing how little you know about the music of TNG…sorry…

Get educated and come back and talk to us about what you learned.

65. Basement Blogger - March 4, 2012

@ 63

Ron Jones wrote strong melodic motifs, rich harmonies and freely used syncopation. He was fired by Rick Berman who wanted the scores to be less intrusive, hence the musical wallpaper in seasons five through seven.

Jones pinnacle score is the one for “The Best of Both Worlds, One and Two.” Check out the scenes before the first battle with the Borg. Jones builds the tension as Admiral tells Picard of the presence of the Borg in Federation space. Then he captures the Borg with that frightening choral motif. Listen to all the strings playing seconds right before the battle. And WOW., check out the rhythmic energy during the battle. GREAT STUFF.

Trekkers, if you doubt Jones abilities check out the first battle with the Borg below.

http://www.youtube.com/watch?v=3Q6jZC1sn1A

66. sean - March 4, 2012

#54

MJ, he hasn’t been nominated because he doesn’t do movie scores. That says absolutely nothing about the quality of his work, just as Horner’s many nominations don’t mean he’s making the greatest music in film today. Bear McCreary has never been nominated for an Oscar, but most agree he’s doing some of the best television scores out there.

Honestly, if you really think the only people with talent out there are the ones being handed awards, you’re missing out.

67. MJ - March 4, 2012

OK Sean., well if you want to continue to believe that doing musical scores for American Dad and Family guy is a capstone to Ron Jones great career, don’t let me stand in your way. Continue to drink the Kool-Aid if you must. :-)

@65. BB, the Best of Both Worlds is a pretty cool score. I will give the guy his due in that regard. He hasn’t done anything noteworthy though since Trek, so its too bad that that the early promise we saw then did not translate to a great musical career afterwards.

@63 “TNG was just (for the most part) musical wallpaper…TNG’s music was just not all that interesting, certainly not worthy of a 14 disc set! ”

Agreed, Sebastian.

@62 “Why the hate towards this man?”

I have no hatred for the guy. But I did feel compelled to put the reality of someone elses potshot at Horner into the proper historical contrast…Horner is recognized worldwide as an accomplished composer of major movies, nominate for 10 academy awards and having won 2, why Ron Jones is largely unheard of outside of the small group of hardcore TNG and Family Guy fans.

68. Sebastian S. - March 4, 2012

64. Gooseneck

Uh, actually I’ve watched the show from the very beginning; literally the first night. IMO, it was just nothing special musically. Just my opinion. And I’m referring to the music of the ENTIRE show; not just any specific year. The early seasons were a lot of quasi-’80s synth stuff, and the apparently much-vaunted Ron Jones years were just unusual woodwind/string pieces here and there, nothing special. They weren’t revolutionary in ANY way at ALL.

As I said (because it sounds like you didn’t READ my full post; just the top line); there WERE some interesting cues here and there throughout the run of the show. But IMO it was probably just enough to fill a single CD (at most, a double CD set) but come on… not a 14 CD set.

But hey ‘dude’, it’s your money; blow it however you please…. ;-)

69. danielcraigsmywookiebitchnow - March 4, 2012

Mj did you do what i suggested in the post earlier today? compare those Horner scores, and tell me he doesnt recycle his work more than most Big film composers. you can find the score music from all of those fillms on youtube
And I notice you conviently ignore what i said that Horner himself even admits to recylcing his previous scores in the film he is working on right at that given moment.

Again I am a fan of Horners he wrote the music for several of my favorite films, his score for the Rocketeer has been and forever shall be my all time favorite score.

70. MJ - March 4, 2012

@69. Sure, there is some recycling, and it is a bit more than others do. But when your recycling caviar, you still end up with very expensive little fish eggs.

BTW, you will also notice that on certain episodes of Family Guy that the Ron Wilson work sounds like some of the TNG music. So what of that?

71. MJ - March 4, 2012

Argh, “Ron Jones.”

72. Vultan - March 4, 2012

This discussion reminds me of another comment I saw on the web where someone accused the movie “Casino” of being a ripoff of “GoodFellas.”

I guess one man’s style is another man’s ripoff… or maybe that person just wasn’t aware those two movies were directed by the same man….

Oh well, I got a good laugh from it.

73. MJ - March 4, 2012

@68 “Uh, actually I’ve watched the show from the very beginning; literally the first night. IMO, it was just nothing special musically. Just my opinion. And I’m referring to the music of the ENTIRE show; not just any specific year. The early seasons were a lot of quasi-’80s synth stuff, and the apparently much-vaunted Ron Jones years were just unusual woodwind/string pieces here and there, nothing special. They weren’t revolutionary in ANY way at ALL.”

Well said. I think the high point was the “Best of Both Worlds” pieces…that was pretty good TV music, albeit nothing comparable to the quality an innovation of Alexander Courage or Michael Giacchino though.

74. MJ - March 4, 2012

@72. Good point, Vultan. John Wayne played the same character in westens over and over, but who in the hell would say that TV’s James Arnez (Gunsmoke) was the better Western actor? That is a certain gravitas that goes with high-level performances at the pinnacle of entertainment, and Wayne and Horner wear near the highest level in their respective fields, while Arnez and Jones were/are credible performers on a lower level of the entrainment food chain…and there is certainly nothing wrong with that at all.

“A man’s got to know his limitations.”

75. Sebastian S. - March 4, 2012

69 danielcraig—

I agree, that there has been a lot of recycling in Hollywood scores.
Parts of Horner’s TWOK sound very much like his scores for “Battle Beyond the Stars” and there’s a whole chunk of the “Cocoon” soundtrack that is the “Spock’s Sacrifice” music in TWOK. Do I love TWOK music any less? Of course not.

And I’m glad I’m not the only think that loves the music for “The Rocketeer”. Hell, I love the movie too. It is criminally overlooked and IMO every bit as good (if not better) than Johnston’s own “Captain America” 20 years later…

But musical ‘recycling’ is nothing new in Hollywood. Two of the Universal horror monsters used Tchaikovsky’s “Swan Lake” as their monster opening title (“Dracula” and “The Mummy”). Happens all the time….

76. Vultan - March 4, 2012

Good to see “The Rocketeer” getting some love here. It’s one of the first movies I can remember seeing—or at least worth remembering seeing. And Horner’s score played a large part of that, I think.

I read that Bill Conti was criticized by some for his score to “The Right Stuff” for borrowing pieces from Holst’s “The Planets.” But those critics didn’t seem to realize that Conti had been brought in at the last minute to replace another composer. Yeah, at the last minute to work on a three-hour plus movie. Yikes!

77. Spacecadet - March 4, 2012

#76 Bill Contis work, also his score for “The right stuff” is just great. If people say it is borrowed from Holsts planets, ask them, why nobody remarked, John Williams borrowed also stuff from Holst!!? All the big SciFi – Composers have some parts in their music, where you can think about “The planets”:

Well, the Ron Jones Project is fun for some people and that is great. For me … well, I have bought three of the CDs via amazon (mp3). The music seems for my ears to be very familiar to each other. It is always the same kind of music, but maybe it is just not so much my musical taste… happens.

78. MJ - March 4, 2012

Guys, Bill Conti’s The Right Stuff soundtrack is just incredible — I FULLY AGREE!

79. Basement Blogger - March 4, 2012

@ 76. 77

Bill Conti wrote a great original score for “The Right Stuff.” Yeah, he used music by Holst’s “Planets.” for a couple scenes. See the John Glenn launch sequence. Conti won for Best Original Score. Love those soaring original themes for the movie.

Recently, “The Artist” used music from “Vertigo” by Bernard Hermann. Star of that movie Kim Novak compared this to a rape. But it was just a homage to classic movies by director-writer Michael Hazanavicius. Ludovic Bource scored the movie and rightfully won the Oscar for Original Score. His original music had to carry the movie since “The Artist” was a silent film.

80. Basement Blogger - March 4, 2012

@ 76. 77

Bill Conti wrote a great original score for “The Right Stuff.” Yeah, he used music by Holst’s “Planets.” for a couple scenes. See the John Glenn launch sequence. Conti won for Best Original Score. Love those soaring original themes for the movie.

Recently, “The Artist” used music from “Vertigo” by Bernard Hermann. Star of that movie Kim Novak compared this to a rape. But it was just a homage to classic movies by director-writer Michael Hazanavicius. Ludovic Bource scored the movie and rightfully won the Oscar for Original Score. His original music had to carry the movie since “The Artist” was a silent film.

81. James Heaney - March 5, 2012

#21 Chris Roberts: Really? I like Tyler’s “Canamar” and “Regeneration” scores just fine, but they are… well, just fine. Jones had some terrible scores, but “The Neutral Zone” and “Q Who?” are excellent *and* inventive, and his score for “The Best of Both Worlds” was one of the most memorable parts of the most memorable episode in history.

Also, Tyler’s “Regeneration” score is largely cannibalized note-for-note from “Canamar,” which is just… jarring, once you realize it. Music that worked well for the battle over that stupid prison ship in “Canamar” (which was, like, the ninth time ENT did the “Archer is wrongly imprisoned” plot) was just not big enough or interesting enough when set against the Borg.

I guess I judge scores in relation to the works they score, and not everyone does that.

82. Sebastian S. - March 5, 2012

Bill Conti did borrow from Holst’s “The Planets” but it was appropriate usage as well. And he integrated it into his own music to where it didn’t feel like a rough cut patch job. The rest of his original music is simply brilliant. His Holst usage is only for about 5 or so total minutes maybe (bits of the Mars, Jupiter and Neptune suites, I believe; during the John Glenn liftoff scene). And out of a three hour movie’s score? I’d call that a borrowing a swatch rather than a wholesale theft. He also uses bits of US military anthems (“Anchors Aweigh” and “Off We Go…”) in several scenes but those are deliberate character choices.

I can’t begin to list how many mainstream movies borrow bits of known classical music and then weave them seamlessly into their own scores. It’s no big deal.

But Conti’s score for “The Right Stuff” is an amazing achievement; agreed!

83. Goosenecked Fan - March 5, 2012

#68 — You must have heard a different season 1-3 than I did. I found his scores to be thematic and basically everything he said he set out to do in his liner notes that came with the set. Proof of that is his Klingon theme, Romulan theme and others written for the series. Contrast that with what McCarthy and the others did from season 4 onward and you SHOULD be able to hear a distinct difference. Jones’ work was better — in my opinion. Definitely more thematic as reflected in his conflict with Berman. Berman didn’t like thematic scores!

It’s not personal. I guess you hear things differently than I do. I think the man is a fine TV composer…apparently, you don’t.

I say poTAYto, you say poTAHto…let’s call the whole thing off! :-)

Nothing else for me to say on the subject of Mr. Jones…

84. Sebastian S. - March 5, 2012

The Klingon theme heard in season one’s “Heart of Glory” was actually a variation of Jerry Goldsmith’s Klingon theme for ST-TMP, just for clarification.

And as for Jones being better than McCarthy or the others? Perhaps, but still not worthy of an uber-expensive 14 disc set. That’s my main point. The best bits of the entire series could’ve easily fit on a 2 disc collection, IMO.

And that’s just my opinion, of course. Not trying to impugn anyone else’s.

85. Death Machine - March 5, 2012

TNG’s music was lacking in any sort of flair and never rose to great heights. The music for the show was boring, in my opinion. The Original Series music was just as much a part of that show and had as much character as the Enterprise and each of her crew. Memorable cues that were exciting. TNG never had that…on purpose. It’s uncertain when the decision was ultimately made (obviously during pre-production for the series), but the powers that be behind the scenes did not want music that “overpowered” what was going on visually. Apparently, not a whole lot of them ever watched the Original Series or they failed to comprehend that a great score is as important as the story, the cast, crew, effects, etc. It’s a sad fact and their decision still puzzles me to this day.

86. Death Machine - March 5, 2012

@83

It’s true that Jones’ music was better, but still was ultimately…too ‘television’ in scope.

Berman ruined that show. Despite the fact it lasted for 7 seasons and 4 movies, his ignorance and arrogance reared it’s ugly head more than I care to count. He cared nothing for continuity. If it got in the way of a story or even something as simple as a single line of dialog that he wanted, continuity was tossed right out the window. His puzzling dislike for thematic scores made what could have been a memorable series soundtrack into a boring set of tracks that could cause one to wear out the fast forward or skip buttons on the remote.

87. Goosenecked Fan - March 5, 2012

#85 — Yes, and that’s what RJ was trying to do for TNG — give each episode it’s own signature sound. Berman didn’t want that; RJ was fired — and we got sonic wallpaper from season 4 onward….

My point is, if one doesn’t like the music of TNG, blame Berman…nor the composers. Because the blame lies at this feet, not theirs!

88. Goosenecked Fan - March 5, 2012

#86 — I completely agree! Berman produced some fine Treks but the poor man knew nothing about dramatic TV scores (in my opinion).

89. Strangelove - March 5, 2012

Have you seen this Pic?

http://egotastic.com/2012/03/prime-geek-directive-sneak-peek-at-the-shuttle-craft-for-star-trek-2/

90. SoonerDave - March 5, 2012

@6 @11

Anyone who has listened to much of Horner’s work over his career knows that #6 is spot-on target. I’ve lost track of how many rehashes of the Genesis/Mutara Nebula chase track I’ve heard with only slight variations in a *ton* of other movies. Not talking about a vague similarity, but sequences that sound like note-for-note copies.

I’ll never forget the *first* time I heard this phenomena when I was a kid. I was in another room, TV was on, heard what I thought was TWoK playing (unexpectedly), ran back in the other room, and it was some wretched Sci-Fi movie that *predated* TWoK – and guess what – it was scored by James Horner. Then I heard the same sequence again in Cocoon – scored by James Horner. It became an obvious pattern.

Hey, a composer can rework his old stuff if he wants, I suppose, but please don’t try to compel me to believe its original when so much of it obviously isn’t. That’s all.

91. Goosenecked Fan - March 5, 2012

Dave, Horner has ripped himself off with more that. The “ALIENS/Klingons theme” he’s reused to death too. I know he used that in the Matthew Broderick film, Project X and possibly even more…

I like his early stuff, but that too was derivative — of other composers. Goldsmith, for one.

92. Vultan - March 5, 2012

Just for kicks, here are my top 5 film composers, or at least the 5 that immediately come to mind when I think “great film composer”:

1. Jerry Goldsmith
2. John Williams
3. Bernard Herrmann
4. Dimitri Tiomkin
5. Eh… a tie between Bill Conti and Danny Elfman

What are yours?

93. Vultan - March 5, 2012

James Horner would be my number 6.

94. Simon - March 5, 2012

Been collecting film & television music for 4 decades.

Ron Jones’ TNG scores are some of the best I’ve heard on television, and this set was a dream I never thought would happen. I preordered it the minute it was available.

I also agree firing Jones (actually, not hiring him for additional episodes is more accurate since they didn’t actually have a contract to score the show) was Berman’s biggest mistake, that and hiring Jeri Taylor who I feel neutered and blanded TREK.

PS: Bear McCreary? Most of his BSG scores seem to consist of emo-choruses and pounding drums. Boring and bland. One area the original show had a huge advantage.

95. DMar - March 5, 2012

Horner’s STII score steals a lot from his Battle Beyond the Stars score.

Also, why did it take over a year for this site to review this set?

96. Goosenecked Fan - March 5, 2012

#92 —

1.) Jerry Goldsmith
2.) John Williams
3.) Bernard Herrmann
4.) Basil Pouledouris
5.) Alan Sylvestri
6.) Lawrence Rosenthal
7.) James Horner

97. Goosenecked Fan - March 5, 2012

TV — no particular order. (Notice I’m separating them out ;-)):

1.) Barry Gray (Space 1999, UFO, Thunderbirds, etc)
2.) Ron Jones
3.) John Debney (Seaquest DSV, others)
4.) Robert Colbert (Dark Shadows, Kolchak The Night Stalker)
5.) Dominic Frontiere (The Outer Limits, The Invaders)
6.) Gerald Fried
7.) Fred Steiner
8.) Alexander Courage
9.) John Williams
10.) Joe LoDuca (Hercules/Xena)

98. Goosenecked Fan - March 5, 2012

11.) Stu Phillips (Original BSG)

99. Vultan - March 5, 2012

#96-98

Great choices! I totally forgot about Alan Silvestri. Now I’m going to have to rethink my list. His work in Back to the Future, Predator, and the recent Captain America—oh man, just great stuff! Can’t believe I forgot him.

100. sean - March 5, 2012

#67

“OK Sean., well if you want to continue to believe that doing musical scores for American Dad and Family guy is a capstone to Ron Jones great career, don’t let me stand in your way. Continue to drink the Kool-Aid if you must. :-)”

Where did I ever say this? I simply stated my opinion (in response to someone who dismissed Jones), according to MY EARS. Jones is doing great work, and I find Horner repetitive (IMO, Avatar was far from a great score and far from a great movie). Why does this have to mean my opinion is some sort of joke? Or that I’m ‘drinking kool-aid’? I accept that you prefer Horner. We’re talking about tastes that are entirely subjective, there is no ‘right’ opinion or ‘wrong’ opinion.

101. sean - March 5, 2012

#94

I would suggest you seek out McCreary’s Terminator and Walking Dead scores. They are quite good. (Have to admit I don’t know what an ‘emo-chorus’ is).

102. sean - March 5, 2012

One composer I haven’t seen mentioned is John Barry. His Black Hole score is still one of my all time favorites.

103. Goosenecked Fan - March 5, 2012

#99 — Sylvestri has some great scores. The Abyss too!

104. Vultan - March 5, 2012

#102

Right on. The Black Hole had a great score.
Isn’t there a remake in the works?

#103

Yep. The Abyss was good. I also like his score for Forrest Gump—even with all the schmaltz… and choc-O-litz.

105. Dr. Image - March 5, 2012

#95 DMar- YES!!!
I NEED this collection! Ron Rules!
And Berman knew NOTHING about the power of film music. (But that’s quite obvious…)
And I am so over Horner. Avatar’s score was embarrassing. Shame.
Rocketeer and Beautiful Mind were exquisite.
Barry Gray! UFO: That theme was cool as hell.

106. Goosenecked Fan - March 5, 2012

#105 — I used to think Horner had a LOT of promise. In fact, he was my #3 composer for a LONG time. Then, he just tanked (In my opinion, of course). I think it was after ALIENS…for me, anyway.

I was just not blown away by Avatar…the movie or the soft, “easy listening” score Horner composed. I went in really wanting to be blown away but just wasn’t. James Cameron got to be too big for his britches…like all good film makers do eventually. Every great director I can point to had a “phase” where they were really at the top of their game and then just…well, got too full of themselves. Cameron was a better film maker when he had limited budgets. The Abyss was probably his best “big budget” film.

Barry Gray was an awesome composer…may he R.I.P…

And finally, if there’s any way you can…if you are a RJ fan, you have to get this set…:-)

107. sean - March 5, 2012

#104

There was talk of a remake but I haven’t heard much lately. Supposedly the Tron Legacy folks were very interested (there are some Black Hole easter eggs in Legacy if you keep a sharp eye).

108. Vultan - March 5, 2012

#107

Yeah, in Sam’s room at the beginning. I remember catching that on the first viewing and smiling. Nice to see Disney honoring its past movies, even an unusually dark one.

109. danielcraigsmywookiebitchnow - March 5, 2012

102 John Barry was a musical genius. every one of his scores were incredible even the crappiest of movies was made a llittle better with the help of his talent “Howard The Duck” His score of the Black hole which was one of my alltime favorite films was amazing. was so happy they finally released it on cd last year from Intrada.

His scores have the same underlying style movie to movie but you never here a full on recycling of musical ques.

Even in all the bond films he scored the amount of original music cues is much higher than reprises of the previous bond films he scored.

110. danielcraigsmywookiebitchnow - March 5, 2012

197 yeah they are still working on a new take on the black hole, but there has been some talk lately of having it not be a remake or a sequel/prequel but rather in the same universe as the original film, but a new take and story ala Promethis,

111. Basement Blogger - March 5, 2012

@ 92

Vultan, I like your five movie composers. Here are my five.

1. Jerry Goldsmith
2. Elmer Bernstein (The Great Escape, The Magnificent Seven, True Grit (1969) Link for a little taste.
3. John Williams
4. Bernard Herrmann
5. James Horner
6. David Arnold (Independence Day; Stargate, recent James Bond movies)
7. John Powell , I’m predicting great things for him. I love his score for How to Train Your Dragon!, it’s inspiring and was nominated for Best Score. Taste below..

a. John Powell “How to Train Your Dragon” makes me want to get on a dragon and fly!
http://www.youtube.com/watch?v=86DPI1to-Is

b. Elmer Bernstein “True Grit” I like this movie version better. Why? It’s optimistic and the music captures the mood. Music clip is 3:00. long, it’s got a weird silent tag.
http://www.youtube.com/watch?v=iArFaKhj8iM

112. Ahmed Abdo - March 5, 2012

Fox just cancelled Terra Nova. I didn’t like the show much but still sad that another Sci-Fi show get the axe.

113. Red Dead Ryan - March 5, 2012

#112.

Not surprised at all by the news of that show’s demise. I watched a couple of episodes earlier in the season……and it was CRAP! Boring characters, and cheap cg dinosaurs!

The only surprise in all this was that the show didn’t get canned earlier!

114. Vultan - March 5, 2012

#111

Great choices. Elmer Berstein’s Great Escape and Magnificent Seven are on my iPod. Good music to jog to. :)

Interesting we all seem to agree that Jerry Goldsmith was and still is the best. And I think it’s more than just us being Trek fans; Goldsmith, to me, seemed to be able to tackle any genre or mood with an equal degree of excellence, whether it was comedy, adventure, drama, tragedy, etc., and had the gift of making nearly every score sound unique in its own way.

That’s why I rate him slightly higher than the arguably more popular, or at least more upbeat, crowd-pleasing, style of John Williams. Don’t get me wrong. I love Williams. But pretty much everything he does sounds like… John Williams.

115. Vultan - March 5, 2012

Too bad networks don’t allow shows a couple seasons to work the kinks out like they used to. I watched a couple of episodes of Terra Nova. It wasn’t that great, but not that terrible either. Maybe if they had dropped the cheesy family stuff and centered it around Stephen Lang’s character it would’ve done better.

Oh well.

NEXT, please.
Maybe something set in space… 23rd-24th centuries… (hint-hint)

116. Basement Blogger - March 5, 2012

114

Vlutan, I agree with you on Jerry Goldsmith. Think about the diversity of the music he wrote for these movies. Planet of the Apes. Patton. Chinatown. Star Trek: the Motion Picture. Alien. Hoosiers. Gremlins, Gremlins II. Total Recall. Rudy. L.A. Confidential. He also wrote the groovy theme song for the TV series Room 222. Love that jazzy-folksy syncopated theme song.. Check it out. below.

http://www.youtube.com/watch?v=pcaUluahdwM

117. Basement Blogger - March 5, 2012

@115

I agree. Terra Nova wasn’t all that bad. But it was so craven in its attempt to lure teenage viewers that it took away from the other plot lines. I mean get this the show had two teenager love stories. Take that Twilight! Er, it looks like it didn’t work this time. Maybe Steven should just have a show about teenage vampires in love. What? There already is show like that? Vampire Diaries? Never mind.

118. MJ - March 5, 2012

Nobody has mentioned Henry Mancini. Also, Basil Polederus (I think only one other person mentioned him), and John Barry.

119. MJ - March 5, 2012

And HOWARD FRACKING SHORE….how can we leave him out of the top 10? Even if he never comes close to LOTR again, that alone is like Wilt Chamberlain scoing 100 points. :-)

120. Basement Blogger - March 5, 2012

119

MJ, you are correct. Howard Shore’s scores for LOTR were masterful. I liked the way he introduced themes all the way in The Fellowship of the Rings and then made them prominent in Return of the King. I’m talking about the main Gondor theme. Shore could sit on his laurels for those scores.

121. Vultan - March 5, 2012

Henry Mancini! Yes! Another great one.

How about Lalo Schifrin? Did the music for the Dirty Harry movies, Cool Hand Luke, and the theme to Mission: Impossible… among many other credits.

122. MJ - March 5, 2012

Forgot about Schrifin — yea! And since you brought up Eastwood, I’ll throw in Ennio Morricone…not a Top 10 composer, but certainly a trailblazer.

123. Basement Blogger - March 6, 2012

Back to Terra Nova’s cancellation, here’s a cute video with Avatar and Terra Nova’s Stephen Lang from Funny or Die. Here he has fun with his signature line from Avatar and Terra Nova.

http://www.funnyordie.com/videos/cc6e844abd/you-re-not-in-kansas-anymore-with-stephen-lang

124. Vultan - March 6, 2012

And I forgot about Morricone—D’oh!

Here’s a composer fairly recent on the scene with a fairly impressive score: Henry Jackman and X-Men First Class:

http://www.youtube.com/watch?v=D8JcNiBrrcg

125. dub - March 6, 2012

Are there any samples of this collection available?

126. sean - March 6, 2012

I think Terra Nova’s biggest problem is it presented itself as a show about dinosaurs, but rarely ever showed any actual dinosaurs. And when it did, the CGI quality varied so much from shot to shot that you wondered if they were created by entirely different studios. It was also corny as all get out, but not in a fun, campy way. Plus, it felt like the story was just coasting along with nothing happening, then they suddenly threw everything and the kitchen sink into the finale (probably because they knew they were in danger of cancellation). A missed opportunity, for sure.

127. John Tenuto - March 6, 2012

#125 Dub

Hello,

Yes, if you select the link in the article about the liner notes, there are samples at the resource.

128. sean - March 6, 2012

#122

I can’t believe I didn’t mention Morricone. I’d say he’s without question Top 10 material, even if it was solely based on his work on the Dollars Trilogy. Thankfully, we also have his Argento scores, his DePalma scores, The Thing…the list goes on and on.

129. sean - March 6, 2012

Oh and obviously yes to Bernard Hermann, he scored my favorite film of all time.

http://www.youtube.com/watch?v=RPSZuzW5IG0

130. sean - March 6, 2012

#124

I loved the First Class score. The movie as well, it was a definite improvement over Last Stand and Wolverine.

131. SoonerDave - March 6, 2012

Basil Poledouris is a great choice. His work on Hunt for Red October was delightful and I think a great example of where music truly became a vital element of the film and raised the overall production tremendously.

Now, in contrast to my criticism of Horner earlier, one composer whose *style* is happily reflected in multiple works without having seemed as though it came from a Xerox machine is Thomas Newman. He’s worked on movies as disparate as “Finding Nemo,” “Shawshank Redemption,” and “The Help,” yet has put was seems an original flare of his own style on each. Graceful understatement providing great musical power IMHO. Really enjoy his scores. Wish I were more musically “educated” to appreciate them even more :)

132. Goosenecked Fan - March 6, 2012

I think some of Pouledouris’ best are the two Conan films he scored. Red October was certainly a great score too though. I also recommend the score to Farewell To The King…epic stuff!

I don’t know enough about Newman to comment.

Elfman had some great early scores. He has a distinctive style — which is what I look for in a composer…

133. jr - March 7, 2012

This sounds really cool. Can anyone tell if if the ST Animated Series sound track is avail? or in the works?

134. MJ - March 8, 2012

@133. Jesus, do folks really want that? What’s next, a Land of the Lost audiofile soundtrack 10-CD set. LOL

135. Goosenecked Fan - March 8, 2012

#135 — As badly as I wanted this CD set, it pales in comparison with how badly I want you to SHUT the hell UP!!!

136. Goosenecked Fan - March 8, 2012

#134 — As badly as I wanted this CD set, it pales in comparison with how badly I want you to SHUT the hell UP!!!

137. MJ - March 8, 2012

@136. Please sir, may I have another?

;-)

138. MJ - March 8, 2012

@135 “#135 — As badly as I wanted this CD set, it pales in comparison with how badly I want you to SHUT the hell UP!!!”

Agreed — sometimes a person just has to tell himself to shut-up. So go for it — I support you 100% in your self improvement quest to shut the hell up here!

139. Red Shirt Diaries - March 8, 2012

#135. Why are you telling yourself to shut up?

140. MJ - March 8, 2012

@139

Pehaps, “like a poor marksman, he keeps missing the target.” :-)

141. Goosenecked Fan - March 8, 2012

HAHAHA!!!! MJ, you really do get on my nerves…;-)

142. Red Dead Ryan - March 8, 2012

Goosenecked fans tend to have longer than normal necks, hence the term “Goosenecked”. As a result, there are times when they suffer from a lack of oxygen to the head due to the extended distance between lungs and brain. :-)

BTW, “The Animated Series” music sucked. It was cheap. Just like the series itself.

143. MJ - March 8, 2012

@141. OK, well all in good fun….truce, dude!

144. Goosenecked Fan - March 9, 2012

#142 — HAHAHA!!! Well, at least you gave me credit for having a brain. That’s very magnanimous of you…LOL!!! Agreed on the animated series score — which, by the way, was used on Shazzam, Isis, Space Academy, and other Filmation shows.

#143 — Truce accepted…lol!!

145. Basement Blogger - March 10, 2012

One composer I forgot to mention is Michael Giacchino. I wasn’t a big fan of his Star Trek (2009) score since it was dour. But I certainly see what Abrams and he were getting at. Probably because it’s the tale of the beginning of Kirk and Spock. But his scores for “Up” which won him the Oscar and “Ratatouille” were fantastic.

And if you see “John Carter”, check out his score for that. It’s lush and romantic. Another fine job for Michael Giacchino.

146. Goosenecked Fan - March 10, 2012

Am I the only one who thinks the Star Trek 09 Main Title (Enterprising Young Men) sounds a bit like it could be a main title for a Batman movie? LOL!! I’ve always thought that…

147. Vultan - March 10, 2012

#145

His score to “The Incredibles” is also… well, incredible.

And yes, I thought his score for Trek ’09 was a bit off in places. I did like “Enterprising Young Men.” It was memorable enough. But that cover of Courage’s TOS theme over the end credits….

Does it sound like a cross between elevator music and a high school marching band to anyone else?

148. Goosenecked Fan - March 10, 2012

Yeah, not the best rendition, Vultan. It’s funny, I liked Enterprising Young Men too but…not as the Main Title. It’s good, it just doesn’t sound like Star Trek to me…it would be like hearing the Main Title to Conan the Barbarian in a Trek film — I like it, but it’s not right for Trek. EYM, seems like a good BEGINNING to new Trek MT, but it just doesn’t seem to go anywhere…

I dunno…I guess the themes to TNG and STII were just about as perfect as they could be for a Trek film…and hard to beat, IMHO…

149. Vultan - March 10, 2012

#148

My first impression of Enterprising Young Men was the TMP main theme… played backwards. But I still like it. Not in love with it like the previous themes, but it’s good enough, I guess.

My favorite part of the score (and the movie) is the Da-DA-DA punch as the main title and delta shield appear on the screen at the beginning. Just wish the rest of the score had that same level of… “noticeability,” to coin a word.

150. Basement Blogger - March 10, 2012

148, 149

According to Giacchino, he had wrote space music for Star Trek so I’m guessing it was more in the tradition of earlier epic Star Trek movies. But Damon Lindelof and Abrams basically said their movie was about Kirk and Spock getting together. Link.

In fact, Giacchino says Spock’s them could have been the main theme for the movie. Which by the way sounds more optimistic than the main theme. Link. Look, I’ll bet a quatloo that Star Trek 2013 will have that epic Star Trek space music we all will love. I’ve heard scores by Giacchino and his stuff is great. I’m sure at the minimum, we’ll hear Alex Courage’s fanfare. Just gives me goosebumps thinking about that. “Space, the final frontier….” The year of 2013 is too far away.

http://trekmovie.com/2010/09/08/video-highlights-michael-giacchino-on-star-trek-music-sequel-more/

151. Goosenecked Fan - March 10, 2012

Good info there, #150! Thanks for that! I never knew Giacchino had to scrap some music in favor of something JJ liked better. I like the score, so I don’t want to sound like I’m bashing it. I liked Spock’s theme a lot. Can’t wait to see the new film and hear what Giacchino does with it…

152. Adam Bomb 1701 - March 15, 2012

Jerry Goldsmith had to scrap the first cue he composed for the Enterprise in drydock for “TMP.” He had almost no time to come up with something better. Apparently Mr. Goldsmith worked best under pressure, because the result was wonderful. Part of his original cue can be heard on disc 2 of the “Director’s Edition” DVD.

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