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THE MOON’S A WINDOW TO HEAVEN (by Hiroshima: Star Trek V – The Final Frontier movie soundtrack)

SUMMARY:                                    RUNNING TIME: 3:59 Min.

In the 1989 film, Nichelle Nichols’ Commander Uhura performs this siren-like love song as an otherworldly nighttime diversion for Captain Kirk’s posse to get the drop on suspected terrorist Sybok’s spellbound minions.  The version of “The Moon’s A Window to Heaven” that actually appears on the official soundtrack is by Japanese fusion band Hiroshima.

REVIEW:

Considering how nearly everything else about Star Trek V seems recycled, it’s fitting that one of its few original elements briefly steals the show.  Imbued with an uncredited lead singer’s sultry vocals, Hiroshima’s alluring blend of R&B, dance pop, and Japanese-influenced New Age jazz still holds up well today.  “The Moon’s A Window to Heaven” is an underrated musical gem that merits a chance at re-discovery. 

BRIAN’S ODD MOON RATING:                         8 Stars

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STAR TREK II: THE WRATH OF KHAN – END CREDITS {Cover} (by Erich Kunzel & The Cincinnati Pops Orchestra: Symphonic Star Trek)

SUMMARY:                                      RUNNING TIME: 5:40 Min.

It’s a cover of James Horner’s work from 1982’s Star Trek II: The Wrath of Khan.  This theme is the sixteenth track off Erich Kunzel & The Cincinnati Pops Orchestra’s 1996 Symphonic Star Trek instrumental album.

REVIEW:

It’s a virtual replica of James Horner’s theme – even down to its cool nautical-like elements.  If the original version isn’t available, then this phenomenal cover is the best possible alternative. 

BRIAN’S ODD MOON RATING:                       10 Stars

Note: Both the main title and epilogue themes from Star Trek II are also covered on this album, as is a sound effect rendition of ‘The Genesis Project.’

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STAR TREK II: THE WRATH OF KHAN – EPILOGUE {Cover} (by Erich Kunzel & The Cincinnati Pops Orchestra: Symphonic Star Trek)

SUMMARY:                                          RUNNING TIME: 3:03 Min.

It’s a cover of James Horner’s work from 1982’s Star Trek II: The Wrath of Khan.  This theme is the fifteenth track off Erich Kunzel & The Cincinnati Pops Orchestra’s 1996 Symphonic Star Trek instrumental album.  Specifically, Horner’s version is heard in the movie’s poignant closing moments leading into the end credits sequence. 

REVIEW:

Impressively, it’s a near-perfect replica of the original theme.  The only element missing from this rendition is Leonard Nimoy’s ghostly “Space, the final frontier …” voice-over.  If Horner’s version isn’t available for download, then this cover is the next best thing. 

BRIAN’S ODD MOON RATING:                         9 Stars

Note: Both the main titles and end credits themes from Star Trek II are also covered on this album, as is a sound effect rendition of ‘The Genesis Project.’

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STAR TREK II: THE WRATH OF KHAN – MAIN TITLE {Cover} (by Erich Kunzel & The Cincinnati Pops Orchestra: Symphonic Star Trek)

SUMMARY:                                        RUNNING TIME: 3:16 Min.

It’s a cover of James Horner’s work from 1982’s Star Trek II: The Wrath of Khan.  This theme is the fourteenth track off Erich Kunzel & The Cincinnati Pops Orchestra’s 1996 Symphonic Star Trek instrumental album.

REVIEW:

It’s a virtual replica of James Horner’s original theme.  If the original version isn’t available, then this cover is the next best thing. 

BRIAN’S ODD MOON RATING:                        9 Stars

Note: Both the epilogue and end credits themes from Star Trek II are also covered on this album, as is a sound effect rendition of ‘The Genesis Project.’

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STAR TREK: THE ORIGINAL SERIES TV THEME {Cover} (by Erich Kunzel & The Cincinnati Pops Orchestra: Symphonic Star Trek)

SUMMARY:                                    RUNNING TIME: 3:45 Min.

Adapting composer Alexander Courage’s TV theme, conductor Erich Kunzel & The Cincinnati Pops Orchestra include it as the twelfth track on their 1996 Symphonic Star Trek instrumental album.  Like “The Cage” suite, it’s one of the album’s few tracks that isn’t an exact replica of the original theme.

REVIEW:

Including ethereal vocals, it’s a concert-style rendition vs. a straight-up cover of Alexander Courage’s version.  Hence, the track’s sound is unique for this album. Unlike their perfect replicas of other Star Trek themes, Erich Kunzel guides The Cincinnati Pops Orchestra on a more interpretive journey of Courage’s original TV theme.  Not only is this track a nice treat for Trekkers, it’s a welcome option for any sci-fi-themed playlist. 

BRIAN’S ODD MOON RATING:                           8 Stars

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STAR TREK 2009 END CREDITS (by Michael Giacchino: Star Trek movie soundtrack)

SUMMARY:                                     RUNNING TIME: 9:11 Min.

Incorporating Alexander Courage’s original TV series theme, composer/conductor Michael Giacchino provides the end credits theme for 2009’s Star Trek film starring Chris Pine & Zachary Quinto.   

REVIEW:

Given the sheer number of technical credits alone this J.J. Abrams film required, Michael Giacchino’s concluding theme is likable enough.  It’s just this medley overstays its welcome.  Re-capturing the reboot’s epic tone, its sweeping montage of key musical cues evokes the 2009 film only vs. any past Star Trek theme — not even the original TV series.

In that sense, the track’s sum total falls short of James Horner’s nautical-inspired work on 1982’s Star Trek II: The Wrath of Khan, which is likely the franchise’s gold standard. Giacchino’s track might not even surpass Jerry Goldsmith’s bombastic (and often-recycled) theme from 1979’s Star Trek: The Motion Picture, as far as appealing to long-time Trekkers.

As a download option, Giacchino’s track makes an ideal choice for listeners who prefer a thematic summary of the reboot film. 

BRIAN’S ODD MOON RATING:                    7 Stars

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SYMPHONIC STAR TREK {Cover Album} (by Erich Kunzel & The Cincinnati Pops Orchestra)

SUMMARY:                                     RUNNING TIME: 71 Min.

Released by Telarc International Corporation in 1996, this homage album covers Star Trek television and movie themes, as well as inserting some exclusive sound effects between tracks.  After Leonard Nimoy’s brief introduction, conductor Erich Kunzel leads the Cincinnati Pops Orchestra through renditions of Tracks 2, 4, 6, 8, 11, 12, 14-16, 18-19, 21, 23, 25, and 27. 

The complete list of tracks is:       

  1. Leonard Nimoy’s Introduction: Into the Final Frontier                                              1:13
  2. Star Trek: The Next Generation (Main Theme)   1:44
  3. “Warp-One” (Telarc sound effect)      0:15
  4.  Star Trek VI: The Undiscovered Country (End Title)   4:55
  5. “The Destruction of Praxis and Its Aftermath” (Telarc sound effect)   1:03
  6.  Star Trek: Voyager (Main Theme)   1:42
  7. “Starship Flyby” (Telarc sound effect)    0:14
  8.  Star Trek: Deep Space Nine (Main Theme)   2:01
  9. “Alien Probe” (Telarc sound effect)    0:48
  10. “Humpback Whale Song” (sound effect per Dr. Roger Payne’s 1970 recording)   1:27
  11.  Star Trek IV: The Voyage Home (Main Title)   2:42
  12.  Star Trek: The Original Series (Main Theme – Expanded)    3:44
  13. “Tribble Trouble” (Telarc sound effect)   0:38
  14.  Star Trek II: The Wrath of Khan (Main Title)    3:16
  15.  Star Trek II: The Wrath of Khan (Epilogue)      3:04
  16.  Star Trek II: The Wrath of Khan (End Credits)  5:41
  17. “Klingon Bird-of-Prey Decloaking” (Telarc sound effect)   0:16
  18.  Star Trek: The Motion Picture (“The Klingon Battle”)    5:26
  19.  Star Trek: The Motion Picture (Main Theme)   3:52
  20. “Warp Eight” (Telarc sound effect)    1:06
  21.  Star Trek V: The Final Frontier (“A Busy Man”)      4:12
  22. “Genesis Project: The Creation and Evolution of TINSIS” (Telarc sound effect) 2:58
  23. Star Trek: The Cage suite (aka “The Menagerie” – Original TV Pilot Theme)   7:34
  24. “Transporter” (Telarc sound effect)     0:26
  25. Star Trek III: The Search for Spock (Main Theme)   6:08
  26. “Nexus Energy Ribbon” (Telarc sound effect)   0:59
  27. Star Trek: Generations (End Title)  4:08
  28. “The Borg” (Telarc sound effect)  0:11

Notes:

Track 5: for Star Trek VI: The Undiscovered Country.

Tracks 9 and 10: for Star Trek IV: The Voyage Home.

Track 13: for Star Trek: The Original Series.

Track 17: for Star Trek: The Motion Picture.

Track 22: for Star Trek II: The Wrath of Khan.

Track 26: for Star Trek: Generations.

Track 28: for Star Trek: The Next Generation / Star Trek: First Contact.

REVIEW:

Though somewhat dated, Symphonic Star Trek remains a blast to hear!  This unique CD gains instant credibility as Leonard Nimoy’s distinctively raspy voice transcends a hokey scripted intro.  Still, kudos must go to Erich Kunzel and the Cincinnati Pops Orchestra for their faithful renditions. 

Among the highlights is a concert-style rendition of Star Trek: The Original Series.  The rarely-heard collection of themes reviving Star Trek: The Cage proves a wonderful suite.  Telarc’s well-produced sound effects deliver some fun added attractions.  Boasting superb sound quality, Symphonic Star Trek delivers a hugely entertaining soundtrack highlight reel for any Trekker.    

PACKAGING:

The tracks and running times accurately appear on the CD’s back cover and inside the booklet insert.  The booklet also includes a 4½-page introduction by physicist-author Lawrence M. Krauss and a 3-page commentary on the sound effects by Michael Bishop.  Credits, technical notes, and thank-you notes are also included.  The CD is well-protected by a standard plastic casing.   

BRIAN’S ODD MOON RATING:                     10 Stars

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OVERTURE {End Title} (by Dennis McCarthy: Star Trek Generations movie soundtrack)

SUMMARY:                                  RUNNING TIME: 4:14 Min.

As heard over the closing credits of 1994’s Star Trek: Generations, this orchestral track by conductor Dennis McCarthy summarizes the film’s thematic content.  In particular, this end title is meant to celebrate the adventurous spirit of Captains Kirk (William Shatner) and Picard (Patrick Stewart) joining forces within the time-warping Nexus to thwart Malcolm McDowell’s mad scientist, Soran.   

REVIEW:

If anything, it’s the sole asset of composer/conductor Dennis McCarthy’s otherwise unremarkable score.  Deliberately closer in spirit to Star Trek: The Original Series, this well-constructed overture desires the aura of an epic space Western.  In that sense, McCarthy mostly succeeds, considering the film’s Kirk/Picard horseback riding sequence is hardly a coincidence. 

This classy instrumental also nicely conveys the ethereal ‘Nexus’ sub-theme before returning to its heroic main thread.  At the ideal moment, a familiar reprise of Alexander Courage’s signature Star Trek tune effectively completes tis track. 

“Overture” isn’t in the same league as James Horner’s nautical-themed Star Trek II: The Wrath of Khan score.  Yet, in terms of its originality, the Generations instrumental is still a Top Five Trek film theme.

BRIAN’S ODD MOON RATING:                       7 Stars

Notes: The best cover rendition can be found on 1996’s Symphonic Star Trek performed by Erich Kunzel & The Cincinnati Pops Orchestra. Another of McCarthy’s worthwhile sci-fi tracks to check out is his full-length V: The Series TV theme from 1984.

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STAR TREK: THE CAGE {Cover – Suite} (by Erich Kunzel & The Cincinnati Pops Orchestra: Symphonic Star Trek)

SUMMARY:                            RUNNING TIME: 7:33 Min.

First recorded for Star Trek’s unsold first pilot, “The Cage,” in 1965, the Alexander Courage themes contained in this suite can be heard in Star Trek’s first-season two-parter, “The Menagerie, Parts I & II” in 1966.  Specifically, the suite helps narrate U.S.S. Enterprise Captain Christopher Pike’s (Jeffery Hunter) illusionary ordeal on the planet, Talos IV.  This specific suite was recorded by the Cincinnati Pops Orchestra for 1996’s Symphonic Star Trek instrumental album.   

REVIEW:

The rejected “Cage” was reportedly deemed far too ‘cerebral’ by NBC television executives.  Listening to this somewhat haunting suite, one can grasp why its unusual sound would have been far ahead of its time for 1965 American television.  This “Cage” blends Star Trek’s original theme with classy instrumental flavors shifting from exotic to mysterious while still anchored to a sense of sci-fi/fantasy.  Ethereally replicated by Erich Kunzel & the Cincinnati Pops Orchestra, this rare track is a keepsake, not for only long-time Star Trek fans, but for any sci-fi playlist.   

BRIAN’S ODD MOON RATING:            8½ Stars

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STAR TREK – THE ORIGINAL SERIES: THE DOOMSDAY MACHINE (Season 2, Episode 6)

SUMMARY:                                RUNNING TIME: 50 Min.

Originally televised on NBC on October 20, 1967, this Marc Daniels-directed installment has the U.S.S. Enterprise tracking an ominous trail of destroyed planets.  It discovers the deep-space wreckage of its sister ship, the U.S.S. Constellation, and the sole survivor: its commander — Commodore Matt Decker. 

Confirming Decker’s vague explanation (as he is evidently suffering from PTSD), the Enterprise, too, is pitted against a seemingly impregnable planet-destroyer of unknown origin that then converts a world’s rubble to fuel.  Against this awesome roving weapon, the Enterprise stands no chance, but a determined Decker commandeers the ship from Spock to mount a counter-attack.  Not only are the Enterprise’s weapons ineffective, but this death machine is somehow siphoning the vessel’s power supply.

With Captain Kirk’s landing party marooned aboard the Constellation, it’s up to the two battered Starfleet ships to either destroy their enemy or retreat to warn Starfleet Command.  Worse yet, Spock deduces the course of this automated ‘Doomsday Machine’ will next target the most heavily-populated section of the galaxy.  As Kirk construes it, they’re facing he intergalactic equivalent of a H-Bomb.  

Capt. James T. Kirk: William Shatner                                                 

Commander Spock: Leonard Nimoy

Dr. Leonard “Bones” McCoy: DeForest Kelley                                   

Lt. Hikaru Sulu: George Takei

Commander Montgomery “Scotty” Scott: James Doohan                                                                                

Commodore Matt Decker: William Windom

Lt. Palmer: Elizabeth Rogers                                                              

Kyle: John Winston

Washburn: Richard Compton                                                              

Elliott John Copage

Yeoman: Jeannie Malone                                                                   

Leslie: Eddie Paskey

Hadley: Bill Blackburn                                                                        

Holloway: Roger Lemli

Montgomery: Jerry Catron                                                                 

Russ: Tim Burns

Notes: No explanation is given for Lt. Uhura’s (Nichelle Nichols) absence; however, ‘Lt. Palmer’ fills in for her.  One can infer that Decker’s relative {possibly even his son}, Willard (Stephen Collins), succeeds Kirk as the Enterprise’s captain prior to 1979’s Star Trek: The Motion Picture.

REVIEW:

Describing this top-caliber Star Trek as an ingenious ‘Moby Dick’ tale is accurate.  Yet, it also notably predates Star Wars’ Death Star by a decade.  In that sense, if one has ever imagined the Enterprise tangling with a Death Star-type menace, then this episode is wish fulfillment.  Even more so, Paramount’s remastered high-definition special effects for this particular episode are absolutely stellar.  While the original cheesy effects were merely sufficient, the impact of these new visual effects spell out why “The Doomsday Machine” is a Top Five episode from The Original Series

As for performance quality, Shatner and Nimoy are in vintage form.  Even with too little to do, Kelley and Takei compensate with terrific efforts.  Doohan’s ‘Scotty’ deftly contributes to a suspenseful finale.  Yet, it’s William Windom’s guest role that merits among this series’ best-ever one-shots.  On multiple occasions, his obsessed ‘Decker’ tersely spars with the main cast, which adds a welcome sense of dramatic realism.  Beyond Windom’s vital contribution, the well-structured script relies on some patented Trek plot twists to ensure that this storyline works on all thrusters. 

To its credit, “The Doomsday Machine” is a dynamite episode for both Trekkers and casual viewers alike.  Highly recommended!   

BRIAN’S ODD MOON RATING:               9 Stars

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