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Section Header
Star Trek: The Motion Picture
(1979)
1986 Columbia

1999 Sony

2012 La-La Land

Composed, Conducted, and Produced by:
Jerry Goldsmith

Co-Orchestrated and Additional Music by:
Alexander Courage
Fred Steiner

Co-Orchestrated by:
Arthur Morton

"Blaster Beam" Created and Performed by:
Craig Huxley

Labels and Dates:
Columbia
(1986)

Sony Legacy/Columbia
(January 26th, 1999)

La-La Land Records
(June 4th, 2012)

Also See:
Star Trek II: The Wrath of Khan
Star Trek III: The Search for Spock
Star Trek V: The Final Frontier
Star Trek VI: The Undiscovered Country
Star Trek: Generations
Star Trek: First Contact
Star Trek: Insurrection
Star Trek: Nemesis

Audio Clips:
1999 Album:

1. Ilia's Theme (0:30):
WMA (197K)  MP3 (242K)
Real Audio (150K)

3. Klingon Battle (0:32):
WMA (209K)  MP3 (258K)
Real Audio (160K)

7. Leaving Drydock (0:30):
WMA (195K)  MP3 (242K)
Real Audio (150K)

14. Inner Workings (0:30):
WMA (193K)  MP3 (238K)
Real Audio (147K)

Availability:
The 1986 Columbia album is completely out of print but is still available for reasonable prices in some corners of the market. The 1999 2-CD set is a regular U.S. release available for many years for slightly higher than normal retail prices. The 2012 3-CD set from La-La Land is limited to 10,000 copies and was made available primarily through soundtrack specialty outlets for an initial price of $35.

Awards:
  Nominated for an Academy Award, a Grammy Award, and a Golden Globe.









Star Trek: The Motion Picture

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Buy it... if you are unfamiliar with the feature Star Trek scores and seek Jerry Goldsmith's original classic of romance, adventure, and suspense that influenced most of the subsequent music in the franchise.

Avoid it... on any album prior to the 2012 3-CD set from La-La Land Records, the definitively comprehensive presentation of the score (and its early, rejected alternative by Goldsmith) in the best sound quality available.



Goldsmith
Star Trek: The Motion Picture: (Jerry Goldsmith) Despite a strong following of devoted fans after just a few years on television, Gene Roddenberry's "Star Trek" concept was floundering. NBC had cancelled the sci-fi show by the outset of the 1970's and an animated version in the middle of the decade was by no means a success. A full-length theatrical feature reviving the cast of the original show a few years later was a massive financial risk for Paramount, with fundamental production problems plaguing the highly anticipated Star Trek: The Motion Picture for years. Arguments over the script, special effects, and other elements of the film caused endless delays and last minute changes. The best that Roddenberry and famed director Robert Wise could offer for the film's December 1979 release date was no competition for George Lucas' Star Wars franchise, which surpassed the fledgling Star Trek alternative in nearly every way possible. After meeting with disappointing box office returns and critical indifference, Roddenberry's fortunes would only turn around with Star Trek II: The Wrath of Khan, a less spectacular film but one with a phenomenal story and equally impressive special effects. It's hard to imagine that even as the finishing touches were being put on Star Trek: The Motion Picture (less than a week before its wide opening), there was no expectation that any franchise would follow. Its story spent significant time reassembling the famed crew and reintroducing its ship prior to engaging in an philosophically existential journey to communicate with a space probe from early in Earth's space program that has returned home in massive and dangerous form to find its creator. After opening with a remarkable battle sequence between this probe and a few Klingon vessels, the film's pace slows to a crawl for its remainder, relying upon intellectual and emotional romanticism rather than the more conventional action (and villains) that would follow in the sequels.

The awesome visual effects of Star Trek: The Motion Picture, provided by numerous groups eager to compete with the Star Wars universe, played to a resurgence in audience interest in the fantasy genre, however. These effects, along with Jerry Goldsmith's historically significant score, are the two commonly credited reasons why the project, despite its many faults, led to so much more success down the road. There are many reasons why Goldsmith was the appropriate choice for Star Trek: The Motion Picture, including both his established credibility in the 1970's science-fiction scene and his close friendship with the likes of Alexander Courage and Fred Steiner, composers who had contributed greatly to the music for the original television series. Goldsmith brought both of those composers on as orchestrators (and co-composers) and enlisted friend and conducting collaborator Lionel Newman to help supervise the recording sessions. In later interviews, Goldsmith often thought back wistfully about his experience on Star Trek: The Motion Picture, acknowledging its frustrating creation while also enjoying the hope that Roddenberry's vision represented. For the composer, the "Star Trek" universe was a welcome friend in which he would spend much of the latter stages of his life, even though he wasn't a die-hard fan of the concept. The origins of his involvement with it, however, weren't as peachy. Due to the considerable post-production delays and other problems, Goldsmith was left with little finished material by which to be inspired. The special effects sequences, which make up a significant portion of the film (to its detriment in the excruciatingly slow narrative of its latter half), were not finished, nor were the titles. With only the live action scenes in the first half of the picture to guide him, Goldsmith wrote an elongated, fluid, and romantic theme for the Enterprise, a theme that was painfully rejected by the director, who correctly pointed out that the idea wasn't succinctly memorable enough to function as a qualified theme. There was a distinctly nautical feeling to this flowing identity, and the composer maintained some of that character in his ultimately revised writing.

Ten days of toil and the eventual delivery of key special effects sequences in Star Trek: The Motion Picture assisted in guiding Goldsmith to the thematic formats he would eventually settle upon, and he altered the main tune to match the lofty heroism that the visuals suggested. The incidental character of the early variations of his theme for the vessel remain in the final version of "The Enterprise," the lengthy cue that introduced the updated ship for audiences to marvel over. Still, Goldsmith's misguided conceptions of the film's beauty and message had caused him to abandon 25 minutes of his own score after two months of writing and recording. He continued to generate material up to six days before the release of the film, and the composer turned to concept veterans to ghostwrite 10 to 12 cues based upon his final set of themes. Fred Steiner handled the majority of these duties, though Alexander Courage was asked to contribute to the effort with a couple of rather grim adaptations of his original television theme for "Captain's Log" sequences in the film. One of the reasons the score was such a daunting task was because of Goldsmith's unwillingness to miss a prime opportunity to explore not only a plethora of themes and motifs, but also the unusual instrumentation with which he had experimented throughout the 1970's. The ideas that he conjured for Star Trek: The Motion Picture were so effective in their precision that they inspired nearly every piece of music to follow in the franchise. The pervasive influence of these choices was such a grand match to the film's tone that they earned him another Oscar nomination (he lost to a lovely, but not as deserving A Little Romance by Georges Delerue). Only two of Goldsmith's five major motifs for Star Trek: The Motion Picture carried over directly to the cinematic and television spin-offs that followed, though the general character in both those and the other three would still heavily influence the franchise. The aforementioned theme for the Enterprise was so well received that Roddenberry insisted that it be merged with Courage's original series theme to form the identity of the immensely successful "Star Trek: The Next Generation" television continuation less than a decade later.

Also used by Goldsmith as the primary identity of the ship's future incarnations in the later film sequels, the main fanfare for Star Trek: The Motion Picture is among the most easily recognized in modern entertainment, signing off with the conclusion of the "Next Generation" cast's involvement in 2002's Star Trek: Nemesis. The appropriately bold but humble theme is optimistic in tone, establishing a foundation for his four sequel scores and directing the Emmy-winning theme for "Star Trek: Voyager." The title theme's over-exposure through the years has had the effect of diminishing the pleasure that many of its sparse, early recordings can yield in Star Trek: The Motion Picture. The primary statements in the title and credits sequences lack some refinement and seem strikingly simplistic compared to the acoustically brilliant recording of the theme at the end of digital-era scores like Star Trek: Insurrection. The far more interesting renditions of the theme exist in the snippets that appear throughout the actual accompaniment to the film's action, highlighted by "The Enterprise," which puts the idea through its most elegant permutations of the entire franchise. One of the lasting disappointments about Goldsmith's use of this theme in subsequent films was his unwillingness or inability to continue exploring the potential of the theme outside of its fanfare applications; some of the more enjoyably nostalgic (and short) cues in the last three of Goldsmith's scores for the franchise were those that briefly treated the Enterprise-E to a toast of this material. The softer, whimsical performance of the theme in "The Enterprise" is a direct extension of the romantic intent behind "Ilia's Theme," the score's secondary theme and the main holdover from Goldsmith's rejected version of the work. There has been no theme like it in the franchise's future, truly a shame given Roddenberry's upbeat notions of culture and exploration, though with the television series and films becoming increasingly sinister in tone as they approached the 2000's, the lack of anything as graceful is perhaps a consequence of reality-oriented script writers. One of the keys to Goldsmith's success with Star Trek: The Motion Picture is the combination of the beauty of "Ilia's Theme" and the softer variants on the Enterprise theme with the stark suspense music for the V'Ger invader, a balance that Goldsmith would only attempt to extend (with limited success) in some of his four sequel scores.

Despite all the hoopla about the parts of the score for Star Trek: The Motion Picture that would inevitably shape the future of the franchise, it is ultimately "Ilia's Theme" that remains as the definite highlight of the original entry. The suite arrangement of the theme, led by the elegance of a concert-positioned grand piano, was partly used as the overture to the film at Wise's insistence, and despite a few references throughout the score in relation to the romance between Ilia and Decker, its applications are frustratingly sparse. The theme doubles as the idea of resolution for the V'Ger spacecraft, developed parallel to its love theme alternative before revealing itself as the same basic identity during the climactic, metaphysical connection between the two characters. Its fleeting conclusion comes in one final, grand performance in "V'Ger Speaks." The score's other major three themes are all introduced immediately in "Klingon Battle." The theme that Goldsmith penned (late in the process) for the Klingons themselves is understandably used only in this cue, however the primal hunting instinct inherent in the identity's slightly exotic rhythm and low brass would return in various forms throughout the following nine films. James Horner offered a similarly percussive, though less memorable theme for the species in his second sequel score, while Goldsmith expanded upon his original idea in Star Trek V: The Final Frontier and used it as a token reference to the character of Worf in his last three sequel scores. Also introduced in "Klingon Battle" is the motif for the mysterious cloud that destroys the Klingon cruisers and Federation station, with the V'Ger craft at its heart. This theme's suspenseful yet awe-inspiring and almost religious tones (aided by organ) are a precursor to Goldsmith's Poltergeist music, and its performances dominate the later portions of the score, highlighted by "The Cloud." An arguably more vital theme for Starfleet is heard first in "Klingon Battle," and this alternating minor/major-key rhythm is used frequently in the score (especially prominent in "Leaving Drydock") for both the upbeat ambience of Starfleet and the suspense of their current mission. This idea is surprisingly pervasive in the original entry, especially in its first half, and it inspired later scores' treatment of Starfleet, including Cliff Eidelman's Star Trek VI: The Undiscovered Country. A lesser motif exists for Spock and his mind meld capabilities as well (introduced in "Total Logic"), though it lacks many memorable characteristics.

A 98-piece orchestra was used to record Star Trek: The Motion Picture, and the quality of that recording has always been strong. Adding distinction to the score is Goldsmith's instrumental creativity, however. Outside of the organic percussion in "Klingon Battle," the composer foreshadows his work for Legend and other later fantasy music with an array of synthetic sounds, some of which unique to this score. The most obvious element debuting here is the "Blaster Beam," Craig Huxley's invention of the long, metallic tube with a scaling magnet used to produce different pitches of sound of extraordinarily harsh and deep tones. Frightfully resonating in the bass region, this clearly menacing instrument is another representation of the mysterious V'Ger cloud. It serves as an extremely effective futuristic signal for the concept and offers an expansive presence in the bass region rarely realized before electric guitars and matured synthesizers tackled the same soundscape in the 1990's. It also compensated for the lack of well-developed sound effects in the final mix of the picture, too. The idea was reprised to an extent by James Horner in his sequels, and Goldsmith would use a fully synthetic version of it to represent the Borg in Star Trek: First Contact, but the instrument itself was not used in the same fashion for those subsequent entries. It was utilized in John Barry's The Black Hole and a few other film scores, though not with the same fame or originality as in this particular score. To augment the "Blaster Beam," Goldsmith used his usual zipping and zapping sound effects in the effort, and "The Cloud" and other cues of suspense are treated to lengthy wind and surf-inspired effects (some of which organically created) that later matured in Total Recall. The religious tone of Poltergeist prevails later in "The Cloud" and reaches a organ-powered climax in "The Meld." The role of the percussion, whether it's the pounding strikes of single piano keys or the tapping of wood and metal elements, is another important factor that Goldsmith finally revisited in Star Trek: Insurrection. The recording of the overall ensemble is quite dynamic and defies its 1970's origins. Expert mixing helped the longevity of the work as well, the placement of Huxley's various synthetic contributions crackling with a force of clarity despite his positioning alongside the live players. Several decades later, when pre-records had become the norm for synthetic augmentation of an orchestra, it's remarkable to revisit these Goldsmith achievements and appreciate his insistence that such instruments should serve as a fifth section of a live ensemble.

In sum, Star Trek: The Motion Picture is one of the few scores that truly deserves the title of "classic masterpiece." It was a huge factor in salvaging a troubled production and defined the music for a franchise to come. The depth of its secondary themes has never been repeated, and no following sequel score has been so richly endowed with such a perfect blend of romance, suspense, and gravity. One structural aspect of the score to mention specifically is the end credits, which followed the formula used by John Williams for Star Wars. In this and all of his subsequent scores for the franchise (along with Horner and Eidelman), Goldsmith bracketed the secondary theme with the fanfare for the Enterprise. The transitions between the main theme and Ilia's theme here are more fluid than in the composer's last three formula end title structures. From the standpoint of listenability, Star Trek: The Motion Picture has its share of distinct highlights and, like Star Wars, moments that you skip if only because they have been made redundant by superior sequel recordings. A few of Steiner's arrangements are somewhat dull filler material as well, revealed to their fullest on the score's most complete release on album. The moments of suspense involving the Voyager craft are delights for hardcore Goldsmith enthusiasts, while "Ilia's Theme," with its clever influences from the famed title theme, remains a favorite for casual collectors. Both of the primary themes were translated into disco or pop songs not affiliated in any way with Goldsmith or the film. For a long time, the score has often been represented on re-recorded compilations by prominent orchestras around the world. Ususally performed is "The Enterprise," which Goldsmith himself conducted for a 1997 compilation of his sci-fi works entitled "Frontiers." This cue is the staple of any similarly themed compilation, conducted even by John Williams for the Boston Pops, and the more illustrious compilations have tackled the "Klingon Battle" cue (including an intriguing rendition conducted by Erich Kunzel). Performances of "Ilia's Theme" are strangely more rare, despite the theme's inherent concert arrangement. In its original recording, Star Trek: The Motion Picture has received only three official major releases on CD. An early, 1986 album was pressed by Columbia to match the original LP presentation and featured exactly 40 minutes of Goldsmith's music (out of film order). Most of the major cues were represented on this album, however, and with sound quality equal to the later expanded pressing of 1999, some casual fans continued to be adequately served by this product.

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In 1999, to mark the 20th anniversary of the film, Sony and Columbia added 25 minutes of music to an expanded offering and threw in a compilation of 1976 spoken interviews with Roddenberry and cast members (among other short items) on a second CD. Goldsmith himself chose which cues to include in those additional 25 minutes, and die-hard fans were disappointed to find pieces (including Courage's short contributions) still missing. But those fans were treated to newly released cues of substantial length from all portions of the film, with the selections finally arranged into film order. Some listeners considerd this lengthy album to be overkill, for some of the V'Ger music is indeed redundant, though both "V'Ger Speaks" and especially "A Good Start" (which is essentially an extension of "The Enterprise" cue) were welcome additions. There was much consternation and outward hostility towards Sony and Paramount's teasing of fans at the time of this album's release, for it was widely advertised as having a November 1998 release date but was forced into countless delays due to marketing conflicts with the theatrical debut of Star Trek: Insurrection. Producers and executives assigned blame to each other for quite some time, and while these bad memories are irrelevant now, they caused some bad press regarding the product at the time. Additionally, the "Inside Star Trek" feature on the second CD won't appeal to everyone (some considered it yet another marketing ploy), though the slightly higher retail price of the album as a result of that content was still worth 65 minutes of the score. In 2012, La-La Land Records finally satisfied most fans with a definitive, broadly comprehensive 3-CD set of music for the film. This product includes the complete film score (featuring newly released takes), the long-awaited rejected recordings, a remastered recreation of the original album presentation, countless alternate takes (including some raw recordings of the sessions), and even the two pop songs (of which "A Star Beyond Time" is actually quite entertaining). Substantial efforts were made to transfer the master tapes to digital form in the best possible quality of sound, and the result is outstanding. Upwards of four hours of material is available on this $35 product, and it easily merits that price. Selling nearly half of its 10,000-copy limit on the product within days, La-La Land deserves significant praise for assembling this remarkable presentation, easily eclipsing the quality of their arguably more hyped release of Williams' Hook earlier in 2012. This fantastic album is guaranteed to be rewarding for fans of the franchise and otherwise, for the score is, simply put, among the best of Goldsmith's incredible career.   Amazon.com Price Hunt: CD or Download

    Score as Written for the Film: *****
    Music as Heard on the 1986 Columbia Album: ****
    Music as Heard on the 1999 Sony Album: *****
    Music as Heard on the 2012 La-La Land Album: *****
    Overall: *****

Bias Check:For Jerry Goldsmith reviews at Filmtracks, the average editorial rating is 3.26 (in 113 reviews)
and the average viewer rating is 3.25 (in 137,789 votes). The maximum rating is 5 stars.





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   FVSR Reviews Star Trek: The Motion Picture
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   Review at Movie Wave
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 Track Listings (1986 Columbia Album): Total Time: 39:58


• 1. Main Title/Klingon Battle (6:51)
• 2. Leaving Drydock (3:29)
• 3. The Cloud (5:00)
• 4. The Enterprise (5:58)
• 5. Ilia's Theme (3:01)
• 6. Vejur Flyover (4:56)
• 7. The Meld (3:15)
• 8. Spock Walk (4:17)
• 9. End Title (3:15)




 Track Listings (1999 Sony Album): Total Time: 133:33


CD1: Jerry Goldsmith's Score: (74:27)

• 1. Ilia's Theme (3:01)
• 2. Main Title (1:23)
• 3. Klingon Battle (5:27)
• 4. Total Logic* (3:44)
• 5. Floating Office* (1:03)
• 6. The Enterprise (5:59)
• 7. Leaving Drydock (3:29)
• 8. Spock's Arrival* (1:58)
• 9. The Cloud (4:58)
• 10. Vejur Flyover (4:57)
• 11. The Force Field* (5:03)
• 12. Games* (3:41)
• 13. Spock Walk (4:19)
• 14. Inner Workings* (3:01)
• 15. Vejur Speaks* (3:50)
• 16. The Meld (3:09)
• 17. A Good Start* (2:26)
• 18. End Title (3:16)
CD2: Inside Star Trek: (59:06)

• 1. Star Trek Theme (1:34)
• 2. Introduction: Nichelle Nichols* (1:13)
• 3. Inside Star Trek (1:04)
• 4. William Shatner Meets Captain Kirk (9:12)
• 5. Introduction to Live Show (0:25)
• 6. About Science Fiction* (0:40)
• 7. The Origin of Spock (1:45)
• 8. Sarek's Son Spock (7:21)
• 9. The Questor Affair (3:49)
• 10. The Genesis II Pilot* (2:34)
• 11. Cyborg Tools and E.T. Life Forms* (2:34)
• 12. McCoy's Rx for Life (6:14)
• 13. The Star Trek Philosophy (4:40)
• 14. Asimov's World of Science Fiction (6:27)
• 15. The Enterprise Runs Around (1:50)
• 16. A Letter From a Network Censor (5:03)
• 17. The Star Trek Dream (Ballad I/Ballad II) (5:43)
• 18. Sign Off: Nichelle Nichols* (0:50)

* previously unreleased




 Track Listings (2012 La-La Land Album): Total Time: 221:13


CD1: (72:06)

The Film Score:
• 1. Overture (1:43)
• 2. Main Title/Klingon Battle (7:01)
• 3. Total Logic (3:54)
• 4. Floating Office (1:08)
• 5. The Enterprise (6:02)
• 6. Malfunction (1:30)
• 7. Goodbye Klingon/Goodbye Epsilon Nine/Pre-Launch (2:10)
• 8. Leaving Drydock (3:32)
• 9. TV Theme/Warp Point Eight (0:50)
• 10. No Goodbyes (0:53)
• 11. Spock's Arrival (2:03)
• 12. TV Theme/Warp Point Nine (1:49)
• 13. Meet V'Ger (3:06)
• 14. The Cloud (5:05)
• 15. V'Ger Flyover (5:01)
• 16. The Force Field (5:07)
• 17. Micro Exam (1:13)
• 18. Games/Spock Walk (9:51)
• 19. System Inoperative (2:03)
• 20. Hidden Information (3:58)
• 21. Inner Workings (4:04)


CD2: (74:31)

The Film Score:
• 1. V'Ger Speaks (4:04)
• 2. The Meld/A Good Start (5:37)
• 3. End Title (3:16)

The Unused Early Score: (21:23)
• 4. The Enterprise (6:05)
• 5. Leaving Drydock (2:39)
• 6. No Goodbyes (0:55)
• 7. Spock's Arrival (2:00)
• 8. Micro Exam (1:15)
• 9. Games (3:49)
• 10. Inner Workings (4:43)

The 1979 Album: (40:01)
• 11. Main Title/Klingon Battle (6:50)
• 12. Leaving Drydock (3:29)
• 13. The Cloud (5:00)
• 14. The Enterprise (5:59)
• 15. Ilia's Theme (3:00)
• 16. Vejur Flyover (4:56)
• 17. The Meld (3:15)
• 18. Spock Walk (4:17)
• 19. End Title (3:16)


CD3: (74:23)

Alternates: (42:43)
• 1. Overture (Long Version) (2:50)
• 2. Main Title (Alternate Take) (1:44)
• 3. Total Logic (Alternate Take) (3:49)
• 4. Malfunction (Early Take) (1:28)
• 5. Goodbye Klingon (Alternate Take) (0:35)
• 6. No Goodbyes (Alternate Take) (0:53)
• 7. Spock's Arrival (Alternate Take) (2:01)
• 8. The Force Field (Alternate Take) (5:04)
• 9. Micro Exam (Alternate Take) (1:14)
• 10. Games (Early Synthesizer Version) (3:48)
• 11. Games (Alternate Take) (3:48)
• 12. Inner Workings (Alternate Take) (4:05)
• 13. V'Ger Speaks (Alternate Take) (4:03)
• 14. The Meld (Film Version) (3:16)
• 15. A Good Start (Discrete) (2:27)
• 16. Main Title (Album Take) (1:44)

Additional Music: (31:40)
• 17. Main Title (First Raw Takes) (7:21)
• 18. The Force Field/The Cloud (Excerpts) (2:33)
• 19. Beams and Synthesizer for V'ger (4:04)
• 20. Beams and Synthesizer for Ilia (0:59)
• 21. Synthesizer for Main Theme (1:44)
• 22. Main Theme From Star Trek: The Motion Picture - performed by Bob James (5:24)
• 23. A Star Beyond Time - performed by Shaun Cassidy (2:43)
• 24. Ilia's Theme (Alternate) (3:33)
• 25. Theme From Star Trek: The Motion Picture (Concert Edit) (3:25)




 Notes and Quotes:  


The 1986 Columbia album's insert contains no extra information about the film or score. The 1999 Sony and 2012 La-La Land sets contain a plethora of information about both; a track by track analysis is also provided, including recording dates, sequencing, and details about the origins of the main theme and the Blaster Beam. The 1999 product comes in a holographic slipcase cover.

In October 1998, after completing the score for Star Trek: Insurrection, Goldsmith said the following about his involvement with the franchise:

    "Doing a Star Trek film is like returning to an old friend. Beginning with the first one which was difficult, to say the least, because of all the technical problems we had. I've gotten very fond of it. The theme from the first motion picture became the theme of "Next Generation" and then I wrote the theme for "Voyager" and the four "Star Trek" episodes as well, so I feel very much in tune with "Star Trek." I love the stories because I think that they're big and they're romantic. You know, it was Gene Roddenberry's hope it'd be a nicer place to live. That's the sort of world, the universe he created and that's what I think all of these scripts portray."





   
  All artwork and sound clips from Star Trek: The Motion Picture are Copyright © 1986, 1999, 2012, Columbia, Sony Legacy/Columbia, La-La Land Records. The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 1/24/99 and last updated 9/3/12. Review Version 5.1 (PHP). Copyright © 1999-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.