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Filmtracks Recommends: Buy it... only if you are completing your Star Trek set of scores and you can forgive the badly outdated elements of the album. Avoid it... if you, like most Star Trek fans, prefer the serious drama, the serious action, and the serious scores of the franchise. Filmtracks Editorial Review:
The "happy" composition isn't poor in and of itself, but rather it is a poor fit for any Star Trek film, regardless of the comedy elements. The scenes involving the future Star Trek universe are mundane and underdeveloped, and scenes of chases in 1986 San Francisco are saturated in cheesy rhythms and motifs that lose their integrity when reminded of the genre. The title theme, an adaptation of Rosenman's work for the animated Lord of the Rings film, is too strikingly upbeat and comedic for the genre, and is embarrassing when heard as the Klingon Bird of Prey sinks in the San Francisco Bay. The music for the Probe, the Vulcan sequence, and the time travel are lacking in basic excitement and science-fiction instrumentation. The series had been carried with creativity at the forefront of its musical approach, and Rosenman's score is often a strictly-orchestral piece straight out of a B-grade or television 1970's film. As a final insult, the introduction of the new Enterprise at the end of the film is scored without any of the majestic fanfare necessary for the event (if you want a much better fanfare, see McCarthy's Star Trek: Generations opening). The use of the pop tracks, performed by the "Yellowjackets" is understandable, and even excusable, but it further dates this score and places it in a separate realm from its peers in the franchise. The album suffers from several bad edits of multiple cues into single, lengthy tracks. Overall, Rosenman's effort is too upbeat and too cheesy without rooting itself first in the genre. An excellent example of a comedy score that holds well in the genre is David Newman's Galaxy Quest, which balanced between science-fiction and comedy to a much better degree than Rosenman's Star Trek IV: The Voyage Home. Nimoy's choice for the score failed to live up to Trek standards, and the series would react (or correct itself) by going to the only logical choice for the next score: Jerry Goldsmith. For fans of the Star Trek franchise, the fourth score is easily the last one to consider purchasing. **
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