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Section Header
Star Trek: Insurrection
(1998)
1998 GNP Crescendo

1999 Bootleg

2013 GNP Crescendo

Composed, Conducted, and Produced by:
Jerry Goldsmith

Orchestrated by:
Alexander Courage

Labels and Dates:
GNP Crescendo Records
(December 8th, 1998)

Bootleg
(1999)

GNP Crescendo Records
(Expanded)
(August 6th, 2013)

Also See:
Star Trek: The Motion Picture
Star Trek II: The Wrath of Khan
Star Trek III: The Search for Spock
Star Trek V
Star Trek: Generations
Star Trek: First Contact
Star Trek: Insurrection
Star Trek: Nemesis

Audio Clips:
1998 GNP Album:

1. Ba'Ku Village (0:38):
WMA (243K)  MP3 (303K)
Real Audio (188K)

4. Not Functioning (0:35):
WMA (227K)  MP3 (284K)
Real Audio (176K)

5. New Sight (0:34):
WMA (218K)  MP3 (271K)
Real Audio (168K)

11. End Credits (0:34):
WMA (220K)  MP3 (271K)
Real Audio (169K)


1999 Bootleg:

1. Phaser Blast (0:31):
WMA (202K)  MP3 (250K)
Real Audio (155K)

7. The Hidden Ship (0:30):
WMA (191K)  MP3 (238K)
Real Audio (147K)

15. A Perfect Moment (0:27):
WMA (179K)  MP3 (218K)
Real Audio (136K)

20. The Collector (0:32):
WMA (204K)  MP3 (251K)
Real Audio (156K)

Availability:
Both the 1998 and 2013 GNP Crescendo products are regular commercial releases, the latter carrying an initial retail price of $20. The bootleg and its variants were circulated widely in the online trade circles during the 2000's, with occasional batches showing up at the soundtrack specialty outlets.

Awards:
  None.









Star Trek: Insurrection
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Sales Rank: 167119


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Buy it... if you're ready for a strong and rewarding Jerry Goldsmith experience that only skirts the edge of the "Star Trek" universe with subtle franchise connections while exploring freshly tender romanticism and Total Recall-styled action cues.

Avoid it... on the 1998 commercial album if you expect to hear a satisfyingly rounded presentation of the entertaining score, for either the widespread bootlegs or the 2013 official expanded album merit the only consideration you should give to this score.



Goldsmith
Star Trek: Insurrection: (Jerry Goldsmith) For Star Trek: Insurrection, 1998's embrace of the "Star Trek" concept's historical affinity for socio-political commentary, actor Jonathan Frakes returned for his second turn in the direction of the film franchise, an entry that toned down the suspense and gave the series a breath of fresh air and comedy. The plotline of Star Trek: Insurrection is a lightweight compared to those that came before and after, lending more credibility to the informal rule that odd-numbered films in the franchise tend to be flightier affairs. In what essentially amounts to a bloated 2-hour version of a story best sculpted for an episode of "Star Trek: The Next Generation," this movie tells a feel-good tale of the people of a heavenly planet being forced to relocate because of a natural resource that an alien race needs in its vicinity (insert wry comments about parallels between this and the history of America... "Star Trek" writers can never resist such inspirations). When the "Next Generation" crew of the glamorous new Enterprise (apparently rid of its unsightly Borg alterations in Star Trek: First Contact) try to intervene, they discover that the story is far more complicated. Both Starfleet and the protagonists end up doing what audiences love most: violating the "prime directive" with parallels to Western motifs of an era past. Unfortunately, Star Trek: Insurrection marked the franchise's transition from special effects based upon model photography to those solely reliant upon digital renderings, and the movie suffered from several awful ship-related effects sequences as a result. Less embarrassing, of course, is Jerry Goldsmith's music. While the quality of Star Trek: Insurrection as a whole is universally considered far less than that of Star Trek: First Contact, Goldsmith's score for the ninth film is arguably stronger than the highly stylistic and overbearing tones of the previous film's score. "I think this film is a more romantic film than any of the others have been," Goldsmith stated at the time. "I think that the subplots include a very lovely romantic story. So that makes it a little different for me." He also commented that "there's more action in this" than in the previous entry, a true statement about a work that has many close ties to one of the composer's most popular action and science-fiction triumphs, Total Recall.

The score for Star Trek: Insurrection is, in sum, more satisfying in its romantic and action elements because of the simplicity of both modes and, on album, it's among the better in the franchise. It remains leagues ahead of Goldsmith's disappointing departure from the concept in Star Trek: Nemesis. For the purposes of this review, the track titles and times referenced will refer to the expanded score as it appeared on the numerous bootlegs that have existed on the market for a long time, with some comparisons to the 2013 track assemblies that belatedly followed in official expanded form. Goldsmith claimed upon writing Star Trek: Insurrection that the score only uses three themes, which unfortunately sells him a bit short. He said he explicitly avoided writing an overarching theme to cover the entire film, as well as anything major to represent the Son'a villains, the former correct but the latter prompting some argument. He also stated that he constructed only one theme for the peaceful Ba'Ku people, which is a curious statement because of its blatant falsehood. The primary, general idea for the Ba'Ku is heard in lieu of a traditional overture, and a suite-like format exists at 1:05 into "Ba'Ku Village" as well as in the role of the usual interlude during the "End Credits." It also anchors the finale of the story at 6:00 into the film version of "The Healing Process." This pretty and unassuming theme is reminiscent of the kind of lofty strings and woodwind identity in Rudy and several other tender Goldsmith character scores. Among these works, this theme for Star Trek: Insurrection is somewhat generic despite its pleasant tones. Far more beautiful is the second theme for the Ba'Ku, one which critics (and Goldsmith himself, apparently) seem to lump in with the previous theme. In reality, this second clearly delineated idea is more prevalent in the score, and represents both the magical elements of the Ba'Ku's civilization (rather than simply the innocence, which the first theme addresses) and the relationship between Captain Picard and the leader of the Ba'Ku. This theme is far lovelier that the more generic Ba'Ku one, touched upon briefly in "Warp Capability" and "The Ba'Ku Planet" before occupying almost the entirety of "New Sight." A downright magical reprise of the theme on whimsical strings highlights "A Perfect Moment" and one last performance graces "Into the Caves" at the 1:10 mark.

The two soft Ba'Ku themes of Star Trek: Insurrection together make for a significant amount of extremely relaxing material, a trait that you wouldn't expect from a "Star Trek" score, but it's still welcomed for its uniqueness in context. Goldsmith adds a touch of complexity to the love theme, interestingly, first in a secondary phrase that seems to generally represent the rejuvenation process experienced by the main characters (an ascending line with synthetic tingling effects). More intriguing, however, is the composer's choice to base the main phrase of the love theme after his recurring four-note theme of friendship in Star Trek V: The Final Frontier and Star Trek: First Contact, an identity sometimes referred to as the "quest motif." Whereas this idea was dominant in the prior two aforementioned scores, its applications here are smartly masked. Not only does it inform the love theme, but its only actual representation in prior brass form at 1:20 into "Admiral Dougherty" (or 2:06 into "Lost Ship/Prepare the Ship" on the 2013 album) signifies once again that the motif also has firm connections to Starfleet. In this instance, a somber rendition of the theme represents the admiral's ordering of Captain Picard to abandon Starfleet's principles, and the latter's decision to go rogue. This singular moment in the score, uninhibited by dialogue in the film, stands out as a surprising highlight of the entire work. There exist two other major identities in Star Trek: Insurrection, the most memorable of which representing the villains and the rambunctious action of the tale. The first is the quick, rising action motif returning from the previous score, previewed at 0:41 into "Ba'Ku Village" and used to punctuate moments of specific suspense or action throughout the story. The main new action theme of the film is often accompanied by this stirring motif (as in the many references in the first half of "Not Functioning"), often established by a thunderous piano base line emphasizing minor third force. This roaring and surprisingly long and fluid brass construct makes great use of trademark Goldsmith rhythms of pounding piano and timpani; the rhythm is formulated in "Dogfight" ("Come Out") and matures in "Not Functioning," where (at 0:50) the tenacious theme joins it for several extremely satisfying capitulations. The idea is reprised in "The Drones Attack" and, more dramatically, in "The Collector" (at 0:35). Those exploring the 2013 album will find the "Photon Torpedo" statement of this idea, representing Data's attack on the Son'a flagship.

A faint manipulation of the villains' theme from Star Trek: Insurrection is strung out in "The Same Race," though one of the truly unfortunate missed opportunities of this score would have been some explicit measure by Goldsmith to tie together the Ba'Ku and Son'a with precise similarities in their musical constructs. While not devastating to the score, the lack of such a connection is a bit of a head-scratcher in retrospect. It has been reported that the ambitious piano rhythm and accompanying theme for the Son'a and their actions were instead based off of an unused cue written by Goldsmith for the "Massacre" scene in Total Recall, which would make sense given the close stylistic similarities between the works. Among the other themes in Star Trek: Insurrection is, as discussed already, the rising, spirited, and heroic submotif that originates in Star Trek: First Contact. It has a passing resemblance to the start of Randy Newman's main theme for The Natural, though this similarity seems completely coincidental. Two of the slower, more melodramatic statements of this theme exist at 0:55 into "The Hidden Ship" and 3:45 into the film version of "The Healing Process." It's a versatile motif, like the friendship/Starfleet one, and it continues in the mould of Goldsmith's distinct style for the films. Despite what the composer says about the lack of any theme for the villains, there does seem to be yet another minor, more ominous motif for them. Referenced throughout the score, its most prominent and lengthy usage is during the entirety of the "Countdown" cue, though an argument can be made that it serves a more general purpose of extending suspense rather than represent the Son'a specifically. Either way, it's effective despite being somewhat typical to Goldsmith's habits and therefore generic in style. To his credit, the composer maintains strong continuity in Star Trek: Insurrection due to his constant use of at least one of these ideas in every cue. Thematically, several old favorites persist in Star Trek: Insurrection. Alexander Courage's original television show theme is heard directly at the outset of the score and in its usual role in Goldsmith's "End Credits" format. The theme for the Enterprise and the "Next Generation" crew is only heard in that same standard suite and once during the film itself (as the Enterprise is first seen at the start of the film). The composer throws a bone to die-hard fans with two small references to his famous Klingon theme as a representation of Worf (at 8:10 into "Phaser Blast" and 2:25 into "The Drones Attack" on the bootlegs).

Throughout Star Trek: Insurrection, Goldsmith allows his usual stylistic tendencies to make more connections to the franchise's past, and this sound remains very effective. Outside of his recognizable thematic structures and orchestrations, the employment of his array of synthetic sound effects is put to fantastic use in this work. As in Total Recall, the electronic rhythms and singular sound effects receive a major role in Star Trek: Insurrection, perhaps the greatest of any of the composer's five scores for the franchise. A handful of specific, individual moments in the score should be recognized due to that electronic usage, including the opening moments of "The Hidden Ship" (alternately "The Holodeck," the sole truly comedic aside in the whole) and the rather unique rhythm in "Exodus" ("Send Your Ships"), another awkwardly cute break in the action. Other specific points in the score are worth mentioning for various reasons. The progression of the "Main Title" sequence, after the conclusion of the statement of Courage's theme and the heroic subtheme, mirrors the majestic descending notes of the opening to Star Trek: First Contact, an interesting thread of consistency. The climax of the original version of "The Healing Process" offers the score's only short burst of choir in a remarkably powerful crescendo (at 4:05), a cue replaced for a shorter, non-choral re-arrangement by Goldsmith to accommodate the less thought-provoking ending chosen for the film (the lead villain was originally supposed to rapidly de-age to death rather than get blown up). A singular, lightly stepping rhythm in the latter half of "The Children's Story," along with other Ba'Ku-related material, is a foreshadowing of the innocent side of Goldsmith's forthcoming (and underrated) score for The Haunting. The performance of the "End Credit" suite is still not as strong as the one for Star Trek V: The Final Frontier, which endures as the best version of that format produced by Goldsmith (regardless of the improvement in sound quality over the years). In general, Star Trek: Insurrection will be remembered for its enjoyable romantic elements and superior action material that raises more ruckus than most of Goldsmith's scores since the composer's Rambo days. For some listeners, it may be less recalled as a distinct "Star Trek" entry, however, despite its many subtle connections to its older siblings. Strictly in terms of quality of enjoyment, the score ranks near the same level as Star Trek V: The Final Frontier and remains a step above Star Trek: First Contact and two steps above Star Trek: Nemesis.

One aspect of Star Trek: Insurrection worthy of extended praise is its sound quality. The composer's scores of 1998 and 1999, beginning with Small Soldiers, feature fantastic aural presentations, the recordings by Bruce Botnick mixed with a perfect blend of instrumental clarity and ambient reverberation. In Star Trek: Insurrection, the resulting wet sound causes cues like "Not Functioning" and "The Drones Attack" to be stunning listening experiences. Unfortunately, occasional mistakes in the brass section can't be washed away by the mix, and they particularly flub a portion of "End Credits," which is why, along with the awkward transition to the Ba'Ku material halfway through, it's not among the better "Star Trek" suites. Upon the release of the original 1998 GNP Crescendo album of the spectacular-sounding score, fans of the film noticed immediately that a substantial amount of good music did not make the cut on the 41-minute product (nor did it include the enhanced-CD capabilities of GNP's release of the previous score). Over the three years following Star Trek: Insurrection, both of the remaining "Star Trek" series on television ended and Star Trek: Nemesis was seemingly taking forever to reach completion, giving fans of the 24th Century "Star Trek" franchises more time to reflect on Goldsmith's work for Star Trek: Insurrection. Whereas the music for Star Trek: First Contact hit fans at breakneck speed, immediately exploding in popularity, the music for the ninth film took longer to endear itself to the same audience. However, as the years have shown, a growing respect has evolved for Star Trek: Insurrection. Those two "Star Trek" films received albums from GNP Crescendo that, though making a strong presentation of both works, lacked several key cues from their respective wholes. Credit must be given to GNP Crescendo, which will defend its budgetary restrictions and Goldsmith's personal album selection choices to the bitter end, but as with the eighth "Star Trek" score, everyone knew that a more complete bootleg of Star Trek: Insurrection would eventually surface on the secondary market. It took surprisingly little time to do so, too. Within just a matter of a year after the film's opening in the theatres, single-CD bootlegs of the nearly complete score began making the rounds. It's not uncommon for recording sessions of "Star Trek" scores to be leaked to the collector's market (in some cases, as with Star Trek VI: The Undiscovered Country, it took a while), and regardless of your feelings about the legalities of the matter, Star Trek: Insurrection really is a score better appreciated in a fuller form.

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In 2013, GNP Crescendo finally appeased the market and released the complete score for the film, along with several alternate takes. For most listeners, the bootlegs and the 2013 album will be interchangeable, with similar contents arranged slightly differently. These albums make available more of the music you heard in the film with the same stunning sound quality as the 1998 product. The bootlegs contain an additional 25 minutes of score while the 2013 official expansion appends another dozen or so minutes on top of that. Both add short filler cues and lengthy action sequences to the listening experience, the 2013 album combining many of the odds and ends into longer tracks (but thankfully not cross-fading them). Addressing the cues unreleased on the original 1998 album, the opening credits are supplemented with over four minutes of the "Phaser Blast" and "Dogfight" ("Come Out") cues, the first of which presenting a performance of the Klingon theme for Worf and the latter providing an action cue of considerable length. The filler cues "Warp Capability" and "Ba'Ku Planet" ("The Planet") are not overwhelming, but they do offer lovely renditions of the secondary romance theme for the Ba'Ku. The four and a half minute "The Hidden Ship" ("The Holodeck") is a considerable omission from the commercial album. As Picard and Data discover a cloaked ship in a Ba'Ku lake, Goldsmith composes several minutes of dancing electronics and woodwinds that come directly from the pages of Total Recall's mind alteration scenes; it's a neat reference for those who enjoy parallels in Goldsmith's work. The compelling "Admiral Dougherty" ("Lost Ship/Prepare the Ship") not only features the friendship/quest/Starfleet theme, but some hints of Capricorn One for the conspiracy and deception aspect. The tension continues to build in "Lock & Load" ("As Long As We Can") until a noble blast at the end signals the Enterprise crew's readiness to win the day. Several short cues then represent pivotal scenes in the heart of the film; "Exodus" ("Send Your Ships") introduces the aforementioned, unique string-plucked motif of movement. The cues "Data's New Friend" and "A Perfect Moment" build upon the delicate Ba'Ku themes until a short, but beautiful rendition of the secondary romance theme punctuates the latter. The stunningly broad music for "The Collector" presents the action theme in full, elongated glory, and redundant Son'a material of brooding suspense exists in "Countdown" ("Tractor Beam"). The 2013 album also adds the film version of "The Healing Process," among two or three other notable cues, all decent but not overwhelming. On any album, the crystal clear sound quality is the ultimate selling point, allowing you to hear the strengths of Goldsmith's last solid "Star Trek" score down to every last, wall-rattling detail. Seek the longer albums with confidence.   Amazon.com Price Hunt: CD or Download

    Music as Written for the Film: ****
    Music as Heard on the 1998 GNP Crescendo Album: ***
    Music as Heard on the 1999 Bootlegs: ****
    Music as Heard on the 2013 GNP Crescendo 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 137,782 votes). The maximum rating is 5 stars.





 Viewer Ratings and Comments:  


Regular Average: 3.69 Stars
Smart Average: 3.52 Stars*
***** 1213 
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         40% of 5-star and 1-star votes
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   Fight, fight fight :p *NM*
  Marcato -- 9/1/07 (3:37 p.m.)
   The Healing Process
  SolarisLem -- 6/16/07 (4:42 p.m.)
   An excellent sci-fi album
  Sheridan -- 8/28/06 (7:19 a.m.)
   Expanded version even better
  Mathias Sender -- 7/21/06 (11:28 a.m.)
   Can someone help me to get the MP3s of the ...
  Miles -- 4/14/06 (5:29 p.m.)
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 Track Listings (1998 GNP Crescendo Album): Total Time: 41:29


• 1. Ba'Ku Village* (6:52)
• 2. In Custody (1:14)
• 3. Childrens' Story (1:47)
• 4. Not Functioning (1:45)
• 5. New Sight (5:44)
• 6. The Drones Attack (4:10)
• 7. The Riker Maneuver (3:09)
• 8. The Same Race (1:16)
• 9. No Threat (4:12)
• 10. The Healing Process** (7:15)
• 11. End Credits* (5:25)

* contains "Theme from Star Trek: The TV Series" and "Theme from Star Trek: The Motion Picture"
** different from version used in the film




 Track Listings (1999 Bootleg): Total Time: 65:52


• 1. Ba'Ku Village/Phaser Blast* (6:52)
• 2. Dogfight* (2:33)
• 3. In Custody (1:14)
• 4. Warp Capability* (0:41)
• 5. Ba'ku Planet* (0:37)
• 6. Childrens' Story (1:47)
• 7. The Hidden Ship* (4:34)
• 8. Regeneration* (0:30)
• 9. New Sight (5:44)
• 10. Admiral Dougherty* (1:57)
• 11. Lock & Load* (1:37)
• 12. Not Functioning (1:45)
• 13. Exodus* (1:02)
• 14. Data's New Friend* (1:09)
• 15. A Perfect Moment* (1:07)
• 16. The Drones Attack (4:10)
• 17. The Riker Maneuver (3:09)
• 18. Into the Caves* (1:43)
• 19. The Same Race (1:16)
• 20. The Collector* (1:11)
• 21. No Threat (4:12)
• 22. Countdown* (0:39)
• 23. The Healing Process/End Credits (12:38)

* contains previously unreleased material




 Track Listings (2013 GNP Crescendo Album): Total Time: 78:42


• 1. Ba'ku Village* (6:53)
• 2. Out of Orbit/Take Us In (1:44)
• 3. Come Out (2:34)
• 4. In Custody (1:14)
• 5. Warp Capability/The Planet/Children's Story (2:33)
• 6. The Holodeck (4:35)
• 7. How Old Are You/New Sight (6:14)
• 8. Lost Ship/Prepare the Ship (2:39)
• 9. As Long As We Can (1:40)
• 10. Not Functioning/Send Your Ships (2:55)
• 11. Growing Up/Wild Flowers/Photon Torpedo (2:55)
• 12. The Drones Attack (4:15)
• 13. The Riker Maneuver (3:15)
• 14. Stay With Me (1:48)
• 15. The Same Race (2:50)
• 16. The Collector (1:10)
• 17. No Threat (4:18)
• 18. Tractor Beam (0:38)
• 19. The Healing Process (Revised) (5:04)
• 20. The Healing Process (Original Version) (7:17)
• 21. End Credits* (5:30)

Bonus Tracks: (7:42)
• 22. Ba'ku Village (Alternate Ending) (3:53)
• 23. The Holodeck (Alternate Opening) (1:12)
• 24. Growing Up (Alternate) (1:21)
• 25. Tractor Beam (Alternate) (0:38)

* contains "Theme from Star Trek: The TV Series" and "Theme from Star Trek: The Motion Picture"




 Notes and Quotes:  


The inserts of the 1998 and 2013 GNP Crescendo albums contain notes about both the score and film. The following is an excerpt from an October, 1998 interview with composer Jerry Goldsmith:

    "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.

    I think the toughest part about any film, whether it's a Star Trek: Insurrection or anything else, is just coming up with a fresh approach. When you do a sequel, it's always harder because it's too easy to go fall back on what you've done before. Which is good. I mean, there's a certain flavor I've tried to create with the music of Star Trek. And it's more in the style than repeating the actual notes. Well, actually, there's one little quote of the Star Trek theme. I mean, I use the fanfare that Alexander Courage wrote for the television show; that opens and closes the picture. It goes into a new theme I wrote for Star Trek: Insurrection and then, when you see the Enterprise for the first time, I quote the old theme a little bit. Then you don't hear the old theme until the end of the picture when the credits come up. Everything else is a new approach to it. I want to keep it fresh and different. That's what I try to do.

    Star Trek: Insurrection is more romantic than First Contact. I think this film is a more romantic film than any of the others have been. I would say there's more action in this than there was in First Contact, but I think that the subplots include a very lovely romantic story. So, that makes it a little different for me."





   
  All artwork and sound clips from Star Trek: Insurrection are Copyright © 1998, 1999, 2013, GNP Crescendo Records, Bootleg, GNP Crescendo Records (Expanded). 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 12/6/98 and last updated 8/17/13. Review Version 5.1 (PHP). Copyright © 1998-2013, Christian Clemmensen (Filmtracks Publications). All rights reserved.