May 6, 2025

Phasers Set To Stun: The Sounds of Starfleet (TNG TV Edition)

Phasers Set To Stun: The Sounds of Starfleet (TNG TV Edition)
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Season 6 Phasers Set To Stun

On "Phasers Set To Stun," we recognize the popularity of all things Star Trek, with a look at television shows, animation, movies, and much more! On this episode, Wayne and David turn their attention back to Star Trek: The Next Generation with a detailed chat about their favorite music and composers from the series. Get ready for the Sounds of Starfleet!

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WEBVTT

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Space the Final Frontier. Join us for a bold conversation

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our prime directive to recap our favorite Star Trek shows,

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both new and old, to engage and debate about all

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things Trek. Prepare to energize with Phasers Set to Stunt.

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Hello, listeners, and welcome to an all new episode of

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Phasers Set to Stun, where we continue to show our

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love for Everything's Star Trek in this on point series

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from a film by podcast focusing on every note of

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the expanding Star Trek universe by covering television, movies, animation, directors, merchandise,

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and much much more. Plotting your course on this voyage

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is your Core Trek crew. I'm Wayne Whiten, I'm David Byrne,

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and in this episode, we're going to take a more

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detailed and closer look at the musical side of Star

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Trek the Next Generation, specifically the musical scores for the

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episodes and the composers that created them. Now, David, you

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and I have been lovers of film and television music

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for a long long time.

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Oh yeah, yeah, that's for sure.

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Yeah, we both We follow the works of John Williams,

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Jerry Goldsmith, James Horner, and many of more but we've

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really never sat down and discussed our likes and dislikes

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when it comes to TV music and films and scores

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for TV episodes. No, yeah, I know, we both we

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both love TV work, you know. I've always been a

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big fan of TV composers like Stu Phillips from Battlestar

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Galactica and Mack Rodgers, and of course Jerry Goldsmith's works.

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On The Waltons and The Man from Uncle, and.

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Of course John Williams, you know when he produced scores

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for Irwin Allen like Gloss in Space and Land of

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the Giants. But let's hear from you. What are some

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of your favorite TV composers and scores.

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So there's so many out there when you and I

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could probably talk all day about different composers of television

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and stuff like that. One of the ones that you

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turned me on back in the nineties, I believe it was, was,

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of course John Debney his class As sixty one, which

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was a beautiful score. It is Joel Goldsmith Stargate SG one,

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some fantastic pieces throughout that. I'm with you on the Waltons.

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I think Goldsmith's score for that is absolutely brilliant and

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beautiful Raman Robbi Jamadi's stunning music to Game of Thrones,

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Max Richter's scored to the Leftovers. If you've never seen that,

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it is just a beautiful piece of music. Again, there's

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just so many We could sit here all day and

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talk about piece.

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Yeah.

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Well, we're here to talk about Star Trek though, And

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I know we're both big fans of the works done

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by the various Star Trek composers or the television series.

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So let's talk Star Trek the next generation. And I

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think we'll start by discussing the main theme we as

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we know, it's not an original piece of work. It

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was assembled together by a series composer, Dennis McCarthy, using

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Alexander Courage's fanfare from the opening of the original series

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and finishing with Jerry Goldsmith's main title March from nineteen

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seventy nine Star Trek promotion picture. Now it was heard

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for all one hundred and seventy eight episodes of the

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series in pretty much the same form, with a slight

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alteration at the beginning of the second season. But what

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do you think about this reuse of the themes for

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the series?

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So this was back in the time when we didn't

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have a TV series called Star Trek because it had

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been a while since the original was on. You had

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the movies that were going on in the theaters, you know, sporadically,

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so you know, people really didn't know a lot about

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they lost Star Trek altogether, you know, so they needed

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to keep with the established theme. I feel with because

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it was vital that people who would recognize that theme

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would tune in. And even people who didn't recognize that theme,

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come on, everybody has heard it. You would at least

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know what it's related to, right, But yeah, I feel like,

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you know, you're dealing with a series that people were

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kind of like not sure about. You know, today you

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get all these different Star Trek shows, but it was

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different back then, you know, so you had to draw

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in that people who loved the original Star Trek, you know,

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seeing a new crew that was kind of facrilege right

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to them, almost, Yeah, because you're creating a new Star Trek,

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a new enterprise with a new crew. So I feel

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like they needed to keep that theme going with the

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Star Trek just to make sure that everybody knew it

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was related to the original Star Trek.

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So I love it.

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I'm glad they went with it.

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Yep, you you hit it right on the nail.

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That's exactly the reason why they went with this, because

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Jennis McCarthy had written a new theme for the series,

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but they decided not to use It's exactly for the

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reasons why you said. Now, I like the alternate theme,

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but I just I can't imagine anything other than the

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courage Goldsmith theme being used for this series anymore. It

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wasn't a bad piece of music, and he used the

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theme integrated when in his episode scores. They renamed it

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to the Cards theme and you can really hear it

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in Account at Far Points.

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But it is a good theme.

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But I mean, Goldsmith's theme is star Trek yep, and

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just you know, you hear that and you know what

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you're expected. But if anyone's interested in hearing what almost

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became the main theme of the Next Generation, it is

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at the end of the CD soundtrack for Encounter Far

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Points that was released by Chrishinda Records back in nineteen

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eighty eight, so if you can get a hold of

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a copy, it's a neat thing to listen to. Also, David,

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did you know that each episode's main and end titles

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are different recordings.

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No, I didn't realize that.

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Yeah, this is rather funny, but because of the union

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agreements and licens that were in place back in the

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eighties and the nineties, it was just cheaper and easier

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to just rerecord it every.

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Time, for each and every episode.

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Each Yeah, each composer would just reperform the themes at

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the beginning before they performed their episode scores. And you know,

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you can hear it, you know, just like every composer.

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You know, it's like a fingerprints the way they conduct

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and if you listen very closely, you can hear those

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very subtle differences between the episodes depending on which composer.

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I can really tell the difference between Ron Jones and

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Dennis McCarthy, especially the early seasons. Jones is a little

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more louder and there's a lot more strings and just

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a little more flourished than than McCarthy, who kind of

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sticks to the way the original had been composed by

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Goldsmith in rough thing.

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I don't have to pay attention to that now because

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I didn't know that. That's crazy.

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Yeah, you know, it's odd how things are working. It's

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not like that now with the unions, but it's the

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reason why a lot of soundtracks back then were released

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as new recordings. You know, nowadays we get these re

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releases of soundtracks and you'll see that they include the

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original score and the album. It's because they're different, and

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that's the reason why cool good to know, all right,

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So now let's talk the composers. Considering that the series

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ran for seven seasons and one hundred and seventy eight episodes,

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the Next Generation only had three main musical composers working

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on the series that would rotate. That's really rare for

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a series that brings a brand new original score for

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every episode, each and every week, since at the time,

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it was common for a series to reuse scores for

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past episodes.

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Tracked in to save costs.

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So let's start with the composer from the Pilots that

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we've already mentioned, Dennis McCarthy. When he started working on

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the series back in nineteen eighty seven, he was still

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relatively new to the television scene. He had gotten his

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start working on variety shows back in the early eighties,

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and was the principal composer for both the Dukes of

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Hazzard spin off Enos and the mini series V The

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Final Battle yeah, and the regular series. I loved his

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music from V I think its fantastic.

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It is.

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McCarthy was personally chosen by Gene Roddenberry and would bring

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his unique mix of orchestra and synthetics to his music

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for the series. And I quote him from an interview

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he did the main request was to keep it lush

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and romantic, and to try to sound like one hundred

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players rather than the thirty eight that we used. I

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scored it in a romantic vein instead of playing up

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the science fiction. I used synthesizers to make the orchestral

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sound larger than it was. And McCarthy would stay on

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for the series for all seven seasons, scoring eighty eight

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episodes in total.

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Well it's a lot, well.

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You know.

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Hired alongside McCarthy was of course, composer Jones, who would

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begin his duties with the second episode of the series,

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The Naked Now. Jones got his start with Hanna Barbera,

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working on the musical scores for the cartoon series The Smurf,

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which is close to home for me and it's a

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spin off The Snorks. He would also work with TV

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composers Mike Post and Pete Carpenter and write scores for

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episodes of the eighteen and Magnum p I. Just before

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beginning work on the Next generation, Jones would hired to

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be the principal composer of the Disney animated series Duc Tales,

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which he would work on alongside his Star Trek duties.

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Jones was again handpicked by roden Berry and stated that

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he wanted to give each episode score its own unique

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orchestral palette and themes. Jones would find it difficult to

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work on Star Trek and Wayne, you and I have

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talked about this countless times, and over time he and

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executive producer Rick Berman would feud over the scores he produced,

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stating that Berman found his music too noticeable, which I

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call bs, and that Berman preferred the music to disappear

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into the background and be less melodic and more pad like.

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Jones were continuing to work on the series for the

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first four season, scoring forty two episodes. Jones was fired

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from the next seration under controversial circumstances the end of

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the fourth season.

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And we know who calls that so oh yeah, and

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it was a big mistake.

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In my opinion, absolutely it was.

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And that brings us to our third composer for the series,

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Jay Chadaway. He worked as a film composer for most

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of the eighties, working on many bat movie action features

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like Silver Bullet, Invasion USA, Missing An Action, and the

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splasher film Maniac. The Next Generation would be Chadaway's first

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regular television series work, and he began on the third

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season episode ten Man to replace Ron Jones, was originally

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assigned to the episode, but had to take a break

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to do his commitments on Duck Tails. Chadaway would come

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back for three episodes during the fourth season, again filling

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in for Ron Jones and ultimately replacing him when Jones

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was fired. Chadaway would score forty two episodes of the

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series and become the principal composer on Star Trek Voyager. Now,

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along with those three main composers, there were four others

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that were brought in as guest composers for the series,

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working on one episode each. Let's go over them to

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complete the set, of course.

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So first we have the only composer from the sixty

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series to return, of course, that's Fred Steiner. He had

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composed music for ten of the original series episodes, including

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the Cobra Might maneuver, Mirror Mirror and Balance of Terror,

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and had been invited back by gene Rod Murray to

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give the new series a bit of that original series flare.

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He scored the third episode of the series, Code of Honor.

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Just before his work on the series, he had been

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nominated for an Academy Award for his uncredited work on

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the score to Steven Spielberg's The Color of Purple, along

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with Quincy Jones.

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Yeah, and there's a lot of talked about Code of Honor.

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You know, it's one of the least favorite and work well.

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Most people considered the worst episode of the series. But

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his score is actually pretty good. But it's two original series.

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In my opinion, it is I agree with you on that.

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Also during the first season, we have guest composer George Romanez,

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who scored the episode Too Short a Season. Romans was

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an established television composer, working on many different series from

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the sixties into the eighties like Medical Center, The Mod

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Squad in Hawaii five zero. The Next Generation would be

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his last score he would compose before retiring.

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It wouldn't be until the sixth season before another composer

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would guest on the series, starting with Don Davis for

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the episode Face of the Enemy. Davis has worked as

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an orchestra and conductor for Michael Kaman, Alan Selvestri, James Horner,

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and Randy Newman, as well as composing for the series

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Heart to Heart and Beauty and the Beast. Davis is

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best known for the music from the Matrix trilogy of films,

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as well as his brilliant score to Jurassic Part three.

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And finally, we have one of our personal favorite composers,

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John Debney. Debney had wanted to work on Star Trek

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the Next Generation since the series began, and had taken

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the high profile job on the Steven Spielberg series sequest

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DSB with the hopes that the producers of TG would

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notice him. It worked, and he scored the seventh season

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episode The Pegasus, along with two episodes during the first

247
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season of Deep Space nine. Debney, of course, would later

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write the scores of the films I know what you

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did last Summer, Passion of the Christ, Iron Man two,

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and many many.

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Others, many many others. I mean, you go onto IMDb

252
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and look at John Debney, It's like, holy crap, that

253
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guy has done a ton of stuff.

254
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But I'm still out there composing too, I feel composed.

255
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Great work.

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Yeah, Horizon, his newest one from Kevin Costa, which is

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a really good score. Probably recommend listening to that one

258
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for sure. But I owe it to you for turning

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me onto John Debney. I know when you and I

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first met and we started talking about our love of

261
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scores and music and stuff like that. You're the one that,

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you know, turned me to John Debney and I haven't

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looked back since because all of his work is brilliant

264
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and he's very fan friendly, like if you reach out

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him on Facebook, he'll talk. He's awesome.

266
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Oh yeah, we both of us have talked to him

267
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a couple of times.

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Are that's fantastic?

269
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All right, there's the list of players for the series.

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Now let's talk about them. There's so much great music

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from this series that would take forever to go over

272
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each and every episode. So let's try and pick some

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of our highlights from the seven years of the show. David,

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what's some of the episode scores that stood out for you?

275
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There's so many out there, it's hard to go through

276
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a Hughes And you know, when I was thinking about this,

277
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I came up with three, but one of them is

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my favorite all times, and we'll talk about that a

279
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little bit later. But it really was a hard decision

280
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for me to really narrow it down to the three,

281
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and even to the one, to be honest with you,

282
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it was a battle between two of them. One of them,

283
00:15:54.679 --> 00:16:16.320
of course, is Dennis McCarthy's Yesterday's Enterprise. This was the

284
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first time I really noticed McCarthy me personally, because this

285
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music really leapt off the screen. To me, it gave

286
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us that sense of mystery and suspense, you know, while

287
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also giving us some beautiful music towards the end. And

288
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of course what I'm talking about is that piece again

289
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it's called Klingon's Skin of Teeth, which is like over

290
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five minutes in length. It really stretches the extent of

291
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this action pack and emotional rollercoaster we have been on

292
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with the crew. The music is all over place, giving

293
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us a dramatic punch while giving us some great action

294
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complimenting what we are witnessing on screen. That episode is fantastic,

295
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but the music just goes along with it, which makes

296
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it even better.

297
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I agree.

298
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Yeah, my other one, this is the one I was

299
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really torn. I wanted this to be my favorite, but

300
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when I thought about what I did give to be

301
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the favorite, there's a reason for it, and again we'll

302
00:17:09.200 --> 00:17:11.680
talk about that a little bit later. But my second

303
00:17:11.680 --> 00:17:14.440
one that I absolutely love, and of course, that's Jay

304
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Chada Waste.

305
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The Inner Light.

306
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I feel it is one of his best compositions. And

307
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what I'm talking about is that simple flute melody. It

308
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is a haunting score, as it should be, since we

309
00:17:56.400 --> 00:17:57.920
learned as the Card awakens at the end of the

310
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bridge of the Enterprise, that he spent in a time

311
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our lifetime somewhere else. You know, This music felt from

312
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deep down inside and just brings out not only emotions

313
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that this episode, this episode was trying to convey, but

314
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it also makes one think how they would feel if

315
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they were in the card shoes and went through this

316
00:18:16.559 --> 00:18:20.000
very thing. It is a beautiful score to a beautifully

317
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written and performed episode. My understanding too, is that the

318
00:18:24.000 --> 00:18:26.240
original lyrics for this melody have also been written by

319
00:18:26.279 --> 00:18:30.920
several poets. Oh I didn't know that, Yeah, which it

320
00:18:30.960 --> 00:18:32.839
makes sense, I mean, because it's just man, it's just

321
00:18:32.880 --> 00:18:34.920
it's a beautiful piece of music. It really is.

322
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It is, and the whole episode is a standout.

323
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Yeah, I mean it's the music just compliment it's a

324
00:18:41.160 --> 00:18:44.720
great episode. It's it's incredible, and you know he's taken

325
00:18:44.799 --> 00:18:47.759
some of the music from that and written concert pieces

326
00:18:47.799 --> 00:18:50.799
for it. It's it's that good. It's good enough to

327
00:18:50.839 --> 00:18:52.759
perform in a concert setting.

328
00:18:53.240 --> 00:18:55.400
It's it's amazing how you can take just one one

329
00:18:55.480 --> 00:18:59.880
instrument and just makes something so dang powerful like he

330
00:19:00.079 --> 00:19:02.640
did with that. Just absolutely brilliant. It really is.

331
00:19:03.079 --> 00:19:08.400
So what about you, Well, I was just like you.

332
00:19:08.480 --> 00:19:11.119
It was really hard to narrow these down, but I

333
00:19:11.240 --> 00:19:15.240
narrowed it down to a few. One of my earliest

334
00:19:15.319 --> 00:19:20.359
favorites was from the episode Haven, composed by Dennis McCarthy.

335
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You know, I believe this was McCarthy's second score that

336
00:19:23.640 --> 00:19:27.000
he wrote right after Encounter at far points, since the

337
00:19:27.039 --> 00:19:30.839
early episodes were aired out of production order. I love

338
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his music for the pilot and it's because it had

339
00:19:33.799 --> 00:19:36.000
sets a whole tone for the series to come. And

340
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Haven is like the sequel to the score, with some

341
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very beautiful musical cues from when Troy and Riker are

342
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on the holiday talking about their about talking about her

343
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upcoming marriage to Wyatt and their feelings towards each other,

344
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plus that last act of the episode opens with this

345
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reprise of the cards theme that I mentioned earlier. It's

346
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exactly how Encounter at Farpoint opened, you know, it's the

347
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principal theme that identifies the earlier seasons of the series.

348
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McCarthy has said that his music for this episode was

349
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strongly disliked by Rit Berman, so much so that Macarthy,

350
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I know, you know, McCarthy was certain he was going

351
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to be fired over it. Quiet he wasn't, but because

352
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it's it's a great example of just like the inner light,

353
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of how music enhances a fantastic episode.

354
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And then of.

355
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Course I have to choose choose the pegasust by John Debney.

356
00:21:06.119 --> 00:21:07.519
Of course, you know, because I mentioned him. I was

357
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a huge fan of Devniey's work. We both are, especially

358
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his work on Sequest DSB, and a lot of his

359
00:21:41.720 --> 00:21:44.359
music here is very similar to the style of the show,

360
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making sense since it was composed a pretty much the

361
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same time.

362
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You know.

363
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Debney has gone on to say that he had a

364
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lot of fun working on this episode, but it wasn't easy.

365
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He was forced to write the score for this twice

366
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after his first take was rejected by producer Rick Berman

367
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from not being in the style of the series. Yeah,

368
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I just shake my head at some of the things

369
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that were said.

370
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I see a recurring theme throughout everything here. Rick Berman,

371
00:22:11.319 --> 00:22:13.799
Rick bermant, Rick Berman is nothing but trouble. Yeah.

372
00:22:13.839 --> 00:22:16.559
He was not a lover of music like us.

373
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You know. You know, Dennis McCarthy, who was good friends

374
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with Debney, told him told him to back off a

375
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bit that when the show was showing bridge scenes or

376
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scenes on the enterprise, just to keep the music quiet,

377
00:22:30.440 --> 00:22:32.200
and then when the scenes would go out into space,

378
00:22:32.279 --> 00:22:35.720
then you can bring up the volume. And for his

379
00:22:35.799 --> 00:22:37.759
second take at the score, that's exactly what he did.

380
00:22:38.359 --> 00:22:41.000
Debney uses a lot of suspensible motifs for the score,

381
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especially in the bits for the enterprises standing against the

382
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Romulan Warbird. It's a wonderful in a different sound for

383
00:22:47.720 --> 00:22:54.519
the series. And then finally, I've got to mention the

384
00:22:54.599 --> 00:22:57.240
music for the second to the last episode of the series,

385
00:22:57.279 --> 00:23:00.599
Preemptive Strike by Jay Chadaway. I think I talked about

386
00:23:00.599 --> 00:23:04.519
a little of this in our ten Best Episodes of

387
00:23:04.559 --> 00:23:07.200
Star Trek Connection Neration Season seven podcasts that we did

388
00:23:07.160 --> 00:23:44.119
d my favorite piece for the entire episode, one of

389
00:23:44.119 --> 00:23:46.440
the most beautiful pieces that were written for Star Trek anyway,

390
00:23:46.799 --> 00:23:49.640
and it's the scene where on the planet where instant

391
00:23:49.720 --> 00:23:53.319
Row and Massius is talking about their plans and holds

392
00:23:53.759 --> 00:23:56.079
yep for one of the Kardassians are driven away and

393
00:23:56.160 --> 00:23:58.799
Road talks about her father and then just before the

394
00:23:58.880 --> 00:24:01.680
Kardasians surprise and with an attack and kills Masius.

395
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It's just it's a beautiful.

396
00:24:03.440 --> 00:24:06.680
String and flute piece, similar to what he did with

397
00:24:07.799 --> 00:24:10.680
the Inner Light, that just stands out far, far above

398
00:24:10.680 --> 00:24:12.839
the dialogue and it's an incredible piece.

399
00:24:13.240 --> 00:24:16.119
I had forgot, actually forgotten about that piece of music.

400
00:24:16.119 --> 00:24:20.200
You're right, that was really well done there. I don't

401
00:24:20.200 --> 00:24:21.920
know if jeff wildgree he doesn't like infant Row for

402
00:24:21.920 --> 00:24:24.640
some undern reasons. So anything we mentioned infant Row, he's

403
00:24:24.720 --> 00:24:26.440
like shunning us for some reason.

404
00:24:26.799 --> 00:24:28.319
I know, I don't understand him.

405
00:24:28.359 --> 00:24:38.599
Sometimes I don't get it together, Jeffy.

406
00:24:38.720 --> 00:24:41.759
So now we're down to the final selection. But do

407
00:24:41.839 --> 00:24:45.440
we consider the best score of Star Trek the next generation?

408
00:24:46.240 --> 00:24:48.759
Which piece of music or which composers do we think

409
00:24:48.799 --> 00:24:52.319
excelled themselves and brought the best of the visuals on screen?

410
00:24:52.880 --> 00:24:54.839
So David, why don't you give me your top pick?

411
00:24:55.200 --> 00:24:56.680
And why you love it so much.

412
00:24:57.160 --> 00:24:58.920
You know, again, I'm going to go back to saying

413
00:24:58.920 --> 00:25:02.279
it was really hard. I really wanted the interlight to

414
00:25:02.359 --> 00:25:06.200
be my favorite here, but the one I picked and

415
00:25:06.240 --> 00:25:08.559
then the reason why it stands out and I'll explain

416
00:25:08.599 --> 00:25:11.799
it here. So I went with Ron Jones the best

417
00:25:11.799 --> 00:25:37.039
of both worlds. This is the first score in the

418
00:25:37.079 --> 00:25:40.160
series that really hit me hard, not just for the

419
00:25:40.200 --> 00:25:42.759
storytelling that was very emotional, action packed, but it really

420
00:25:42.759 --> 00:25:46.559
brought into frame but this show just became very serious.

421
00:25:47.279 --> 00:25:50.119
The score felt epic in size, just like the two

422
00:25:50.160 --> 00:25:54.240
part episode and made it seem so cinematic when you know,

423
00:25:54.279 --> 00:25:57.880
I love motion pictures and not a lot of television

424
00:25:57.880 --> 00:26:01.680
back then was able to have that vibe, but this did,

425
00:26:02.279 --> 00:26:06.799
and it hit hard with this score, especially when it

426
00:26:06.839 --> 00:26:10.039
was supposed to you know, that ending of the first episode,

427
00:26:10.079 --> 00:26:12.359
when it pulls in on Riker. The score and that

428
00:26:12.640 --> 00:26:15.440
entire scene just hit home for me and made the

429
00:26:15.519 --> 00:26:17.640
impact it was supposed to to be by making me

430
00:26:17.680 --> 00:26:21.279
feel like all hope was gone. You know, his score

431
00:26:21.519 --> 00:26:24.759
Throughout this two parter, his score provided that mystery, that

432
00:26:24.960 --> 00:26:27.799
desperation and the crew and all the starfleet of the

433
00:26:27.880 --> 00:26:29.839
enemy that they are facing and what is at stake?

434
00:26:30.599 --> 00:26:34.599
You needed something very powerful to go along with this story,

435
00:26:34.680 --> 00:26:38.599
and mister Jones did it. I thought it was absolutely incredible.

436
00:26:38.640 --> 00:26:41.200
And when I went back and rewatched this episode when

437
00:26:41.200 --> 00:26:44.160
we were talking about the ten best episodes, it hit

438
00:26:44.200 --> 00:26:45.759
me again. When I was watching, he goes like, Man,

439
00:26:45.839 --> 00:26:50.240
this music is just phenomenal. To say that about a

440
00:26:50.440 --> 00:26:53.119
TV show back in the eighties, you know, that says

441
00:26:53.119 --> 00:26:56.039
a lot everything we're talking about here. All these scores

442
00:26:56.079 --> 00:26:58.680
are great, and to be talking about that from the

443
00:26:58.680 --> 00:27:02.319
eighties is saying something big, because I mean, there wasn't

444
00:27:02.319 --> 00:27:04.319
a lot of scores like this going on in TV.

445
00:27:05.160 --> 00:27:07.279
There really wasn't, and Star Trek was setting it. I

446
00:27:07.279 --> 00:27:10.559
don't care what Rick Berman says. You know, the music

447
00:27:10.680 --> 00:27:15.200
really was needed in Star Trek and Nick Generation, and

448
00:27:15.400 --> 00:27:18.160
I'm glad some of the scores that we've got out

449
00:27:18.160 --> 00:27:21.799
of it we did get because it's perfect and the

450
00:27:21.839 --> 00:27:23.839
best of both worlds. To me, I thought this was

451
00:27:23.839 --> 00:27:24.200
the best.

452
00:27:24.920 --> 00:27:27.880
It's an incredible score, and I think this was one

453
00:27:27.920 --> 00:27:31.000
of the rare examples where Rick Berman actually believed that

454
00:27:31.119 --> 00:27:34.799
music would enhance it because he gave the budget to

455
00:27:34.880 --> 00:27:36.400
double the orchestra.

456
00:27:36.160 --> 00:27:38.720
For this and it shows, I mean, it does show.

457
00:27:39.279 --> 00:27:41.759
This is a lot of people's favorites. It's not any

458
00:27:41.799 --> 00:27:44.920
surprise to me that it's your favorites. It's one of

459
00:27:44.960 --> 00:27:48.400
my top favorites too. Yeah, it's just an.

460
00:27:48.319 --> 00:27:51.359
Incredible score with for two incredible episodes.

461
00:27:52.079 --> 00:27:53.319
Well, I'm curious about what yours is.

462
00:27:54.079 --> 00:27:56.359
Well. It also is a really hard choice for me

463
00:27:56.400 --> 00:27:58.920
because I love the best best of both worlds as

464
00:27:58.960 --> 00:28:03.599
much as you too too. But after I listened to

465
00:28:03.599 --> 00:28:05.960
most of my soundtracks, I finally came to an answer.

466
00:28:06.480 --> 00:28:08.599
It's not probably not the one most people would guess,

467
00:28:08.720 --> 00:28:12.680
but I have to go with Ron Jones two, and specifically,

468
00:28:12.960 --> 00:28:15.279
I think his finest moment was in the episode one

469
00:28:15.519 --> 00:28:18.960
one zero zero one zero zero one during the first season.

470
00:28:49.920 --> 00:28:53.400
Jones's score is an absolute gym. He uses great orchestra

471
00:28:53.599 --> 00:28:58.400
set pieces of memorable electronic style for the buyers, authentic

472
00:28:58.519 --> 00:29:01.920
jazz source cues in a rousing finale featuring one of

473
00:29:01.960 --> 00:29:04.400
the best uses of Jerry Goldsmith's seams in the scores.

474
00:29:05.079 --> 00:29:07.039
You know, first of all, I mean the episode opens

475
00:29:07.039 --> 00:29:11.079
with this incredible romantic melody for the enterprises and docks

476
00:29:11.119 --> 00:29:15.200
into Starbase seventy four, which is an incredible visual effect too.

477
00:29:15.240 --> 00:29:17.279
It's one of the best visual effects they have ever done

478
00:29:17.319 --> 00:29:20.440
for the series, and the music matches what we see

479
00:29:20.440 --> 00:29:22.279
on the screen. And we got a lot of those

480
00:29:22.319 --> 00:29:24.920
great jazz pieces for the scenes in the Holiday with

481
00:29:25.720 --> 00:29:29.559
Minuet and Riker, But the real centerpiece for the score

482
00:29:29.720 --> 00:29:32.640
is the cue stealing the enterprise, and that's when the

483
00:29:32.680 --> 00:29:34.680
buyers hijacked the enterprise and fly it out of the

484
00:29:34.680 --> 00:29:38.240
star bass of the visuals are incredible that the music

485
00:29:38.759 --> 00:29:41.440
is one of the best action cues written for the series,

486
00:29:42.000 --> 00:29:45.079
hands down in my opinion. It's very similar to what

487
00:29:45.119 --> 00:29:46.960
he would do for Best of Both Worlds later on

488
00:29:47.000 --> 00:29:50.440
a few years later. It's loud, it's cinematic, you know.

489
00:29:50.799 --> 00:29:54.000
I'm sure it drove Bernan mad, but it works so good.

490
00:29:55.480 --> 00:29:58.759
I wish they would have allowed to keep this music

491
00:29:58.839 --> 00:30:02.359
momentum on for the rest of the series because Ron

492
00:30:02.519 --> 00:30:05.200
Jones was really one of the best out there scoring

493
00:30:05.200 --> 00:30:08.599
for television at the time. Is obviously we proved because

494
00:30:08.599 --> 00:30:11.359
we both loved his music, they both chose his music.

495
00:30:11.599 --> 00:30:14.079
Yeah, absolutely, I mean that speaks volume right there that

496
00:30:14.079 --> 00:30:16.960
we both chose the Ron Jones score as our favorite.

497
00:30:17.240 --> 00:30:18.319
So yeah, I agree with you.

498
00:30:20.359 --> 00:30:23.559
Well, there's our top choices for the music and in

499
00:30:23.599 --> 00:30:26.759
this episode. Now that we've peaked everyone's interest, let's talk

500
00:30:26.799 --> 00:30:28.559
about where you can go to listen to all this

501
00:30:28.640 --> 00:30:31.839
great music. Yes, of course, you can always just watch

502
00:30:31.880 --> 00:30:35.319
the episodes themselves, which hey, that's not a bad thing.

503
00:30:35.319 --> 00:30:37.839
I mean, if not watching these episodes, rewatching them was

504
00:30:37.839 --> 00:30:40.920
always a great time. But this time just sit back

505
00:30:40.960 --> 00:30:44.319
and carefully listen beyond the dialogue and sound effects to

506
00:30:44.400 --> 00:30:48.799
the brilliant music written for the series. But fortunately a

507
00:30:48.839 --> 00:30:50.720
few of the record labels have made it a little

508
00:30:50.720 --> 00:30:52.759
easier to listen to the music of that ve generation.

509
00:30:53.200 --> 00:30:55.480
Over the years, there have been many different albums of

510
00:30:55.519 --> 00:30:58.759
TMG music released to the fans and collectors, and much

511
00:30:58.799 --> 00:31:01.160
of it is still available to purchase from your favorite

512
00:31:01.319 --> 00:31:04.880
music outlets or directly from the labels themselves. David, why

513
00:31:04.880 --> 00:31:06.359
don't you tell us of the earliest ones?

514
00:31:06.759 --> 00:31:10.960
So back in the nineties, GNP Crescendo Records released four

515
00:31:11.039 --> 00:31:14.319
volumes of Star Trek and Next Generation music during and

516
00:31:14.440 --> 00:31:17.680
right after the original run of the series. Volume one

517
00:31:17.759 --> 00:31:21.720
contains Dennis McCarthy's music for Encounter at Farpoint. Volume two

518
00:31:21.759 --> 00:31:24.759
is Ron Jones score for Best of both Worlds Absolutely

519
00:31:24.799 --> 00:31:27.319
Listen to that one. Volume three has a trio of

520
00:31:27.400 --> 00:31:32.720
McCarthy's scores Yesterday's Enterprise, Unification and Hollow Pursuits, and Volume

521
00:31:32.759 --> 00:31:36.079
four features selectly cubes from Jay Chataway's episodes, including ten

522
00:31:36.160 --> 00:31:40.359
Man Descent, Dark Page, A Fistful of Datas, among others.

523
00:31:41.039 --> 00:31:44.000
Also released by Criscindo Records were the Best of Star

524
00:31:44.039 --> 00:31:47.480
Trek Volumes one and two, each containing one score for

525
00:31:47.559 --> 00:31:51.599
the four Star Trek series. Volume one contains the Next

526
00:31:51.599 --> 00:31:55.000
Generation score for the first season Clan unfeatured Heart of Glory,

527
00:31:55.440 --> 00:31:58.119
along with the orchestra version of Chattaway's theme from the

528
00:31:58.160 --> 00:32:02.359
Inner Light, which is brilliant. Volume two has select ques

529
00:32:02.359 --> 00:32:06.039
from the series final episode All Good Things. All volumes

530
00:32:06.039 --> 00:32:08.240
are fill in print and available to buy in both.

531
00:32:08.319 --> 00:32:11.680
Volume one and two have been released expanded and remastered

532
00:32:11.680 --> 00:32:14.559
to both containing the complete scores to the episode as

533
00:32:14.599 --> 00:32:16.440
well as the score to the episode of the Arsenal

534
00:32:16.480 --> 00:32:18.920
of Freedom as a bonus.

535
00:32:18.680 --> 00:32:21.799
And in twenty ten, Film Score Monthly released what I

536
00:32:21.839 --> 00:32:23.920
think is still one of the best Star Trek sets

537
00:32:23.960 --> 00:32:26.839
ever to be produced, The Star Trek The Next Generation.

538
00:32:27.000 --> 00:32:31.920
The Ron Jones Collection, containing fourteen CDs featuring every queue

539
00:32:31.960 --> 00:32:33.960
that Ron Joe's wrote for the four years of the

540
00:32:34.000 --> 00:32:37.839
series he worked on. Wow, it's monumental in but it's

541
00:32:37.839 --> 00:32:41.319
a beautiful set that is incredible. It's packaged and and

542
00:32:41.359 --> 00:32:46.599
an engineering officer yellow box with a silver embossed communicator logo.

543
00:32:46.680 --> 00:32:51.799
Oh that's awesome, and even has a nice little one

544
00:32:51.880 --> 00:32:54.759
hundred and sixty page booklet with it talking about the

545
00:32:54.799 --> 00:32:58.720
interview with the interviews with Jones himself. It even contains

546
00:32:58.759 --> 00:33:01.119
the music for the two video games that Jones scored,

547
00:33:01.240 --> 00:33:05.680
Star Trek Starfleet Academy and Star Trek Starfley Command, as

548
00:33:05.720 --> 00:33:09.240
well as a whole disc completely filled with I'm used

549
00:33:09.240 --> 00:33:12.440
and alternate cues for this series. It's a massive collection,

550
00:33:12.599 --> 00:33:16.400
but worth the hefty price. Unfortunately, it's now long out

551
00:33:16.400 --> 00:33:18.440
of print and a little difficult to find. But if

552
00:33:18.440 --> 00:33:21.119
you do come across the copy, grab a hold of it.

553
00:33:21.119 --> 00:33:23.119
It's worth every penny that it costs.

554
00:33:23.559 --> 00:33:26.240
I'm curious what was the retail price on that.

555
00:33:26.960 --> 00:33:29.279
One hundred and forty nine dollars and ninety five cents.

556
00:33:29.400 --> 00:33:31.519
I mean, that's not bad considering how many CDs you

557
00:33:31.559 --> 00:33:32.640
get and how much much music.

558
00:33:33.079 --> 00:33:35.000
Yeah, and for something let's say it came out fifteen

559
00:33:35.119 --> 00:33:38.119
years ago. I still listened to it practically once a month,

560
00:33:38.160 --> 00:33:39.400
at least a cue once a month.

561
00:33:39.559 --> 00:33:41.440
Yeah, well, I mean it is Ron Jones and we

562
00:33:41.759 --> 00:33:47.039
love him, obviously, it makes perfect sense. Well and more

563
00:33:47.079 --> 00:33:50.839
recently La La Land Records has taken up the mantle

564
00:33:50.960 --> 00:33:53.680
of producing Star Trek soundtracks and has released both a

565
00:33:53.759 --> 00:33:56.880
Volume one and Volume two of music from the Next Generation.

566
00:33:57.519 --> 00:34:01.079
Each volume is three discs and is full of unreleased

567
00:34:01.160 --> 00:34:05.359
music from both McCarthy and Chadaway. Volume one contains music

568
00:34:05.400 --> 00:34:09.280
from Haven the Host, then Alite Relics, along with the

569
00:34:09.280 --> 00:34:12.920
complete scores to Steiner's Code of Honor, Davis, Face of

570
00:34:12.960 --> 00:34:16.760
the Enemy, and Debney's The Pegasus. Volume two continues the

571
00:34:16.800 --> 00:34:19.519
wealth of great music with scores from the Last Outposts,

572
00:34:19.760 --> 00:34:23.079
Calls and Effect, Preemptive Strike, Hiding Q, and includes a

573
00:34:23.119 --> 00:34:27.559
complete score to Rominez two Short a Season to top

574
00:34:27.599 --> 00:34:30.760
it off. Continuing on with the release as two more

575
00:34:30.800 --> 00:34:33.840
offerings in two On twenty sixteen, they released Star Trek

576
00:34:33.880 --> 00:34:37.320
the fiftieth Anniversary Collection with music from all parts of

577
00:34:37.360 --> 00:34:40.360
Star Trek, including music from the Next Generation episodes, The Hunted,

578
00:34:40.840 --> 00:34:43.920
Coming of Age, Contagion, and much more. As well as

579
00:34:44.000 --> 00:34:48.079
treasure Trove of various source and background cues from the series.

580
00:34:48.599 --> 00:34:52.760
And finally, to end their decade of Star Trek releases,

581
00:34:52.840 --> 00:34:55.199
La La Land brought out Star Trek The Final Frontier

582
00:34:55.280 --> 00:34:59.159
Collection in twenty twenty three, a four disc set which

583
00:34:59.400 --> 00:35:02.920
each disc featuring music from the Next Generation, Keep Space, Nine,

584
00:35:03.079 --> 00:35:06.519
Voyager and Enterprise. Disc one of the set contains music

585
00:35:06.559 --> 00:35:10.280
from Redemption, Times, Eero, Lowered X plus much much more.

586
00:35:10.800 --> 00:35:12.719
While the others have now went out of print, the

587
00:35:12.760 --> 00:35:15.960
Final Frontier is still available from La La land website

588
00:35:16.000 --> 00:35:17.519
and other CD suppliers.

589
00:35:18.519 --> 00:35:20.559
And that just about wraps it up for this episode

590
00:35:20.599 --> 00:35:22.760
of Phaser. Set to stun our look back at the

591
00:35:22.880 --> 00:35:26.239
music to Star Trek the Next Generation, we'd like to

592
00:35:26.280 --> 00:35:28.880
open a subspace channel to our listeners and here just

593
00:35:28.920 --> 00:35:31.719
what you thought about this podcast, your opinions on the

594
00:35:31.800 --> 00:35:34.599
music of Star Trek and of Star Trek in general.

595
00:35:35.000 --> 00:35:37.480
Who knows, we might just mention you on a future show.

596
00:35:38.360 --> 00:35:40.440
Of course, you can email us at a Film by

597
00:35:40.559 --> 00:35:44.039
Podcast at gmail dot com, find us online at a

598
00:35:44.079 --> 00:35:48.239
film by podcast dot com, follow us on Facebook, Instagram,

599
00:35:48.719 --> 00:35:51.800
and x and if you're looking for more exclusive content

600
00:35:51.960 --> 00:35:54.480
or swag, you can join our Patreon and find out

601
00:35:54.480 --> 00:35:58.039
what exclusive gems are hidden within. Thank you, David as

602
00:35:58.039 --> 00:36:00.320
always for joining me and the listeners for this deep

603
00:36:00.360 --> 00:36:03.280
dive discussion into the musical world of Star Trek.

604
00:36:03.639 --> 00:36:05.039
Of course it was a blast.

605
00:36:05.039 --> 00:36:08.519
As always, I always love talking about music to you.

606
00:36:09.079 --> 00:36:11.719
Oh yeah, I agree, you know, it kind of reminds me.

607
00:36:12.320 --> 00:36:14.239
I remissed it thinking about the times you and I

608
00:36:14.320 --> 00:36:16.559
would go on long trips with those books of CDs

609
00:36:17.400 --> 00:36:21.159
and we would listen to just tons of music on

610
00:36:21.199 --> 00:36:23.360
those trips. That's great memories.

611
00:36:23.840 --> 00:36:24.119
I know.

612
00:36:24.199 --> 00:36:27.119
I discovered so many Horner scores listening to yours. You

613
00:36:28.079 --> 00:36:29.159
you listen to so many.

614
00:36:28.960 --> 00:36:30.880
Of them mine. It was great times.

615
00:36:31.079 --> 00:36:34.480
Absolutely, If you haven't already done so, go back and

616
00:36:34.559 --> 00:36:37.480
check out our seven part season by season look at

617
00:36:37.480 --> 00:36:40.320
the best episodes of Star Trek the Next Generation, where

618
00:36:40.360 --> 00:36:42.519
we break down this series and give our opinions of

619
00:36:42.519 --> 00:36:45.159
what you need to watch and what you can skip over.

620
00:36:45.920 --> 00:36:48.519
And of course there's more to come for Phaser such

621
00:36:48.559 --> 00:36:50.760
a stunt, David, What do we got to look forward

622
00:36:50.760 --> 00:36:51.519
to later this year?

623
00:36:52.320 --> 00:36:55.239
Well, sometime this summer we're going to be getting the

624
00:36:55.320 --> 00:36:59.559
highly anticipated season three of Strange New Worlds and of course,

625
00:37:00.079 --> 00:37:02.360
we will be tackling each episode every week through the

626
00:37:02.400 --> 00:37:06.159
run of the entire season. Then, which I'm very excited about.

627
00:37:06.400 --> 00:37:08.760
Then we get to dive into just like we did

628
00:37:08.760 --> 00:37:11.000
Star Trek the nexturation. We are going to go season

629
00:37:11.119 --> 00:37:14.920
by season of Star Trek Deep Space nine and give

630
00:37:15.000 --> 00:37:17.880
our listeners what we think are the ten best episodes

631
00:37:17.880 --> 00:37:21.119
of each of those seasons that should be watched. And

632
00:37:21.199 --> 00:37:24.039
I cannot wait to do that because I've not seen

633
00:37:24.039 --> 00:37:27.159
Deep Space nine in a very very long time, same

634
00:37:27.199 --> 00:37:30.039
as Voyager of Ours, So I cannot wait to dive

635
00:37:30.079 --> 00:37:34.440
into this series again and watch and remember what I've forgotten,

636
00:37:34.480 --> 00:37:36.599
to be honest with you, so I'm excited for this.

637
00:37:36.679 --> 00:37:37.119
I hope you are.

638
00:37:37.119 --> 00:37:39.880
Two listeners well, both of us along with our fellow

639
00:37:40.000 --> 00:37:43.239
crewmember Scott Hoffman, look forward to joining you again next

640
00:37:43.239 --> 00:37:53.000
time on Phasers Set to stun Hailing Frequencies closed. And

641
00:37:53.039 --> 00:37:57.400
now that we've talked about and that just about wraps up.

642
00:37:58.039 --> 00:38:02.000
God damn, Okay, I've grooped up too few times too