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BloodBoal

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I hate them all equally! Because hating is what I do all day, every day!

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Michael Kamen's Licence to Kill is alright.

Better than Barry...to some.

I like them all, but Eidelman's is up there with the Horners and the Goldsmiths.

Up there it ain't. But at least it's a solid effort.

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Michael Kamen's Licence to Kill is alright.

Better than Barry...to some.

I like them all, but Eidelman's is up there with the Horners and the Goldsmiths.

Up there it ain't. But at least it's a solid effort.

And Eric Serra. I reckon he would have done a good Star Trek score.

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I voted for the "don't give a shit" option.

I don't care for STAR TREK in any incarnation, really, but some great scores have come out of it. No doubt there. Of the ones remaining in the poll, Eidelman's in a class of its own.

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Was the last option created for me? Of the non-Goldsmith/Horner scores I heard. Into Darkness was the weakest.

Haven't heard the McCarthy and Rosenman entries.

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Never listened to the non Horner, non Goldsmith, non Giacchino Trek scores before, sorry.

Well, actually, I probably did check out 4 at one point and didn't care for it.

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I can't vote on just one, I like ALL of the Trek film scores.


Never listened to the non Horner, non Goldsmith, non Giacchino Trek scores before, sorry.

Well, actually, I probably did check out 4 at one point and didn't care for it.

You should check them all out. They're fun to listen to.

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I recently purchased a Blu Ray box set containing all 10 ST films. I hope to be able to convince Marcy to watch them all with me; After I see 6 and 9 again and 7 and 10 for the first time I do intend to check those scores out. (I currently only own the scores to 1-3, 5, 8).

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Eidelman's, as I've said before, is just not very interesting to me. It functions in the film and that's about it. Rosenman's has that common Rosenman problem: it pits interesting underscore against immensely irritating kindergarten themes.

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It functions in the film and that's about it. Rosenman's has that common Rosenman problem: it pits interesting underscore against immensely irritating kindergarten themes.

Well said!

I need to check this score out...

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Eidelman's, as I've said before, is just not very interesting to me. It functions in the film and that's about it. Rosenman's has that common Rosenman problem: it pits interesting underscore against immensely irritating kindergarten themes.

Exactly. The man's got a great Russian style, but everything he does sounds the same. (The bridge to ST IV is exactly—I mean exactly—the same as his bridge to the Bakshi LOTR score.) And the whole parade is just too simplistic. It's not that it's a horrible sound, it just doesn't say Star Trek in any real fashion.

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Maybe you should watch TMP alone and then from TWOK onwards, watch the rest of the films with her (because TMP might put her off, while TWOK and the rest of the films are much more accessible).

Goes to show how highly the movie is regarded. Fans are too scared to show it to people!

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Jerry Goldsmith's score to Star Trek: First Contact has been my second favorite Trek score since 1996, behind only Horner's Star Trek II: The Wrath of Khan. I love all of those strange sounds he creates to illustrate the Borg musically. The main title is also a beautiful theme; it feels so lonely and sad. Leonard Rosenman's score to Star Trek IV: The Voyage Home is just....strange. It sounds like Christmas music, especially the overture. Cliff Eidelman's music for Star Trek VI: The Undiscovered Country makes me wish he were more prolific as a composer-it contrasts greatly with Dennis McCarthy's boring, ho-hum score for the next film Star Trek: Generations in 1994. I have listened to Michael Giacchino's two score extensively. It is ironic that he brings musical continuity to the franchise even though he has only written the music for two consecutive films. Goldsmith scored three in a row, but they all sound very different (First Contact, Insurrection, Nemesis) and he did not reuse much material, with the exception of his four note "family" motif for the Enterprise crew.

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I like them all, but Eidelman's is up there with the Horners and the Goldsmiths.

Up there it ain't. But at least it's a solid effort.

I like it better than Nemesis, and as a whole probably also better than Search for Spock.

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Rosenman. Easy choice.


I always felt Rosenman was one of those guys who were more suited for the concert hall than film music.

BullSHIT.


Exactly. The man's got a great Russian style, but everything he does sounds the same.

You could say the same of Bernard Herrmann.

Rosenman's has that common Rosenman problem: it pits interesting underscore against immensely irritating kindergarten themes.

The only ST theme that qualifies as immensely irritating is Horner's Kirk Theme from ST:TWOK. It is downright awful. Clumsy, obvious and vulgar, and sounds like it was recorded by a 40 piece orchestra. I never thought planing major triads could sound so bad.

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Exactly. The man's got a great Russian style, but everything he does sounds the same.

You could say the same of Bernard Herrmann.

Not to the extent that it's true of Rosenman.

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