Customer Reviews

"Star Trek: First Contact" - Original Motion Picture Soundtrack

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It's no secret that Jerry Goldsmith was the best at scoring Star Trek. His opening music for Star Trek: The Motion Picture was so good Gene Roddenberry demanded it be used for the Next Generation title sequence. But what the Trek movies really lacked was a definitive theme outside of the famous bookending cue. Every entry seemed to come up with new music to fit new stories (and, most of the time, new composers to do it).

First Contact has the best music of all. The opening music is so noble and uplifting you'll be getting goosebumps. Of his five Star Trek scores he never did better than First Contact and it may be in his top five personal best score ever. Some of the tracks sound a bit too similar to Goldsmith's score for Executive Decision (which he also did that year) but when that wonderful First Contact theme kicks in, man does this CD soar!

This edition of the score is one of those enhanced CD thingies. On it you'll find interviews with Goldsmith, Jonathan Frakes and Rick Berman. You have to point and click around the Enterprise to find them. The software's a bit dated and I couldn't get the clips to work. But I probably wasn't working it right. Nonetheless, this is great CD to get. However, it does run a mere 47 minutes, a full 26 minutes short of being complete.

The complete track listing, minus songs, is as follows:

1. Main Title (2:55)

2. Locutus* (1:31)

3. The Enterprise-E (0:28)

4. Battle Watch (aka Starfleet Engages the Borg)* (1:13)

5. Red Alert (2:15)

6. Temporal Wake (2:08)

7. April 4th, 2063 (1:46)

8. The Phoenix (aka Greetings)* (1:05)

9. First Sign of Borg (0:26)

10. 39.1 Degrees Celsius* (4:46)

11. Approaching Engineering* (1:52)

12. Retreat* (4:00)

13. The Borg Queen (aka Data Awakens in Engineering) (1:33)

14. Assimilation* (1:01)

15. Welcome Aboard (2:41)

16. The Gift of Flesh (1:03)

17. Definitely Not Swedish (1:26)

18. Watch Your Caboose, Dix (1:34)

19. Fully Functional (3:20)

20. The Dish (7:14)

21. Bridge Argument (1:56)

22. A Quest for Vengeance (2:41)

23. Evacuate (2:22)

24. The Escape Pods (2:52)

25. All the Time (1:06)

26. Flight of the Phoenix (aka The Starship Chase)* (2:59)

27. Resistance is Futile* (1:46)

28. Victory Over the Borg (aka The Future Restored)* (1:36)

29. First Contact (6:02)

30. End Credits (5:27)

I first bought this CD when the movie came out, and was generally upset because they've made it an "Enhanced CD," and I didn't even own a computer. That really griped me. But I listened to the music, over, and over, and soon enough I caught myself waving my arms about as a director would, because I just love the music so much. I'll go through this CD track-by-track.

1.) Main Title/Locutus - Loved the "TNG Theme" to open it up, gave it a familiar feeling. Then it moves into a mellow, soft French Horn serenade. Add in a few harps, other string instruments, and beautiful creschendo's. It's very moving, very Hollywood. Then it moves into a deep, Borg/dream state. March-like. Uniform, and frightening.

2.) Red Alert - Once again, the familiar "TNG Theme" comes into play, and we quickly move into our standing Borg theme. The brass instruments are done wonderfully, in a menacing, metallic type of fanfare. Then enter the Klingon theme, from early TNG. But it's more than just Klingon, it's a heroic, polished Klingon. Now enter the brave Enterprise again with the TNG theme. Now things get busy. A plan is thought up, and executed, with very subtle, stacatto notes.

3.) Temporal Wake - Spooky, metallic, and creepy is all I can say about this song. Like, "What's that behind you? AAAAHHHHH!" And of course the moody Klingon theme. Then we see assimilated earth, and it's just frozen. I'm not trying to make any sense to you.

4.) Welcome Aboard - Light, friendly. And back to the opening theme. Then we dive into the guts of the Borg.

5.) Fully Functional - Quick, loud, BOO! Very active. Then, as soon as the collective jump into action, they are quiet. The Queen then proceds to seduce Data. Very intense, deep, thougthtful music.

6.) Retreat - Very reluctant in the beginning, like creeping up behind someone's back. Then BOOM! Things start to jump into action. We hear two basic parts combatting each other in the song. The good, brave Federation, are the trumpets and French Horns, and the Borg are the Baritones, trombones, and tubas. Very intenst, quick thinking music.

7.) Evacuate - This piece is quick, active. Like, "Quick, get out of here, you've got two minutes!" Then it moves into the friendly opening theme, and finishes with the creepy, Borg theme.

8.) 39.1 Degrees Celsius - Two words come to mind, Horror Movie. It them moves into a, "Gung-ho" kind of, "What's going on? I'll be right there." And of course the sickbay scene, which was portrayed again, in the Horror Movie light. And then it moves into the "Take Charge" feeling. Beautiful 32nd notes played by the flute when Data encrypted the computer. And then it goes back to gung-ho.

9.) The Dish - Very spacey. I've once or twice lost myself in the music, because it's very floaty. Especially true when Picard shoots a Borg and it goes flying, or when he tries to jump to the other side of the dish. Very nice.

10.) First Contact - Very Hollywood sounding. Big bright climax type of music.

11.) End Credits - Not much to say. Fast-paced, slow, then fast-paced again.

I'm not going to comment on those other two. They are what they are.

Jerry Goldsmith's score for the first "Star Trek" motion picture (1979) remains a classic in the art of sci-fi scoring. His score for the 1996 installment in the feature film franchise, "Star Trek: First Contact" shows Goldsmith's mastery of the genre to still be firm. This is an excellent score, full of drama and excitement.

Some aspects of the score (in particular, the main title) have a stirring, solemn, almost religious flavor. This is fitting when one considers the theme of the film: humanity's first contact with the people of the planet Vulcan (one of the most important historical events in the fictional "Trek" timeline). But Goldsmith also delivers the goods for the film's action scenes. It's particularly fun to hear the theme music for the Klingons during one of the space battle sequences. His music also effectively complements the sinister, frighteningly alien nature of the Borg Queen and her drones, who threaten Earth in this film..

As a bonus, the CD includes one song each by Steppenwolf and Roy Orbison; this music is relevant to one of the film's characters, space travel pioneer Zefram Cochrane. If you're a fan of the "Trek" franchise, of sci-fi/fantasy film scoring in general, or of the work of the great Goldsmith, I recommend this disc.

As a musician, whenever I go see a movie, I am always subconsciouly studying the music. The score of First Contact stood out for me from the opening titles to the last note. J. Goldsmith wrote a BEAUTIFUL, BOLD, MAJESTIC theme for this movie; it's woven in with all the classic Star Trek themes. This creates a score that is unique but decisively Star Trek. The last two tracks, "Magic Carpet Ride" and "Ooby Dooby" reflect the movie's 21st centuary feel. My hat's off to Jerry Goldsmith, who's talent never ceases to amaze. A great CD!

Of Jerry Goldsmith's 5 Star Trek scores, First Contact is perhaps my favorite. Despite the fact that it is not very long, Goldsmith manages to convey the danger, heroism and wonder of space travel. The old Klingon theme is resurrected as a fanfare for Warf, the theme for the Borg is scary and genuinly frightening. Yet, it's Goldsmith's theme that is used for the First Contact that is the best. It is soft theme, with a quiet majesty. The score portion of the album is culminated by great rendition of Goldsmith's classic Star Trek theme.

The soundtrack, in general was an excellent one. Having two classic rock singles by Steppenwolf and Roy Orbison on the album was innovative and different. However, I must agree with the others in saying that some of the score was not included. The theme when the "phoenix" takes off into warp speed was an awesome piece and I was very disappointed that it was not included. I too, hope someone at the top reads this and perhaps releases a Star Trek: First Contact, Special Edition score.

This soundtrack is full of a lot of impressive mood-driven music. What I like best about it is the variety of musical scores. The CD opens with the beautiful First Contact Title theme, and features several more reditions of it throughout. The second track, [Red Alert] is one of my favorite -- it features theme music for the borg, followed by the klingon theme for Worf's entrance, and then a bit of TNG theme music as they gallantly enter the battle. Another really nice addition to this CD was Magic Carpet Ride and Ooby Dooby. Fans of the movie will love these tracks. They are important elements of the movie, so I was very glad to see them included in their entirety.

My only complaint is that it doesn't have my favorite piece of music from the film, the triumpant piece accompaning the flight of the Phoenix. Otherwise, it is still a great CD. If you like Star Trek, you will love having this CD in your collection.

Jerry Goldsmith is one of the best in the business. He's an Oscar caliber composer. He doesn't disappoint with Star Trek First Contact.

Like most Star Trek films the music is the same. You have the theme from The Next Generation. You then have the theme to the movie. The theme to the movie is then used throughout the whole film except it's played a little diffrently in the situations throughout the film.

The theme for First Contact is fantastic. It is absolutely one of the best songs I've ever heard. I think it's as good as the Godfather, Star Wars, Indiana Jones and Superman. As a Trumpet player I dream of playing a meolody like tho one on the theme of this movie. It's so crisp, clean, and pure. Everytime I hear it I just want to whistle and hum along with it. It's such an amazing song. Jerry Goldsmith has outdone himself here and I think it's the greatest song he's ever done.

I liked Steppin Wulf on the CD. There most famous song Magic Carpet Ride is included. It was funny when they used it in the movie and it's a great song. It's one of the catchiest songs ever written and it's got some great guitar work.

Obey Dobey by Roy Orbison is also on here. Roy has a fantastic voice that he could four octaves with. It's not one of his more well known songs, but I enjoy it a lot. Again it was well used in the movie and it's a nice additon to the soundtrack.

This soundtrack is a must for Star Trek fans, Jerry Goldsmith admirers, and fans of classical music. It's a well made album and would be a nice addition to anybodies home.

This score is right behind TMP (which wasn't a bad movie, really). One of the pluses is that the famous theme is only used twice on the album. In its place is a more traditional orchestral theme that has an epic quality to it, yet never feels pretentious.

I would have to say my favorite track is the first, Main Title/Locutus, not just because of the First Contact theme, but because we get to hear Joel Goldsmith's Locutus which is perfect for the opening pullback and subsequent handhelds. You can see the pullback in your head (If you've seen it before) when listening to it. (Yes, this may be overhyping.)

And you can't go wrong when Steepenwolf is there!

Overall, Jerry Goldsmith's 2nd best Trek Score (and thanks, in nosmall part to Joel.) Listen to it.

Jerry Goldsmith is the voice of Star Trek and his next score in the Star Trek series showcases his incredible talents. "Main Title/Locutus" opens with the classic Star Trek fanfare. The fanfare isn't heard until the final score track, "End Credits". Goldsmith's Star Trek theme is heard in "Red Alert" and "End Credits". The rest of the score contains an absence of those 2 themes, instead allowing Goldsmith to utilize a new theme and other music. The First Contact theme is a noble, heroic tune played on horns with wonderful string passages. The action music is good, as usual with Goldsmith. Jerry's son, Joel, provided 3 cues in the score, "Locutus", "Retreat", and "39.1 Degrees Celsius". In these 3 tracks, he tries to mimic his father's sound with string rhythms and snare drums, but cannot quite do it the way he can. However, his cues do contain great action and suspense music. "The Dish" is a great suspense track in the cat and mouse fashion. "End Credits" contains all of the themes thrown into one 5 minute suite, which Goldsmith usually does at the end of the Star Trek films. Tailing off the soundtrack are 2 pop tunes, "Magic Carpet Ride" by Steppenwolf and "Ooby Dooby" by Roy Orbison. While these 2 songs are good, they do not fit anywhere in the score and should have been left off. The booklet contains photos from the film, commentary about Goldsmith's music, and even a picture of Goldsmith with some of the cast and crew. The multimedia portion of this soundtrack contains video interviews with both Goldsmiths, director Jonathan Frakes, and producer Rick Berman. All in all, a great score that continues the great music saga in the Star Trek films.