|8.||39.1 Degrees Celcius||4:44|
|12.||Magic Carpet Ride Steppenwolf||4:25|
|13.||Ooby Dooby Roy Orbison||2:22|
| ||50:45| Submit your review
After the awkward meeting of two captains in Star Trek: Generations, the Next Generation crew got probably their best big screen outing to date in First Contact. It managed to combine not only a crucial piece of Star Trek future history, but also the Next Generation's (and Voyager's) best villain, the Borg and turned Star Trek into more of an Aliens style action adventure with dark corridors and threats lurking in every shadow. Great turns by the excellent James Cromwell as Zephram Cochrane and Alice Krige as the Borg Queen only added to the appeal, plus some good moments for the crew itself, although typically focusing on Picard and Data. To every Trekker's great delight, Rick Berman decided that Jerry GOldsmith (with some help from his son Joel) should be asked to provide a little more zing to musical proceedings.
There were evidently some time issues with regards to the time for writing and recording the score and unfortunately some sections suffer as a result. The best parts are terrific and the best of all being the outstanding First Contact theme, a hymnal and stirring melody that is perhaps a surprise way to begin given the generally quite grim tone, but its use is well justified. The importance becomes clear toward the end of the film as first contact is made with a certain race of pointy eared aliens. Indeed, the first contact scene is one of Goldsmith's finest stand alone cues of recent years, a beautifully scored scene that shines with nobility as well as a little awe and wonder.
Of course the Borg based cues are considerably edgier with a menacing variously synthesised four note motif (that almost sounds like an inversion of Williams' raptor motif from Jurassic Park) which is usually accompanied with some metallic clanking - it doesn't sound promising, but works a treat. There are actually surprisingly few action cues per se, it tends towards suspense with the best of these being the extended The Dish. The cues penned by Joel Goldsmith are the same but different - they contain the same basic style and thematic materials, but have a distinctive stamp to them, the best being the thrilling Retreat. The End Credits mix Goldsmith's Star Trek theme with the central section featuring the first contact theme. I can't help but wonder if the musical bridges could have been a little better, they certainly don't have the smooth transition of Goldsmith's previous Trek credit suites, but it still ends the score in fine style.
Magic Carpet Ride and Ooby Dooby don't fit at all, but since they were featured in the film, are at the end of the album and are great songs anyway, their inclusion is welcome. I go a bit hot and cold with First Contact. The great moments - the cerebral main theme and the denouement scene in particular - are absolutely superb. The action sequences are variable, but few come close to the vibrant energy of Star Trek V, although the suspense cues are very good with plenty of menace. It is a shame that oft requested Flight of the Phoenix cue is not included (actually by Joel Goldsmith) as it's one of the highlights of the film, but the selection is good otherwise. A good, but not great Trek score.
Yet another score by Star Trek veteran Jerry Goldsmith. The score for the eighth film in the Star Trek saga opens with the well-known Star Trek theme by Goldsmith, followed by the gorgeous, sweeping and powerful First Contact theme. At first carried by the horns, soon joined by the whole orchestra which gives the theme a very grand rendition. This theme is the scores' highlight and is what makes this score memorable. Every time it appears, not so often, by the way, it brings the music to a whole new, higher level.
The score is mostly action packed (perhaps a little too much action for my liking), with good action motifs - especially one thrilling fanfare like trumpet ditty. But what this music lacks is a good, memorable action theme, to revolve around. As it is now there is nothing that holds the music together, except for the welcome visits of the main theme, which gives us a chance to relax, and prepair for the next action packed part.
Highlights are the "Main Title" and "First Contact" cues, both because of their glorious renditions of the main theme, and "Red Alert", a great action cue and the "End Credits" track, which is a traditional suite, with all the major themes represented.
Perhaps I should mention that some of the tracks ("Locutus", "Retreat" and "39.1 Degrees Celsius") are composed by Jerry's son Joel Goldsmith. They're nothing special. Neither good or bad.
The CD is enhanced, meaning that it contains film clips to view on your computer, concisting of short comments by the two Goldsmiths as well as the director Jonathan Frakes. Nothing that will make you drivel, unless you worship Jerry Goldsmith and his music, that is.
This soundtrack trailer contains music of:Star Trek VI: The Undiscovered Country (1991), Cliff Eidelman
Star Trek: The Next Generation (1987), Jerry Goldsmith
Star Trek: Generations
(1994), Dennis McCarthy
Star Trek II: The Wrath of Khan (1982)
Other releases of Star Trek: First Contact (1996):