James Horner - Star Trek III: The Search For Spock

Capitol/GNP Crescendo: 1984/1990

Now we’re getting into real geeky territory.

The first two Star Trek movie soundtracks, one can make the argument they surpass the source material, making them essential additions to any gatherer of classic film scores. Jerry Goldsmith, already no slouch in Hollywood, made some of Trek’s most iconic pieces for The Motion Picture, such that he’d recycle many of those themes in the later films he scored. James Horner, a total newcomer in Hollywood, made some of Trek’s most thrilling music for The Wrath Of Khan, such that he’d recycle some of those themes in other films he scored. Either way, both are standouts of the sci-fi soundtrack genre, such that you don’t need to be a Trekkie to appreciate them.

Beyond that, however, we’re getting deep into the realm of fans-only releases. There’s a couple more Trek soundtracks after this one I wouldn’t mind having should I find them on the cheap. Cliff Eidelman’s work for Star Trek VI: The Undiscovered Country recaptured many aspects of Horner’s compositions without stepping on James’ toes much, and Goldsmith turned in another winner with his work on Star Trek: First Contact. Maybe if I were to indulge my inner Trekkie to the utmost, some gathered works from The Next Generation and Deep Space Nine would be nice, but that’s an extreme case.

Instead, I’ve only gone as far as Star Trek III: The Search For Spock, because another LP of James Horner Trek music can’t go wrong. It’s also remarkably different compared to The Wrath Of Khan, if anything because the movie itself is a departure from the previous one. A somber mood permeates much of the film, as can be expected when our hero James T. Kirk is dealing with so much tragedy throughout. Not just the loss of Spock in Khan, but his subsequent rebellion against Starfleet, the death of his son David, the forced destruction of the Enterprise, and the total annihilation of the Genesis Planet, putting a damper on all those ‘life from death’ themes. Oh, um, spoilers, I guess?

Horner’s score reflects many of these moments, seldom going for the thrilling, bombastic orchestrations in Khan. Stealing The Enterprise is the lone exception, giving us a taste of exciting adventure despite the action on screen being rather mundane – it’s a perfect example of a score completely selling a scene, which Horner excelled at even at this early stage of his career.

Since he didn’t have to come up with as many original themes either, Horner experimented a little, mostly in his instrumentations. Klingons may not have been as iconic as Goldsmith’s theme for the classic alien species, but the clanking percussion Horner uses works wonderfully for a culture with a military industrial complex. Alternatively, the soft, meditative exotic drums in The Katra Ritual serves as a strong contrast for the logical Vulcans. And in keeping things human and ‘80s, there’s a bonus synth-pop rendition of the movie’s main theme. Yeah, that was common on soundtracks back then. Don’t ask.

James Horner - Star Trek II: The Wrath Of Khan (Expanded Edition)

Atlantic/Retrograde Records: 1982/2009

The only Star Trek soundtrack you’re supposed to have, even if you’re not a fan of Star Trek soundtracks. I know, I know. You’re wondering how on Earth can there be that specific a music niche, but check it, yo’. Star Trek is a massive enterprise, finding its way into every form of consumable medium known to the Western world. We obviously think of it as a TV and movie franchise, but all those fancy images don’t come silent, each feature film and weekly episode requiring scores to set the tone and mood. Even with its shoestring budget, The Original Series came up with some iconic pieces everyone recognizes (and lovably mock), and The Next Generation had its moments too. And when you have original scores made for each episode, every series has volumes of music a die-hard Trekkie can nab their hands on. Plus, there's video game soundtracks, audio books, music inspired by Trek, and the list goes on.

However, The Wrath Of Khan is different. This isn't so much a soundtrack for Star Trek II, but rather a soundtrack composed by James Horner that happens to be a Star Trek film. That wasn’t much of a distinction when the movie came out, as Mr. Horner was just starting out in scoring films. A few decades on though, and several famous soundtracks under his belt (Braveheart, Titanic, Glory, Willow, Rocketeer, etc., etc.), we've come to hear certain traits and signifiers in Horner's work. Those exhilarating set pieces, the memorable heart-wrenching melodies, a bounty of leitmotif riches – it’s no small wonder Horner became one of Hollywood’s most famous go-to composers.

The Wrath Of Khan wasn’t Horner first score, but it definitely provided his first opportunity in showcase his talents to a wide audience. The result is one of the most memorable scores ever committed to a sci-fi adventure flick, a remarkable feat considering Horner had Jerry Goldsmith’s iconic Star Trek score hovering just one movie prior (to say nothing of Star Wars). Fortunately for Horner though, he had a much better movie to work with, encouraged to go as bombastic as he wished by director Nicholas Meyer. Swashbuckling music for the Enterprise and her crew, menacing marches of ancient glories for Khan and his cronies, triumphant cues, mournful losses, this score has everything, never skimping on wrenching every last bit of tension and emotion from his compositions. Given the final result, one would think he’d used up every great idea in his repertoire on this movie. Little were we to know he was just getting started.

That’s why this soundtrack is as much a showcase of James Horner as it is a backing score to the best Star Trek movie ever made. When you think of the other films, their scores still sound Star Trek, the composers mostly adhering to the franchise’s needs. Horner, on the other hand, transcended that, and helped lift The Wrath Of Khan well beyond expectations in the process, to a peak that’s yet to be matched.

Jerry Goldsmith - Star Trek: The Motion Picture (20th Anniversary Edition)

Columbia/Sony Legacy: 1979/1998

Still not the geekiest thing in my music collection, though I can't deny it being somewhere in the Top Ten. If I had any of the Star Wars soundtracks, it'd certainly be geekier than that, though not as geeky were the original Battlestar Galactica among my CDs. I guess it's proper-nerdy to claim I've got any Star Trek soundtracks and not Star Wars, but here's the thing: I'll never have to purchase a Star Wars soundtrack. Those compositions are so ubiquitous in geekdom, there's no effort in hearing John Williams' music. Hell, there's a disco medley of Star Wars that occasionally pops up on my work radio – ain't no way you'd hear the same for Star Trek.

In any case, it doesn't matter whether having Star Trek: The Motion Picture is geeky or not, because connoisseurs of sci-fi soundtracks agree Jerry Goldsmith's score is among the best out there. When you think Star Trek, you almost inevitably think of that main theme, a triumphant piece of music, ready to explore the cosmos in the name of adventure and discovery. Of course, it helps they reused the theme for The Next Generation, all but assuring its permanent place in pop culture, but The Motion Picture was its debut, and likely the only thing most folks recall of the movie. That, and the fact it was a slog of special effects over-indulgence. But hey, it’s one of the only Trek movies to go super-hard sci-fi, and I kinda’ appreciate for that, even if I only ever watch it on the laziest of rainy afternoons.

Before I got this soundtrack though, another reason I would throw the movie on was to bask in the wonderfully alien sounds of Craig Huxley’s Blaster Beam, an eighteen-foot long monstrosity of piano strings, aluminum, magnets, and artillery shell (yes, really). Huxley was already making incidental sounds and clips for Trek related media, but when he showed the instrument off to Goldsmith, the composer instantly knew he had his signature sound for the movie's antagonist. And a good thing too, the Blaster Beam injecting a remarkable amount of omnipresent menace and character to nothing more than a lot of special effects and a Voyager probe prop.

Some feel Goldsmith's score was wasted on The Motion Picture, but it's honestly one of the few shining positives of the movie. All those scenes of flying through space, flying through space clouds, flying over impossibly giant probes, and an inconsequential love story would have fallen flatter than Saturn’s rings without the music. Goldsmith captured the mystery and awe of exploration and the unknown as best as anyone could for a hard sci-fi movie, and is worth a listen on those merits.

Thrown in this 20th anniversary collector’s edition is the old Inside Star Trek record, where Gene Roddenberry conducts interviews with cast members and gives lectures. It’s pure Trekkie fluff, with a curious take away: Mr. Roddenberry’s fascination with sex in sci-fi. Ah, so those mini-skirts weren’t standard issue after all.