ENTERPRISE
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ENTERPRISE and Its Cousins, and a Flashy Web-Slinger

This Week's Recommendations

Star Trek's latest incarnation comes to CD with the original television soundtrack to ENTERPRISE (Decca 269 470 999-2). The CD includes two versions of the show's controversial vocal theme song (the original 1:28 TV version, and an extended 4:09 album version, both performed by Russell Watson) bracketing a baker's dozen of score cues by Trek composer Dennis McCarthy. McCarthy has scored dozens of Trek episodes for every show since THE NEXT GENERATION. He provided the theme for DEEP SPACE NINE and also scored the feature STAR TREK: GENERATIONS. His music is also heard in dozens of TV movies and several features, including McHALE'S NAVY and ALIEN FURY: COUNTDOWN TO INVASION. He also scored episodes of SLIDER and STARGATE SG-1.

On ENTERPRISE, McCarthy shares episode composing duties with fellow Trek veteran Jay Chattaway as well as composers Paul Baillergeon, David Bell, and Velton Ray Bunch, although as composer of the pilot episode he was able to set the tone for the series, and also composed "Archer's Theme," which became the show's End Title cue. Whatever you think of the show's main title song, "Where My Heart Will Take Me" (a song by the prolific songstress Diane Warren which, under its original title, "Faith of the Heart," appeared in PATCH ADAMS, where TREK producers heard it), on CD (apart from its awkward use as a STAR TREK main title theme) it's actually a very good song, well taken through its paces by Russell Watson doing his best Rod Stewart impression). But of course it's the McCarthy underscore that's the main draw here, and Dennis has written a fine score, retaining that French horn-dominated Star Trek musical milieu but giving it a freshness through more overt use of electronics and modern instrumentation, suggestive of the freshness of the Enterprise crew on their first missions. "Archer's Theme" is a heroic, Americana flavored melody that is reprised sparsely but represents the Captain and mission of the original Enterprise. Against this is a percussive motif, sinister and malevolent, representing the villainous Suliban. Other cues comprise an assortment of orchestral action motifs, but each retains a tonal fluidity and flavor that conveys the sense of innocence and idealism that is embodied in the show. The CD booklet includes notes by composer McCarthy, who relates how the recording of the ENTERPRISE pilot was completed on September 12^th, 2001, the day after the terrorist attacks on America, and how those incidents affected the recording.

The music [IMG2R]from another STAR TREK cousin, Gene Roddenberry's posthumously filmed series ANDROMEDA, has been released on CD (GNP Crescendo GNPD 8077). Also a victim of bizarre main title choices, the show's first season was a bagpipe march composed by Rush's Alex Lifesan. The balance of the music, including a new and far more appropriate main title for Season 2, is the work of Matthew McCauley (THE SEVENTH SCROLL). McCauley's main theme is dignified and honorable, a compelling work, embedding the show with a graceful elegance of purpose and quiet heroism. McCauley has composed any number of subordinate themes that run throughout the first two seasons, and cues or combined cues on the CD tend to represent them well and provide an optimal listening experience. Much of the show and its music would seem to be almost interchangeable with ENTERPRISE, as the music definitely embodies similar characteristics of human idealism and honor the heart of Gene Roddenberry's multiverses. The music is quite nice. The CD contains a notable introduction by ANDROMEDA's executive producer, Allan Eastman.

With its [IMG3L]May 3^rd release in theaters, the SPIDER-MAN "soundtrack album" is really a collection of unrelated rock songs, most composed specially for the album, "inspired by the movie."  While about half of the album contains throwaway material, there's plenty enough here to make this a good stadium-type rock and roll album with plenty of kick. Opening with the cheerful choral strains of the original "Spider-Man! Spider-Man! Does whatever a spider can!" song from the old Saturday morning TV cartoon series, and closing with a version of the song by Aerosmith that really kicks, the CD contains a number of notable songs, perhaps the best of which is the anthemic "Hero," by Chad Kroeger, heard over the movie's End Titles. Amid the other songs is an obligatory source cue by Macy Gray ("My Nutmeg Phantasy"), who appears briefly during a party scene interrupted by the Green Goblin. But the heart of SPIDER-MAN is found in Danny Elfman's underscore, and two cues presented here will whet your appetite for the complete score CD, due out in a few months from Sony. Eschewing an actual theme, Elfman instead provided a rhythmic motif but it gave the film a tremendous sense of motion and power two of the attributes most emphasized by Sam Raimi in his big-screen incarnation of Marvel's misunderstood web spinner. The motif is well represented on this disc by Elfman's Main Title and his finale ("Farewell"). The original release of the CD contains a neat holographic frontispiece.

SOUNDTRAX NEWS

Varese Sarabande [IMG4R]has released Harry Manfredini's latest FRIDAY THE 13^th incarnation, JASON X. (And be sure to check out our interview with Manfredini about this score elsewhere on this site.) Also on Varese this week is David Julyan's broodingly intensive score for the new Christopher Nolan thriller, INSOMNIA, and that of Jan Kaczmarek for Adrian Lyne's latest exercise in marital infidelity, UNFAITHFUL. Varese Sarabande has also issued the first CD release of Andre Previn's score for the original ROLLERBALL, while Virgin Records has released Eric Serra's score for John McTiernan's ROLLERBALL remake. Coming from Varese on June 4^th is Marco Beltrami's score for BLADE II.

Hans Zimmer's [IMG5L]latest animation score, for SPIRIT: STALLION OF THE CIMARRON, is now out on A&M Records. Most of the cues are vocal songs sung by Bryan Adams (and are what you'd expect them to be), but four cues are original Zimmer underscore, rousing and heroic.

On June 11^th, Pacific Time Records will release Michelle DiBucci's score for WENDIGO, Larry Fessendon's 2001 horror offering.

Supertracks will release Joe Harnell's TV score for THE BIONIC WOMAN and Robert Folk's KUNG POW: ENTER THE FIST. First-ever CD releases of John William's SPACECAMP and Angela Morley's WATERSHIP DOWN are reportedly underway.

Silva Screen in England has reissued the 1985 Jerry Goldsmith score for LEGEND. Infamous for being replaced in the U.S. by a synthesized score by Tangerine Dream, LEGEND remains one of Goldsmith's most magical, and mystical works, merging airy chorale material with lyrical orchestra.

The latest release in GDI's series of Hammer film scores is Tristram Cary's BLOOD FROM THE MUMMY'S TOMB. This 1971 film completed the cycle of Mummy remakes from Hammer, and its release on CD continues the score cycle, following GDI's previous releases of Franz Reizenstein's THE MUMMY and Carlo Martelli's CURSE OF THE MUMMY'S TOMB. Only Don Bank's 1967 score for THE MUMMY'S SHROUD remains due for release. Next up for GDI: Laurie Johnson's CAPTAIN KRONOS: VAMPIRE HUNTER and John Cacavas' THE SATANIC RITES OF DRACULA.

The latest anime score by Joe Hisaishi (NAUSICAÄ, ARION, PRINCESS MONONOKE) for director Hayao Miyazaki, SPIRITED AWAY, has been released by Tokuma Japan. Characteristically, the score is a Western-influenced powerful and dramatic orchestral composition.

The second volume of The Complete Kurosawa has been released on Toho Records. This handsome six-CD box set includes the complete soundtracks by Masaru Sato for YOJIMBO, SANJURO, HIGH & LOW, and RED BEARD, plus a collection of various singles from Kurosawa films. The third volume will be out in June, and will feature the music from the famed director's last seven films, including KAGEMUSHA and RAN.

Elite Entertainment's new 2-disc DVD release of RE-ANIMATOR ("The Millennium Edition") includes, among a wealth of various extras, a discussion of the film's Bernard Herrmann-pastiche score by Richard Band.

NEW SCORING ASSIGNMENTS

David Arnold has been confirmed as the composer for the new James Bond film, due for release later this year. The signature title song for the 20^th 007 film, DIE ANOTHER DAY, will be performed by Madonna.

Christopher Young (HELLRAISER, SWORDFISH) will score Jon Amiel's new sci-fi thriller, THE CORE.

Graeme Revell (TOMB RAIDER, DUNE, COLLATERAL DAMAGE) will score the latest Marvel comics superhero movie, DAREDEVIL, set for release next year.

James Newton Howard will score Lawrence Kasdan's big screen adaptation of Stephen King's epic science fiction horrorshow, DREAMCATCHER, scheduled for 2003 release.

Shirley Walker will return to Morgan & Wong territory when she scores 2002's FINAL DESTINATION 2. David R. Ellis will take over the directorial helm from James Wong, who wrote and directed the first film, also scored by Walker. Walker will also score Glen Morgan's remake of WILLARD. "Tear 'em Up, Shirley!"

And Alan Silvestri will return to the little mouseman when he scores STUART LITTLE 2.

Soundtrax is our bi-weekly movie soundtrack column.