A Star Beyond Time (Love Theme from Star Trek: The Motion Picture) - Single

January 1, 1980 1 Song, 2 minutes ℗ 1980 Curb Records, Inc.

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Jerry Goldsmith’s Full Orchestral Score For ‘Star Trek: The Motion Picture’ Published As Book For First Time

star trek love music

| April 14, 2021 | By: Lukas Kendall 12 comments so far

Fans of composer Jerry Goldsmith and Star Trek music now have a new way to celebrate his Oscar-nominated score for Star Trek: The Motion Picture .

Omni Music Publishes Star Trek: The Motion Picture Score Book

Now that dozens of Star Trek soundtrack albums have been released by the specialty CD labels as expanded collector’s editions, Omni Music is opening a new frontier by publishing Jerry Goldsmith’s legendary score to Star Trek: The Motion Picture as a bound book. This is the first full, complete orchestral score released for any Star Trek music from film or television.

This unique book features the written, full orchestrations to Goldsmith’s magnificent score for the first Star Trek feature film. The orchestrations are intended for large symphony orchestra (enhanced by specialty instruments) so this isn’t something you could easily use to play the music at home on your keyboard; in fact, the book is licensed for study only, and not performance. The full printed score corresponds to the 3-CD set of The Motion Picture soundtrack album released by La-La Land Records in 2012 .

star trek love music

Sample page from Star Trek: The Motion Picture score book (Omni Publishing)

Omni Music Publishing is a specialty book company dedicated to publishing film scores in full, unabridged editions for fans, scholars, and music aficionados. While publishing classical music is pretty straightforward, doing the same for film scores is much more complicated due to dealing with the rights. There is also the archaeology work of locating the handwritten (and often, quite messy) original scores in studio vaults and engraving them (via computer) so that they are clear and legible. Omni has sorted through the red tape and undertaken the painstaking work to bring these treasures officially to the public.

Jerry Goldsmith’s score to Star Trek: The Motion Picture became the signature piece of Star Trek film music, with a main theme repurposed for Star Trek: The Next Generation (at Gene Roddenberry’s request) and also used by Goldsmith himself in his sequel scores for Star Trek V: The Final Frontier , First Contact , Insurrection, and Nemesis . It features a beautiful love theme (“Ilia’s Theme”) and magnificent, ominous passages for the alien V’Ger threat, enhanced by pipe organ and a unique instrument called the blaster beam. The score overflows with melody and orchestral invention.

star trek love music

Because of the film’s troubled postproduction, Goldsmith wrote and recorded a number of alternate cues which were never heard until being presented on La-La Land’s 3CD set. All of them are included in a supplemental section of this book—along with four additional selections which Goldsmith wrote and had orchestrated, but which were never recorded in 1979, for one reason or another.

And the score all comes together in a beautiful 473-page, 9” x 12” bound softcover book. If you can’t read music, this will admittedly be like browsing a book published in a foreign language—but could still a beautiful collectible, with new cover art by Scott Saslow. The Star Trek: The Motion Picture score book can be purchased directly from Omni for $85.00 .

star trek love music

Visit Omni Music Publishing’s website to order and see other books in their catalog, such as The Matrix (Don Davis), Batman (Danny Elfman), Glory (James Horner) and Ghostbusters (Elmer Bernstein).

And if you are a musician looking for Star Trek sheet music to play at home with piano or other instruments, you can find a selection at musicnotes.com .

Bonus: TMP scene with unused “Body Meld” music

As a special treat for TrekMovie readers, composer Joe Kraemer ( Mission: Impossible—Rogue Nation , Jack Reacher ) has created a synthesized “mockup” of one of the unrecorded cues, Goldsmith’s original intended version of the climactic “Body Meld” (available in the new printed full score). Judge for yourself if Robert Wise was right to reject it for being “too romantic.”

Lukas Kendall is the founder of Film Score Monthly and has been involved as a producer or consultant on numerous soundtrack album releases of Star Trek music. He is credited as a proofreader in Omni’s book edition of Star Trek: The Motion Picture .

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ooooohhhhh I really like this but, I the original is better suited.

That font! 🥰

Over a long period of time I’ve learnt to appreciate TMP a lot more. It still not one of my absolute favourites but the score most certainly is. I will go out on a limb here and say it’s still the finest Star Trek score of all time. It’s pretty magical. Jerry Goldsmith you still very much missed.

The blaster beam has such a distinctive sound- really sets TMP score apart from the other films.

I bought one, and purchased the big CD release back when it was new. Great companion/set.

The score is all at concert pitch, so if you want to plunk out the parts at your piano, you don’t have to transpose. This also makes it easier to see doublings, etc. As usual, viola parts are in alto clef.

I’ve not seen a film score before, so maybe rendering everything at concert pitch is standard in that industry? (Not so with other music… I’m mostly a choral conductor and composer but have conducted instrumental ensembles a bit, too.)

It depends on the composer. Most of the “old guard” asked their orchestrators to use transposed pitch; ST:TMP (Arthur Morton) was all done transposed. All of John Williams’ orchestrations are transposed. James Horner had his orchestrators use concert pitch (like Prokofiev). I am told that nowadays, concert pitch is much more common for today’s composers who are less likely to be classically trained.

Thanks for the info. Neat to be on this topic with Trek fans… my worlds of interest converge!

Thanks Lukas.

Well this is a super painful story. This is like showing us the ingredients of a cake and we have no access to getting the ingredients or putting it together.

I’m assuming most fans won’t even be able to read the recipes (to stay with your analogy), let alone recreate them. This kind of book probably has a very small target audience.

This reminds me that Star Trek is famous for introducing god-like or very very powerful beings, and then having absolutely zero follow-up. The Organians, Metrons… and THIS–a follow-up somewhere along the way would have been welcome. In fact, the only follow-through we’ve ever had with a god-like being has been Q. And even then, he’s still quite a mystery.

Beautiful music. Amazing how those themes imprint on your memory.

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Songs of the stars: the music of star trek.

A look back at the history of Star Trek film scores, as well as a few other space-themed hits.

Star Trek Beyond opened Friday (July 22, 2016), the third film in the rebooted franchise begun by J.J. Abrams in 2009. As a whole, the Star Trek franchise turns 50 this year, so let's take a look back at the series' long history in film and the music that has taken us as moviegoers on so many adventures with the crew of the Starship Enterprise (with some other notable films mentioned along the way)!

Star Trek: The Motion Picture

10 years since the original series was cancelled, syndication had made the show a huge hit. So in 1979, after much pressure from creator Gene Roddenberry, Paramount brought this universe to the big screen with the entire original cast. Though certainly not the most beloved of the series, it did set things in motion for many superior sequels. And through the craft of composer Jerry Goldsmith came one of the most memorable themes in the franchise, later used for Star Trek: The Next Generation :

What else happened around this time?

1979 was a big year for enduring sci-fi classics about space, particularly Alien (also with music by Goldsmith ) and Close Encounters of the Third Kind (with those unforgettable five notes from John Williams).

Star Trek II: The Wrath of Khan

Where The Motion Picture is a bit lackluster to some, The Wrath of Khan has received almost universal praise as one of the best films in the franchise. The new composer, James Horner, was specifically told not to use any of Goldsmith's music from the previous film. But, wanting to retain some familiarity, Horner did adapt some of the original fanfare from the television series in the opening title music, which has its own swashbuckling, space-faring feel:

As far as memorable musical scores in 1982, it's hard to beat John Williams' work on E.T. the Extra-Terrestrial , especially that magical bicycle flying scene .

Star Trek III: The Search for Spock

This film and its immediate successor are notable for being directed by Leonard Nimoy, who portrays Spock in the series. Following the plot directly after The Wrath of Khan , this story pits the Enterprise crew against Klingons, who were frequent antagonists in the series. James Horner remained on board for this film, and wrote a brooding, ominous theme to represent this new (old) threat:

Though not the most revered of science-fiction films, particularly in comparison to its source material, David Lynch’s Dune does have some particularly memorable music from the band Toto with additional work by Brian Eno.

Star Trek IV: The Voyage Home

Probably the most broadly appealing entry of the six films based around the original series cast, this time-travel caper brings the crew of the Enterprise to present-day Earth (in 1986, that is). This time around, Leonard Rosenman took the reins as composer after Horner declined to return. Given the modern setting, Rosenman inflected his score with a number of eclectic elements, from traditional classical-inspired sounds to music that feels very much at home in the 80s . But he kept that timeless fanfare music for the opening theme of course:

In another case of James Horner coming in to do the sequel to a franchise that had begun with Jerry Goldsmith, Aliens was one of his three collaborations with director James Cameron, and the music was suitably more action-oriented like the film , contrasting from Alien’ s focus on horror.

Star Trek V: The Final Frontier

This is yet another film in the series directed by one of its stars, this time by the leading man, Captain James T. Kirk himself: William Shatner. After a poor showing with critics and at the box office, The Final Frontier tends to be one of the more forgettable films in the franchise. Still, this is when Jerry Goldsmith returned to the franchise, 10 years after scoring the first film. And finally, we have a marriage of the two defining musical elements of the series:

Though it doesn't take place in outer space, The Abyss has all of the hallmarks of an alien encounter story, and features music by science-fiction veteran Alan Silvestri .

Star Trek VI: The Undiscovered Country

Much better received than its predecessor, this movie has prominent themes of espionage and subterfuge, given the political climate of the Cold War that had just ended. Suitably, the new composer Cliff Eidelman wrote a score that was much darker and less bombastic than previous Star Trek scores. He essentially composed everything from scratch and did not base his material on older themes from the series:


While 1991 did not have many successful space oriented movies, the following year brought another film in the Alien franchise, Alien 3 . Scored by Elliot Goldenthal, one of the most striking moments in the score is during the famous 20 th Century Fox fanfare , which then melds into this haunting track .

Star Trek Generations

Worlds collide as the old meets the new! Featuring the cast of Star Trek: The Next Generation , as well as William Shatner, James Doohan, and Walter Koenig of the original cast, this is the passing of the torch to the new Enterprise crew, who would go on to star in the next three films. Though not a smash hit with critics, it was an important moment of transition for the series at the least. Dennis McCarthy, composer for the numerous Star Trek TV series from The Next Generation onward, scored this film.

In somewhat a reverse of Star Trek's trajectory, Roland Emmerich's 1994 film Stargate spawned a television franchise of its own 3 years later! David Arnold composed the music for this film , as well as another popular Roland Emmerich sci-fi hit a couple of years later...

Star Trek: First Contact

Since the Klingons had made peace with the Federation by the time of The Next Generation , the series was in need of a new set of recurring antagonists. Enter the Borg, a hivemind of different species assimilated into a cybernetic Collective. Present throughout the TV series, the Borg made their theatrical debut with this film, where they attempt to rewrite history in order to rule supreme in the future. Directed by cast member Jonathan Frakes (William Riker), First Contact was received positively, and Jerry Goldsmith even returned as composer!


You have David Arnold to thank for providing rousing music to President James Whitmore's equally rousing speech in 1996's event of the summer: Independence Day . And how about those end credits ?

Star Trek: Insurrection

Continuing the trend of every other Star Trek movie receiving praise and every other movie receiving mixed to negative reactions, this film is decidedly… mixed. Still, Paramount was on a roll with releasing a Star Trek film every couple of years or so, and given that this one was right on the cusp of the new century, they took advantage of growing movie technology by creating every space scene with CGI. Like it’s predecessor, Insurrection was also directed by Jonathan Frakes, and it was the 4th film in the series for Jerry Goldsmith.

There were a number of science-fiction movies about space or aliens in 1998, but none of them seem to quite top the popularity and bombast of Michael Bay’s Armageddon . With former Yes guitarist Trevor Rabin taking on the music, some of it has a distinctly different quality than many of the films mentioned on this list, but it seems to suit its director perfectly.

And it was only a year later that we were treated to what many might consider the greatest Star Trek movie of all: Galaxy Quest . Okay, sure, it doesn’t actually have Star Trek in the title, but with so many references and nods to the fans, this meta-parody is a loving homage to the series that even Star Trek cast members love . And as far as the music goes, David Newman created a unique score that pays homage to the series much like the movie itself.

Star Trek: Nemesis

Perhaps a bit bittersweet for fans of The Next Generation and Jerry Goldsmith, this film was the last Star Trek entry to feature both. Unfortunately, critical response was not kind to this one either, and going all the way back to The Motion Picture , the gap between this and the next Star Trek film was the largest in the series (7 years). Of note, however, is the inclusion of Tom Hardy in one of his first film roles, who has now become quite a bankable star with films like Inception , Mad Max: Fury Road , and The Revenant under his belt. Fittingly, Goldsmith’s score still holds on to that famous Star Trek fanfare from the TV series, but with a noticeably darker aura to fit the film’s plot:

Given that CGI was on a big upswing at this time, science-fiction movies were coming in left and right. But there’s one score that seems to outshine its own movie: James Newton Howard’s music from Signs . To be fair, Signs does not seem to be as reviled as future M. Night Shyamalan suspense films like Lady in the Water or The Happening , but the music seems so absolutely crucial for this film’s success, and it certainly provides some heart-racing suspense .

And here we are with a rebooted universe that sort of takes place within the original series’ timeline… but not quite. This new, flashy franchise from J.J. Abrams features an entirely new cast in the roles of the original Enterprise crew, with Chris Pine and Zachary Quinto taking the roles of series leads Kirk and Spock, respectively. Though some die-hard fans of the series have likely been turned off by these newcomers, it can’t be denied that the new film series has allowed for a new fan base to develop. Much like Star Wars: The Force Awakens , this revival is drawing in an entirely new generation and getting them interested in a decades-old franchise that has endured so strongly. Plus, with music by frequent Abrams collaborator Michael Giacchino (kind of a Spielberg-Williams thing), there are some suitably exciting new themes for the series:

Speaking of frequent director-composer pairings, the James Cameron-James Horner train started a good thing with Aliens , and both would subsequently be involved in the two highest-grossing films of all time: 1997’s Titanic , and 2009’s Avatar . A sprawling epic, Avatar has a fairly familiar story of the soldier joining the local indigenous tribe to fight against his imperialist masters, but the film’s unique look and sound is what seemed to make it such a success, with a score from Horner that draws from a number of musical styles found around the world.

Star Trek Into Darkness

Though generally well-received, this film had a bit of controversy over some of the story elements and its main villain, portrayed by Benedict Cumberbatch. Given that it’s a relatively recent release I won’t spoil any of it, but Abrams was definitely taking a cue from previous films in how he approached this one. Still, it delivered what was essentially promised from the 2009 film: an action-packed space adventure with attractive young actors and actresses sharing witty banter. And Giacchino returned with his usually thrilling action cues, as well as some more somber moments like this Philip Glass-esque track:

For 2013 movies set in space, Alfonso Cuarón’s Gravity took a strong lead with breath-taking visuals, and a tense, Academy Award-winning score by Stephen Price that really tries to get under your skin.

It’s interesting to see how much the music for this genre has evolved over the years, yet also what elements remain the same. The idea of space as the “final frontier” seems to inspire a sense of adventure and looming danger, which many of these scores also attempt to evoke in their own unique way. I suppose we’ll see where the music of space boldly goes next!

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Star Trek: Ranking All 13 Movie Soundtracks

Which one will be stuck in your head today?

Star Trek Insurrection

Unlike that other franchise whose name begins with "Star", Star Trek's cinematic musical identity has been surprisingly inconsistent over the past 40 years. With nearly every film came a new composer, leading to the franchise's near total lack of continued themes and leitmotifs across installments.

Without that thematic consistency, the franchise instead relied on tone – triumphant marches, sweeping overtures, romantic love themes, and catchy leitmotifs nudged the action along as much as any soaring vista, tragic death, or threatening space cloud.

Heavyweights like Jerry Goldsmith, James Horner, and Micheal Giacchino have produced some of Trek's greatest music, while unknowns like Cliff Eidelman have delivered scores that are just as memorable. Of course there are some headaches in the bunch (sorry Beastie Boys don't count), but for the most part Star Trek's musical legacy is a beautiful and hummable one.

Here's our ranking of all 13 (and counting) Star Trek movie soundtracks from worst to best.

13. Star Trek IV: The Voyage Home – Leonard Rosenman

Ditching all of the themes built across the previous two films by James Horner (to say nothing of Jerry Goldsmith's timeless material from Star Trek: The Motion Picture), Leonard Rosenman's music for Star Trek IV: The Voyage Home is an appropriately upbeat accompaniment to the film's comedic tone, if light on the expected fantasy and nobility of Star Trek film scoring.

Despite the score's Oscar nomination (the second and last for the franchises' music), much of the film lacks score due to director Leonard Nimoy's preference for more naturalistic dialogue scenes. What's left is a short soundtrack without much weight, heavily dated by the 1980s recording style and the inclusion of regrettable source music by The Yellowjackets. The structure of the main title is halting and let's not even talk about that odd Russian jig during Chekov's escape from the US Navy or the "look how much fun we're having" tone of the subsequent hospital chase sequence.

The highlight of this score is the brief but epic reprise of Alexander Courage's theme from Star Trek: The Original Series in the closing moments of the film ("Home Again and Credits" on the soundtrack album), but you'll probably just remember that profane punk song from the bus.

I played Shipyard Bar Patron (Uncredited) in Star Trek (2009).

To Boldly Sing

Star trek has inspired plenty of pop culture, but nothing is as bizarre as the musical fandom following its warp trail..

 Filed under: filk , music , novelty music , star trek , star trek music , star trek songs

Hey all, Ernie here with a fresh one from David Buck , who is helping us maintain our mental-health-break status for this week. If you’re a Star Trek enthusiast, you will enjoy this one.

Today in Tedium : Some readers might have noticed my absence last month. Unfortunately, my father passed suddenly and I was out of commission for a while. As I looked through some of his stuff, I came across some things that reminded me of the times we would sit down together to watch Star Trek: the Next Generation or Star Trek: Deep Space Nine . Thinking about those moments reminded me of some old files and pitches that I was working on a few years ago. I came across one idea and decided to flesh it out a bit: a piece on songs about a certain science fiction television show. If I recall correctly, the original outline of the piece was written for a certain site that ghosted me a few years ago. So, here it is, completely rewritten with fresh insights. So set your phasers to stun and beam up your sense of humor because in today’s Tedium, we’re going where no one has gone before: down the black hole of songs about Star Trek . — David @ Tedium

Today’s GIF comes from a claymation music video for the well-known novelty song “Star Trekkin’” by The Firm.

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“And on no other show do I police myself as much, because I’m such a fan of Star Trek that it’s important to me that we are as funny as we can be without breaking Star Trek at all times and without being mean about Star Trek. With the network and with the studio, the conversations are mostly when I’m pitching an episode, I’ll be like, ‘Here’s what inspired this episode.’ And it’s always coming from a thing that I love about Star Trek, and then ‘Here are the things that we love about these characters, here’s how we want to explore them, and then this is why it’s going to be funny.’”

— Mike McMahan , creator of Star Trek: Lower Decks , discussing his approach to comedy on the show in a 2021 interview with Collider .

Where no musician has gone before (well, not really)

Last year, I discovered something rather silly: a radio station with an apostrophe in its call letters. I joked with Ernie that it reminded me of the Klingon language. This led to a very interesting journey about Klingon that ended up going pretty far and even made an appearance on Vice’s Motherboard —something for which I am eternally grateful. Revisiting this idea only further brings home the point that science fiction television can be a goldmine for weird stuff.

Star Trek has always been a great source of humor. Where Deep Space Nine and Picard readily take on more serious themes, there’s something to be said about the ever present sense of humor that runs a deep vein through most Trek shows. It’s in “The Trouble With Tribbles,” all over TNG (especially in some of Riker’s most memorable scenes ), interspersed between more maudlin moments of DS9 , and encapsulated by certain characters on Voyager . And that’s only naming a few shows! It’s not difficult to see the humor in the shows.

A few years ago, a surprising new Star Trek show was announced, focusing on the non-bridge crew of a “second contact” starship called The Cerritos . That show was Star Trek: Lower Decks . Created by Mike McMahan (who also worked on shows like Rick & Morty and Solar Opposites ), the show centers on a few quirky characters who aren’t officers but perform the ship’s grunt work. It’s hysterical and the characters are quite fun to spend 22 minutes with each episode.

With Star Trek: Lower Decks already two seasons into its run and a plethora of Trek shows coming out, it’s almost as if a renaissance for the series is upon us. Also, Strange New Worlds looks amazing.

Lower Decks goes out of its way to take itself less seriously, proving there’s definitely some room for a bit of comedy interspersed with the more abstract seriousness the show often aims to hit. What Lower Decks does so well is how it leverages that crazy sense of humor into the fandom at large. It sort of reminds me of what happens when enthusiastic, musically inclined fans get together to write songs about the show.

Music has always been integral to Star Trek . From the opening theme of Star Trek (TOS) onward, music has been an integral part of Star Trek , inspiring viewers and musicians alike. While each show’s own music is instantly recognizable, the program also inspired a great deal of music by other artists (often related to TOS ). You’ve probably heard “ The Trouble With Klingons ,” a pastiche created by Dennis Williams for a certain novelty song contest or “Spock Rap” by the animators at Will Vinton Studios (under the name The Neural Paralyzers ) in the ’80s. Admittedly, not everything in this category is great, but there are plenty of gems around. Here are a few artists/songs that explore strange musical worlds, seek out new melodies, and boldly sing where no one has sung before!

You won’t find William Shatner’s The Transformed Man or Leonard Nimoy’s Two Sides of Leonard Nimoy here. Likewise, we won’t revisit the original Trek theme and its lyrics . Rather, these songs and sketches represent unique takes on Trek by various musicians and comedians past and present.

5. “Banned from Argo,” Leslie Fish & the Dehorn Crew

“ And we’re banned from Argo every one, banned from Argo just for having a little fun…”

Filk music is full of talented musicians who share a love of science fiction and community. Filk music—folk music with lyrics based on science fiction—has a rich history , with a strong connection to Trek.

Leslie Fish is perhaps the genre’s best known figure. With her 12-string guitar and larger than life persona, Fish writes about science fiction and beyond.

“ Banned from Argo ” is an upbeat shanty with slightly twisted lyrics. The Enterprise crew goes on shore leave and various hilarious hijinks ensue. It doesn’t reference TOS characters by name, it’s obvious which crew members she’s singing about.

The first few lines of a song explore the mischievous misadventures of the crew checking out “every joint and bar” on Argo during their shore leave. Listeners then learn about the Captain’s sinful tastes and complex methods, the engineer’s ability to “outdrink space marines and a demolition crew,” and the first officer teaches the computer how to swear. It’s a shame what happened to the doctor … but I digress.

Surprisingly, Fish doesn’t seem to like the song much. As she states in several interviews (notably her brief appearance in Trekkies 2 ), the tune was written as quickly to fill out an album. It rapidly became her best known song—something she is a bit cranky about .

Leslie Fish has a large ouvre of other songs, both Trek related and otherwise. Her exuberant performances and love for storytelling shine during her performances. If you’re not a fan of folk music and/or sea shanties, you may want to give this one a pass.

If you enjoy her Trek music, check out the song “Carmen Miranda’s Ghost” and its accompanying anthology . For the full Leslie Fish experience, give Folk Songs for Solar Sailors a spin—if you can find it .

4. “Everything I Do, I Do with William Shatner,” Warp 11

”I don’t want to go to work, just wanna hang with Captain Kirk and if I had my way, I’d make it so…”

Dedicated to all things Trek , Sacramento’s Warp 11 built a career playing Trek -themed music. Originally devised as a “band that only plays Trek songs” for a one-time video project of bass player/singer Karl Miller, the idea stuck and Warp 11 was born. Two decades and six albums later, the band is still on their musical journey.

Through incredible energy, crunchy electric guitar, and hilarious lyrics, “ Everything I Do, I Do with William Shatner ” from 2002’s Red Alert perfectly reflects the band’s “mission statement” —to convert listeners into Trek fans. Despite its title, the song is about Captain Kirk rather than Shatner himself.

Effortlessly juxtaposing the manic energy of The Presidents of the United States of America and the killer chops of The Ramones with a wider mix of blues, rock, and punk styles. Add their DIY punk-meets- TOS cosplay aesthetic, and you get one very eclectic listening/visual experience.

With Warp 11, you’ll find songs about Q and Betazoids, an entire album covering The Borg, and a few sporadic tunes about Voyager . The band’s healthy mix of TOS and TNG material is the epitome of Trek music created by fans, for fans.

While I enjoy their music, it skews toward a teenager/adult audience and is definitely not for kids. Warp 11 are well known for their sense of humor and double entendre and they can be a bit R-rated at times, with mildly NSFW album art. Some of their stuff can be a bit of an acquired taste, but if you dig pink, scifi, humor, and Star Trek , they’re worth checking out!

For those interested in Warp 11, start with Red Alert , then dive into any of their post-2007 work from It’s Dead Jim onward, available at their website and most streaming services.

3. “StarDrek,” Bobby “Boris” Pickett and Peter Ferarra

“ To boldly go where everyone has gone before !”

What do The Godfather , the most famous Halloween song of all time, and Star Trek have in common? Bobby “Boris” Pickett, of course. After having his breakout smash with “The Monster Mash” in 1962 (we wrote about this classic novelty tune in 2018 ), Pickett forged a career as a writer, playwright, comedian, and songwriter.

In 1975-1976, Pickett got together with producer Peter Ferrara to record “Godfather’s Respect”—a song about the 1972 film set to the tune of Aretha Franklin’s “Respect”—and an original spoken word spoof of TOS called “Star Drek” (not to be confused with the MAD Magazine spoofs of a similar name).

The sketch follows the daily operation of a parody version of The Enterprise and its crew, focusing on the most exaggerated aspects of each character.

It isn’t an outright mockery of the franchise and its fans, either. “Star Drek” is a carefully crafted satire of the genre that plays to the absurdity of the occasional technobabble used on the show, taking a light hearted approach to the action. We won’t spoil the punchline for you here.

Barrett Hansen—a.k.a. radio host Dr. Demento—included the sketch on his 25th Anniversary collection, writing the two were on opposite coasts during the recording process so Peter ended up doing all the voices himself. They shared the credits, as Pickett helped write the piece.

The sketch is uproariously funny every time you hear it—a rare accomplishment for a comedy/novelty song—full of nuance and spot-on characterizations. Of course, your mileage may vary. The humor may be a bit dry for some, but it’s a fun piece that holds up remarkably well today.

If you like Pickett and Ferrara’s style consider listening to Pickett’s The Monster Mash LP. For more Peter Ferrara, watch the Jonathan Winters specials On the Ledge and Spaced Out .

Terry Mc Govern

(via Terry McGovern’s website )

2. “Beam me up Scotty,” Terry McGovern

”Beam me up Scotty, oh beam me up Scotty, life sure is trouble below …”

Terry McGovern is known today for his voice acting (he was the voice of Launchpad McQuack in the original Duck Tales ), but he began his career as a radio broadcaster . Later, he would work in movies and television as well. In 1976, he released a Trek song of his own, “Beam me up, Scotty” on Baseball Records as a B-side to his rendition of the classic tune “ Pachalafaka .” You can hear the entire thing on SoundCloud .

Not to be confused with an obscure country tune of the same name, McGovern’s song is a quiet rumination on how boring/awful life on earth can seem sometimes. The singer longs to join the crew of The Enterprise and escape the banality of modern life.

The song received airplay on various radio shows, but languished in obscurity for years until being officially re-released on a compilation album in the early 2000s. While it may not be the most well known Trek tune, it’s certainly well loved .

McGovern regularly attends conventions and teaches acting classes—on top of his legendary voice work.

1. “Star Trekkin’,” The Firm

“ There’s Klingons on the starboard bow, starboard bow, starboard bow… ”

The final entry in our list may be the best known: “Star Trekkin’” by The Firm. No, not Jimmy Page’s post Zeppelin band; this group was a side project of John O’Connor, a British music producer.

The song was popular in its own time—it hit Number One in the UK music charts and stayed there for quite awhile back in 1986—but took on new life in the internet age. It was used in one of the episodes of a Flash-based web series called Stone Trek (a mashup of The Flintstones and TOS ) and a claymation video makes the internet rounds every so often. Not bad for a novelty song that was rejected by every record company O’Connor approached. Then it became a million seller, prompting O’Connor’s move to America, where he went on to compose for television .

The Firm released a full-length LP, Serious Fun , that’s worth at least a slip of gold pressed latinum. “Star Trekkin’” is the best and catchiest of the tracks. Good luck getting the tune out of your head.

The number of songs in the Star Trek musical Boldly Go! Written by a Caltech theoretical physics graduate , Grant Remmen, and his brother Cole, the show is a humorous and satirical take on The Original Series . With songs like “Dammit Jim, I’m a Doctor” and “Captain’s Log (As Great As I Know I Am),” the show is well worth watching for its two hour runtime. According to a 2016 Caltech ad for the show, Boldly Go! is ”a story about being true to oneself and one’s convictions, about friendship and love, about discovery and wonder, about the triumph of the individual over adversity, and about the joy of sharing with each other this vast and mysterious Universe.” For those interested in such things, it’s available in its entirety on YouTube .

When I originally outlined this —several years ago now—it had quite a few more songs. But over time, my interest and enthusiasm for Trek has waned somewhat.

And of course we couldn’t fit all of our favorite goofy science fiction songs into this piece. But there are plenty of great Trek bands around like “one-chord punk rockers” No Kill I (and NKI: the Next Generation and NKI:Deep Space Nine; they’re all different bands), modern filkers Ookla the Mok , and the Klingon metal group Stovokor , whose performances take Trek music to the next level.

Songs and sketches about Trek continue to endure well into the 21st century and beyond and it will be interesting to see what strange musical moments the future of Trek fandom holds.

And although this piece no longer resembles anything close to the original idea I had for it, I’m glad I was able to take a quick reprieve from the insanity of our modern world to find—and share—some humor from the bridge of The Enterprise that can still resonate with audiences today.

Thanks again to David for the great piece. Find this one a worthy read? Share it with a pal ! And see you all next week.

David Buck

Your time was just wasted by David Buck

David Buck is a former radio guy/musician who researches and writes about all manner of strange and interesting music, legacy technology, Nintendo and data analysis.

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Published Jun 21, 2023

10 Favorite Star Trek Musical Pieces

For World Music Day, let's look at how music played an intrinsic part of Star Trek's enduring legacy.

Illustrated banner featuring musical notes

StarTrek.com / Rob DeHart

From the first notes of Alexander Courage’s theme for The Original Series up through Michael Giacchino’s soaring scores for the most recent films, and everything in between, music has been an intrinsic part of Star Trek’ s enduring legacy.

Music plays a big part in helping me with my writing. Classical, film scores, and pretty much anything else without actual lyrics, is a candidate for helping me “get in the zone” as I push words. When it comes to writing Star Trek , you might guess that I listen to a lot of music from the different episodes or films, and you’d be right. To be honest, though, it isn’t only a tool for working. I also just simply enjoy it as a fan. I own the scores for all of the feature films, as well as the complete soundtrack collection from The Original Series and a smattering of selections from each of the other television series. I even have a suite of music from The Animated Series . Hey, it’s for work, people.

Spock plays the Vulcan lute in 'The Way to Eden'

"The Way to Eden"


Naturally, I have my favorite pieces and cues. Doesn’t everybody? I could write for days about the music of Star Trek and how it inspires my writing, or how it’s just something I enjoy listening to during long drives. Given my “Ten for Ward” format, I’d only be scratching the surface so far as compiling a list of music from any of the series or films, so I’m hoping folks will chime in with their own favorites.

Still, I’m going to be cheating a bit here and there, rather than just trying to limit my selections to ten individual pieces of music. This isn’t intended to be a definitive or “best of” list, and I’m not citing each television series’ standard opening or closing music, as those are easy picks, but otherwise? Here’s a list to get the discussion started.

“The Doomsday Machine,"  Star Trek

The Enterprise flies towards the planet killer in 'The Doomsday Machine'

"The Doomsday Machine"

To tell you the truth, I could fill up several lists just with music from The Original Series before I even thought about moving on to anything else. I forced myself to pick one example, and I think it’s a doozy. How many films of the era wish they could’ve had a musical arrangement as compelling as the one created by composer Sol Kaplan for this fan-favorite episode?

It’s space opera at its finest as Kaplan punctuates the tragedy of Commodore Matt Decker and the torment inflicted upon him by the mammoth automaton that has destroyed his ship, the U.S.S. Constellation . Likewise, the cues servicing the battle between the machine and the Enterprise are first-rate, and the entire score is a high water mark for a series where music was already one of its defining strengths.

“Stealing the Enterprise, ”  Star Trek III: The Search for Spock

James Kirk leans over between Montgomery Scott and Hikaru Sulu at their stations as they all stare intently at the viewscreen in front of them in Star Trek III: The Search for Spock

Star Trek III: The Search for Spock

James Horner had already hit it out of the park with his score for Star Trek II: The Wrath of Khan , and he comports himself well with this follow-up. However, the original release of the third film ’s soundtrack was something of a disservice to him, as it omitted many of the pieces that set this movie’s music apart from the previous film.

The 2010 “Complete Score” release corrects that oversight, even though my favorite cue appeared on the original vinyl album. While borrowing and reworking some elements from his Star Trek II music, Horner still offers an exhilarating piece that highlights the hijacking of the Enterprise from space dock by Admiral Kirk and his command crew.

“Life Is A Dream (End Credits),”  Star Trek V: The Final Frontier

Sybok looks at the deity as Spock, McCoy, and Kirk stand in the back on Star Trek V: The Final Frontier

Star Trek V: The Final Frontier

It’s impossible to overstate the importance and lasting appeal of Jerry Goldsmith’s musical contributions to Star Trek . His score for Star Trek: The Motion Picture holds a permanent spot on my personal “Top 10 Film Scores Ever” list.

However, his end theme for the fifth movie is my favorite variation of the end credits theme he created for the first film. There’s a little more pomp and flourish in the now-familiar notes, and Goldsmith does a masterful job weaving other themes from the film, including a new take on his familiar “Klingon” music, as well as Alexander Courage’s iconic “ Star Trek fanfare.”

“Borg Engaged” and “Captain Borg,”  Star Trek: The Next Generation

Picard assimilated as Locutus of Borg in 'The Best of Both Worlds, Par I'

"The Best of Both Worlds, Part I"

Star Trek: The Next Generation 's third season ending cliffhanger, "The Best of Both Worlds, Part I," deserved its own score worthy of the silver screen, and Ron Jones delivers in fine fashion for this episode as well as the next season’s “Part II.”

The ominous image of the massive Borg cube on the Enterprise ’s viewscreen and — later — the shock of seeing Jean-Luc Picard assimilated by the Borg Collective is rammed home by Jones’ haunting themes, which are just two highlights from a superb score written for one of The Next Generation ’s most memorable episodes.

“Sign Off,”  Star Trek VI: The Undiscovered Country

The Original Series bridge crew in Star Trek VI: The Undiscovered Country

Star Trek VI: The Undiscovered Country

Kirk bids farewell to Captain Sulu and the Excelsior , before the entire Original Series cast says goodbye to us after 25 years of bold adventures in the final frontier. This moving piece by composer Cliff Eidelman, accompanying Captain Kirk’s final log entry along with William Shatner and the rest of the cast affixing their signatures to the end of the film, perfectly underscores the melancholy felt by so many longtime fans as we realized that “our” Star Trek had finally come to a close.

“Overture,”  Star Trek Generations

Kirk and Picard on horses in Star Trek Generations

Star Trek Generations

Despite its name, this is actually the end credits theme for the first film to feature the cast of The Next Generation . The stirring theme incorporates music from other cues that Dennis McCarthy crafted to give weight to scenes set in the Nexus as well as defining the courage of our heroes, including Captain Kirk’s valiant acts at both ends of the film. Capping off the whole thing is an emotive rendition of the classic “Star Trek fanfare” that acts as a true passing of the baton from one generation to the next.

“Flight of the Phoenix ,” Star Trek: First Contact

Riker, Cochrane, and La Forge in the Phoenix in Star Trek: First Contact

Star Trek: First Contact

The score for Captain Picard and the Enterprise -E’s second film outing is an underrated effort by Jerry Goldsmith, who once again succeeds at combining familiar themes with new pieces that give each Star Trek film its own musical identity.

For this piece, the legendary composer’s son, Joel Goldsmith, brings vitality, hope, and triumph to what in one respect is the “birth” of the Star Trek universe to come as Zefram Cochrane (with the help of Riker and La Forge) pilots the fragile Phoenix spacecraft on humanity’s first warp speed flight.

“Bride of Chaotica,”  Star Trek: Voyager

Dr. Chaotica pulls Janeway as Arachnia in close as he shows her around in 'Bride of Chaotica!'

"Bride of Chaotica!"

David Bell’s unrestrained musical homage to Flash Gordon and Buck Rogers is an utter treat on all counts. Though the episode also includes cues more consistent with Voyager ’s usual lower-key offerings, the “Captain Proton” pieces are delightfully loud and bombastic, in keeping with the 1930s science fiction movie serials to which they’re paying loving tribute.

“In A Mirror, Darkly,”  Star Trek: Enterprise

In a Mirror Universe, humans approach first contact in a dark manner by killing the Vulcan and storming their ship in 'In A Mirror Darkly, Part I'

"In A Mirror, Darkly, Part I"

What begins as a beautiful callback to Jerry Goldsmith’s themes from Star Trek VIII: First Contact takes on a sinister twist as Dennis McCarthy plunges us headlong into the cruelty of the “Mirror Universe.” The score for this landmark two-part episode includes a new theme to accompany an alternate take on the series’ opening credits sequence, preserving the effect of the entire storyline taking place in the parallel universe with no connection to our own. McCarthy goes all-out as he accentuates all of the backstabbing and scheming weaving around the story’s action sequences, including a foreboding final cue as Hoshi Sato declares herself “Empress.”

“Enterprising Young Men,”  Star Trek  (2009)

McCoy, holding an ill Kirk up, addresses a Starfleet official in Star Trek (2009)

Star Trek (2009)

While fans debate the merits of the most recent Star Trek movies, few take issue with the effort composer Michael Giacchino channeled into his musical scores . Nowhere is that more evident than this signature piece from the first film, which encapsulates in rousing fashion the energy of these “new” Star Trek voyages as well as the journey of this modern, bold incarnation of our beloved heroes.

Okay, that’s my 10, and that was playing fast and loose with my own rules. Now it’s your turn. What’s your favorite piece of Star Trek music? Let us know on Social!

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This article was originally published on May 29, 2015.

Dayton Ward (he/him) is a New York Times bestselling author or co-author of numerous novels and short stories including a whole bunch of stuff set in the Star Trek universe, and often collaborating with friend and co-writer Kevin Dilmore. As he’s still a big ol' geek at heart, Dayton is known to wax nostalgic about all manner of Star Trek topics over on his own blog, The Fog of Ward .

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Screen Rant

Star trek’s william shatner remembers leonard nimoy as "a magnificent giver".

Exclusive: William Shatner remembers his friend Leonard Nimoy and talks about the late Spock actor's concern for the environment.

  • William Shatner remembers Leonard Nimoy as a giver of love, with a bond that spanned nearly 50 years.
  • In discussing climate change, Shatner reflects on Nimoy's concern for the environment.
  • Leonard Nimoy's legacy lives on as an icon of love and attention, even after his passing in 2015.

William Shatner remembers his Star Trek friend and co-star Leonard Nimoy as "a magnificent giver of love and attention." Shatner and Nimoy are two of pop culture's most enduring and beloved icons, originating the roles of Captain James T. Kirk and his Vulcan Science Officer, Mr. Spock, in Star Trek: The Original Series. Together, Shatner and Nimoy co-starred in 3 seasons of Star Trek , 1 season of Star Trek: The Animated Series , and six Star Trek movies. Shatner, who is about to turn 93, looks back on his remarkable 70+ career on stage and screen in a new documentary, William Shatner: You Can Call Me Bill.

In an exclusive interview with Screen Rant to discuss You Can Call Me Bill , William Shatner was asked about Leonard Nimoy, who was friends with Bill for nearly 50 years. When asked if there was anything new Nimoy would have learned about Shatner if he'd been able to watch You Can Call Me Bill, Mr. Shatner said no, but discussed his and Leonard's mutual concern for the environment and the threat of climate change . Read his quote below:

He would probably no learn specific facts. But, you know, 10 years ago, the imperative of global warming wasn't as strident as it is now. There are very few insane people who don't believe that the globe is warming at an accelerating rate. Most of us believe that it is. Most of us believe that it's harmful. And most of us believe we've got to do something about it. So Leonard would have been a participant in all that. The specifics, probably not, because it wasn't known. But he was certainly a magnificent giver of love and attention.

Leonard Nimoy passed away on February 27, 2015, at the age of 83.

10 Best Kirk and Spock Moments from TOS & Movies

What happened to william shatner & leonard nimoy's friendship, shatner was estranged from nimoy when he died.

William Shatner and Leonard Nimoy were friends for 50 years, and they even had a 'favored nations' clause when it came to their contracts for Star Trek. This was the reason Shatner was able to direct Star Trek V: The Final Frontier after Nimoy's back-to-back hits directing Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home. Sadly, towards the end of Leonard's life, a rift formed between him and Bill. Their friendship was reportedly fractured when Shatner was filming his 2011 documentary The Captains, and Nimoy was upset at footage of him that was captured without his consent.

Nimoy's daughter Julie reached out to Shatner and told Bill that Leonard loved him.

Tragically, WIlliam Shatner and Leonard Nimoy weren't able to mend fences when Nimoy passed away in 2015. Shatner also chose to honor a charity commitment rather than attend Nimoy's funeral. In Leonard , Shatner's 2016 biography of his friend and Star Trek co-star, he writes, " One of my greatest regrets is that Leonard and I were not as close as we had been during those last few years of his life, " later adding that “[…] it is heartbreaking, heartbreaking. It is something I will wonder about, and regret, forever.” However, Nimoy's daughter Julie reached out to Shatner and told Bill that Leonard loved him.

Source: Screen Rant+


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