The UPN Network built its lineup around Star Trek’s popularity and was able to build on the growing interest in the classic television series, and the nostalgia factor that had grown significantly over six feature films that would launch The Next Generation. Subsequent spinoffs, Deep Space Nine and Voyager, weathered fairly well, maintaining occasional interconnected storylines. As Voyager was finishing up its run, the network requested a new series in the franchise and the result was Enterprise. The initial episode aired in 2001 and would survive for 4 seasons with Scott Bakula at the helm of what was a “pre-story” to set up the back history for the original Star Trek.
One of the more unusual moves was the use of a popular song by Dianne Warren as the series’ “Main Title”. “Where My Heart Will Take Me” was designed to perhaps attract a younger viewership but it felt rather generic and dated even at the time—certainly not on a par with the memorable main titles of its predecessors. It opens Disc one of this new collection and La-La Land has also provided both the season one and three versions with the end credits to bookend the first two discs. The current 4-disc set does hold nearly five hours of music though organized very well to highlight specific composers, and favorite episodes. It also allows us to hear Dennis McCarthy’s “Archer Theme” that was intended as the main title but reworked into the score for the captain. It opens and closes disc three and shows how a more traditional orchestral cue with a slight electric guitar overlay might have prepared viewers for the series.
The first two discs focus on scores by Dennis McCarthy and Jay Chattaway, respectively; both composers who indelibly shaped the music of the previous series. McCarthy’s contributions appear on later discs as well, but the first one illustrates his significant musical signatures. The first selection of music here comes from the two-part season cliffhanger, “Shockwave”. Here are some of the signature gestures of the orchestral underscoring familiar to the series with its overtones of Goldsmith-like thematic presentation including a warm rendition of Archer’s theme. Things get a bit more intense in “The Expanse” with some rather visceral writing in “Florida Attack”. But, in the end, it is the great horn thematic statements that lend a majestic symphonic quality to the music throughout this first disc featuring music from across the series run (“Impulse”, “Twilight”, “Carpenter Street”, “Kir’Shara”, “Countdown”, and “Storm Front Part II”—with interesting manipulation techniques in “Timeline Restored”). Along the way are a number of stingers as music moves to push the drama towards a commercial break, or dramatic dark menace. The result is an hour of great television science fiction writing in classic symphonic style paralleling Goldsmith musical imprints (listen to “Blocked Exit” from “Impulse” which is a fabulous cue; or the exciting “Showdown/Back to the Past” from “Twilight”).
While McCarthy shaped the musical direction of The Next Generation, Jay Chattaway did the same for both Deep Space Nine and Voyager. He would provide music for 28 episodes of Enterprise eight of which are included here with a bonus track from one of them (“The Catwalk). More electronics and ethnic musical approaches tend to appear in his scores and one can hear that from the start in the selections from “Civilization” which features some wonderful thematic material in the cues selected here. Other scores represented here are from “The Catwalk”’, “North Star” (which features a more modern Hollywood style with electric and folk guitars), “Zero Hour” (intriguing integrated electronic textures and a great brass theme statement), “Storm Front Part I” (notable moody, dark writing), “Awakening”, “Bound” (one of the more “modern” sounding scores with interesting electronic and percussive textures), and “Terra Prime” (a hybrid of electronics and orchestra with interesting “modern” sounds and some great symphonic moments as well). It is the blend of more traditional symphonic scoring, along with combination of guitars and drumming ideas that help distinguish Chattaway’s scores (reminiscent of styles Brian Tyler was beginning to apply) from the other contributors, though he also manages to reference the musical universe of the series quite well. His action writing tends to be a bit more interesting with its jagged syncopations and drum scoring.
Disc Three is subtitled “Veterans and New Recruits” and is a nice collection of scores representing some of the other composers brought in to provide music for the series. Velton Ray Bunch is represented here with music from four episodes (“Silent Enemy”, Desert Crossing”—with some great epic writing, “Similitude” and “The Augments”). His selections tend to fall into a camp similar to those of McCarthy, but with some unique touches along the way. Sometimes, as in “Similitude”, the music feels like a musical bridge between the two primary composers in the series. Mark McKenzie’s often beautiful score for “Horizon” kicks off the disc and features some great Goldsmith-esque action moments. Additional scores by David Bell (“Terra Nova”—a more traditional orchestral underscore, “Dear Doctor”—with beautiful piano/string writing) and Paul Baillargeon’s slow, unfolding underscoring style (“The Andorian Incident”—with interesting ethnic winds integrated into the orchestral fabric, “Vox Sola”—good, slow tension-building writing here, “First Flight”—a selection of beautifully rich orchestral cues) and even one by John Frizzell (“Proving Ground”—providing a more visceral action style fwith asymmetrical rhythms) follow.
Another nice surprise is Brian Tyler’s music for “Regeneration”, an episode in which the Borg appear, appears on disc four. Coming at a turning point in his own career (fresh off Timeline), one can hear some of the Goldsmith-like scoring style that was a part of Tyler’s developing voice at this time, intentionally honoring the elder composer’s own music for the franchise. Some creepy vocal effects also help set the backdrop for this intense episode. Disc four sort of provides a summary to the series with the extended selection of music from the two part “In a Mirror, Darkly.” The music here references Star Trek: First Contact in its opening bars and then begins a great series of cues in grand symphonic scale on a par with the feature films. Dark lower brass and strings help lend some intensity along with some well-accomplished action music. Vocal ideas add extra weight as the score progresses (“Booby Trap”). “These are the Voyages” was the series’ finale and the score reflects this with nods to the other series in the franchise old and new. Both of these episode scores feature collaborative work by Kevin Kiner and McCarthy. Lalo Schifrin’s “Paramount Logo” music makes an appearance to close out the set.
Over the course of its run, Enterprise received many Emmy nominations like its predecessors. Some were for the show’s superior musical underscore. Both Velton Ray Bunch’s Emmy-winning “Similitude” (2004)and McCarthy’s nominated “The Expanse” can be found here. For a series that continually was lifted up as some of the finest dramatic underscoring on television, La-La Land’s new set will certainly help demonstrate why. The sequencing of music into three subcategorized discs also will allow fans of different musical styles a better choice for their own listening. As is usual, the booklet notes provide good summaries of the episodes with each track marked in the booklet which is attractively designed. The musical result is a great journey and overview of the series. Easily recommended for fans of any of the composers represented here as well as die-hard Trekkies.—
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