The composer is finally moving up in rank, gradually approaching the
levels of his relatives Alfred, Lionel, Thomas, and Randy. Brokedown
palace did basically nothing - I found it dull and full of synth pop elements.
But GQ is a fully orchestral score with synth only used for effect, and
even with some dissonance thrown in. Unfortunately, since Dreamworks
neglected to give it an official release, Galaxy Quest is only available
as a promo put out by Super Tracks. I would think it is the majority
of the score - 50 minutes is a lot of music for a parody. Unfortunately,
it is divided up into 30 tracks with most just over a minute long - not
enough time for a lot of thematic development. However, as stated
above, Newman works around this limitation by expressing change through
orchestration. The liner notes are pretty good for a promo - there
is actually a movie synopsis. Unfortunately, Super Tracks neglected
to attach the track times anywhere, which is always a minor qualm.
Orchestral performance (ironically on the Newman scoring stage) and sound
quality (mixed by John Kurlander) are great. In the end, most collectors
will find this a great CD - it can be bought at Super
Collector.
1. Galaxy Quest: The Classic TV Theme (:59)
Newman's score starts out nicely with this initial presentation of
GQ's main theme. In this introduction, it is orchestrated rather
sparsely, probably to sound something like the old '60s-'70s sci fi shows.
Still, the melody definitely shows promise.
2. Prologue: Galaxy Quest Clip (1:34)
After a few seconds of new ageish "Space" music on synths, hints of
the main theme coalesce into a huge presentation, already bigger than the
"classic" version. A strong minute of ominous action music follows,
with its tongue firmly implanted in its cheek.
3. Pathetic Nesmith (:59)
The Space music also opens this track, now with a melancholy, simple
piano rendition of the theme. The airy synths give the impression
of an unearthly choir...
4. Revealing the Universe (1:03)
...which actually appears in this track (and it's actually real voices
instead of synths.) After a few seconds of ominous rumblings, a triumphant
major chord fanfare rings out, and the last section has some exciting dissonance
with glissandi and the chorus.
5. Meet the Thermians (1:11)
A comical version of the main theme appears over shimmering synths
in the intro. of this track, which then becomes a triumphant choral movement
worthy of James Horner's KRULL.
6. The NESA Protector (:45)
This provides more of the triumphant choral work of the previous track,
as well as a welcome return of the main theme.
7. Crew Quarters and the Bridge (1:32)
A military snare cadence opens this track, which later becomes one
of those cliched wistful versions of the theme that the Star Trek series
composers continually subject fans to. The military cadence ends
the track.
8. The Launch (2:08)
A noble, string-laden tone returns for this track with the main theme
triumphantly ringing out above it. A hint of an ominous orchestral
interlude appears midway through, only to be displaced by another huge
appearance of the theme.
9. Serris Tortures Captain (1:17)
An interesting ominous string triad motif over a bed of synths opens
this track, which, with a discodant synthesized glissando, becomes a racing,
yet fun action cue.
10. Red Thingie, Green Thingie (3:33) {the longest track, for those
of you keeping score at home : - ) }
This is probably the most serious bit of action music on the disc,
as well as a highlight of the score. Newman actually makes this sound
like something in the vein of a real scifi movie with desperate fanfares
of the main theme weaving their way throughout the madness, as well as
a gargantuan choral line. Upon repeated listenings, this will probably
be a track that you come back to often.
11. Shuttle to Planet (1:43)
The score quiets into another noble trumpet rendition of the theme,
building into a monstrous fanfare worthy of one of Goldsmith's Trek scores.
The choir provides a quiet interlude, and a ferocious action bit based
on the main theme rounds out the track.
12. Trek Across the Planet (2:55)
This is one of the more impressionistic tracks, opening with eerie
synths and choir, a mood which continues throughout the majority of it.
A new synthesized motif enters, sounding a lot like a few of Goldsmith's
90s themes. It is also in this track that we hear one of the few
pop-inspired moments with a synth rhythm. The remainder of the track
reprises all the elements heard thus far, sometimes incorporating the main
theme.
13. Rolling Sphere (2:35)
The impressionistic, almost comedic mood continues with a pizzicatto
accompaniment of the main theme. In the second section, a fun action
section enters, blending parts of the previous track with the theme.
14. Pig Lizard (1:44)
This continues the action motif and ostinato first encountered in the
previous track, with various outbursts of the main theme and chorus.
15. Rock Monster (1:56)
Although possessing a few popish elements, this is still a fun track,
blending perfectly with the desperate tone of the last two tracks.
It's pretty hilarious when Newman incorporates the pop backbeat with the
main theme. The last few seconds return to the choir, synths, and
action ostinatos.
16. Digitize Me, Fred! (1:18)
A few lighthearted variations of the theme comprise this track, although
it turns ominous towards the end.
17. I'm So Sorry (1:44)
The tone of the previous track carries over to here, which uses a simple,
melancholy piano version of the theme under high strings.
18. Fight Episode #17 (1:16)
The horn motif of this track reminds me a lot of Elfman's Mission:
Impossible. The track eventually builds into a frantic scherzo with
a lengthy horn line and hints of the main theme.
19. Hallway Sneak (1:02)
The underlying action ostinato from tracks 13 and 14 appears again
in a rushed, suspenseful track based around the main theme.
20. Alex Finds Quelick (1:22)
Nothing really new here - another action motif with hints of the choir
and theme. Its high point is a large fanfare of the theme.
21. Omega 13 / Heroic Guy (3:13)
An exciting, difficult brass fanfare opens this track, later hinting
at the theme. Later, the motif of track 20 returns under a bed of
dissonance. The chorus returns again in a rousing cadence again worthy
of KRULL. More discordant, ostinato-based action rounds out the track.
22. Big Kiss / Happy Rock Monster (1:19)
This is absolutely hilarious - a theremin imitating a solo violin in
a parody of the classic Hollywood kisses with a sci-fi twinge. After
a few seconds of action, that mood returns, later resolving into the theme.
23. Quelick's Death (2:09)
Newman gives a quick respite with a melancholy string/choir elegy,
again interlaced with the theme.
24. The Battle (3:08)
As you'd expect, the composer lets loose here with several complex
minutes of action-packed chases, always with choir, creative synths, and
TV theme.
25. Mathazar Takes Command (:58)
Newman goes back to the bittersweet tone of track 23 with another string/choir
elegy. The final 15 seconds are home to an exciting, sudden action
riff.
26. Serris Kills Everybody (1:30) {cool title}
Probably the most dissonant track of the album, this is heavy on synths,
glissandi, and general atonality. A highlight of the score, especially
since he gives the theme a break.
27. Goodbye, My Friends (:52)
This sounds a lot like tracks 23 and 25 with a wistful string/choir
version of the theme, which dissolves into a frenzied action bit.
28. Crash Landing (:40)
A rousing finale of the action sequences with copius brass fanfares,
themes, etc.
29. Goodbye, Serris (2:06)
The dissonance of track 26 comes back for a short while, greatly enhanced
by synths. A choral anthem of the main theme forms the second half.
30. The New Galaxy Quest (1:00)
This finale cue is a mirror image of Track 1, giving exactly the same
arrangement of the theme, but now with hugely grand orchestration and dynamics.
In summation, Galaxy Quest is a huge step in the career of David Newman,
and well worth a purchase.
| Music Rating | 8/10 |
| Packaging/Liner Notes | 5/10 |
| Sound Quality | 9/10 |
| Length | 7/10 |
| Orchestral Performance | 9/10 |
