Home | Soundtracks | Star Trek: The Next Generation | Tin Man / Inner Light / Sub Rosa (Volume 4)

1. Star Trek: The Next Generation Main Title*/** 1:49
   Suite from Tin Man
2. Not Nice / Right / Scared 4:44
3. Closing / Tin Man Contact / Romulans 2:55
4. Meet 3:23
5. No Choice / Tam3:57
   The Inner Light
6. Theme from The Inner Light*** 2:50
   Sub Rosa
7. Hooked on Ronin 3:59
   A Fistful of Datas
8. A Fistful of Datas 4:53
   Dark Page
9. Painful Revelation 5:27
   Suite from Descent, Parts 1 and 2
10. They're Back! 2:53
11. Hook, Line & Sinker 3:20
12. Crusher to the Rescue 1:57
    Birthright, Part 1
13. Data in Dreamland 5:22
14. Star Trek: The Next Generation End Title ** :46

All tracks (p) 1998 Paramount Pictures except Track 6 (p) 1998 GNP Crescendo Record Co., Inc. All Rights Reserved. GNP Crescendo Authorized User. Music published by Addax Music Co., ASCAP except Theme from Star Trek published by Bruin Music Company BMI and Theme from Star Trek: The Motion Picture published by Ensign Music Corp. BMI. *Contains "Theme from Star Trek" by Alexander Courage. **Contains "Theme from Star Trek: The Motion Picture" by Jerry Goldsmith. ***Not original soundtrack. Recorded at The Complex Studios, West L.A.

In the spring of 1987 it was announced that Star Trek would at long last be returning to television with a brand new cast. It would be helmed by its original creator, Gene Roddenberry, and it would be set 78 years in the future from the original adventures of the U.S.S. Enterprise. Fans were both elated and cautious about the news. After all, who could possibly hope to fill the shoes of Captain Kirk, Mr. Spock, and Dr. "Bones" McCoy?

Having been allocated a budget of one million for the pilot episode of STAR TREK: THE NEXT GENERATION, Gene Roddenberry had rounded up many of his staff from the original series and movies including producers Eddie Milkis and Robert H. Justman, writers D.C. Fontana and David Gerrold and costumer Bill Theiss. Andrew Probert, Rick Sternbach, and Michael Okuda were brought in to design the new look of the show. Industrial Light and Magic was contracted to do the series' special effects. Cast as the new crew of the U.S.S. Enterprise were Patrick Stewart, Jonathan Frakes, Gates McFadden, Brent Spiner, Marina Sirtis, LeVar burton, Wil Wheaton and Michael Dorn

No one ever needed to worry. The new series flourished, and the new characters were embraced by the fans. STAR TREK: THE NEXT GENERATION continued to air on television for seven seasons. Since that time the new cast has successfully made the transition to feature films, having completed both STAR TREK GENERATIONS and STAR TREK: FIRST CONTACT. A third film featuring the STAR TREK: THE NEXT GENERATION cast is slated for November of 1998.

The series' initial scoring chores were handled mainly by Dennis McCarthy and Ron Jones with occasional guest composers like Fred Steiner (who scored several of the original series' episodes) and George Romanis filling in. Veteran feature film composer Jay Chattaway came to the attention of Paramount Television Music Vice President David Grossman through a tape of music he composed for National Geographic and Jacques Cousteau specials. Rick Berman and Peter Lauritson were both impressed with Jay's music, and when it came time to score the episode "Tin Man," Jay got the gig. Since that episode, he was asked back to score the episode "Remember Me," and shortly thereafter he replaced Ron Jones as a regular composer for the last four seasons of STAR TREK: THE NEXT GENERATION. He continues to score episodes of STAR TREK: DEEP SPACE NINE and STAR TREK: VOYAGER as well as having created the exciting music for the Las Vegas attraction STAR TREK: THE EXPERIENCE.

Jay's career in the music industry began when he was A&R director for Columbia Records. Among the hundreds of albums Jay produced was Maynard Ferguson's Conquistador, which actually contained an arrangement of the theme from STAR TREK. His interest in film scoring began when he met composer and saxophonist Gato Barbieri who had scored the Marlon Brando classic LAST TANGO IN PARIS. Jay produced and arranged several albums for Gato, and later the two collaborated on the Sophia Loren film FIREPOWER. Film director William Lustig invited Jay to score his classic horror film MANIAC. Among his many other feature scores are MISSING IN ACTION, STEPHEN KING'S SILVER BULLET, RED SCORPION, THE AMBULANCE, RELENTLESS, the PBS series SPACE AGE, and many award-winning National Geographic television specials.

Tin Man (Stardate 43779.3)
The Enterprise crew and a Betazoid scientist, Tam Elbrun, are sent to investigate a space traveling alien organism known as TIN MAN. Tam has formed an empathic link with the being and hopes to be able to communicate with it. The Romulans, having an interest in the being as well, dispatch a warbird in the hopes of beating the Enterprise to Tin Man and discovering its secrets.

Jay employed samples of whales and Australian digeridoos to give the episode a mystical, organic quality. A cut he wrote for the appearance of the Romulans was left out of the final dub, but it is revealed here for the first time.

JC: this was my first attempt at doing Star Trek. Although I was a fan of the original series, I was not all that familiar with the music concepts of THE NEXT GENERATION. I wrote what I thought epic space music should sound like. This was a show about communication, and I chose to use lots of imitation in the winds. I also chose a very thematic approach to this episode. The orchestral whales were performed by keyboardist Pete Levin.

The Inner Light (Stardate 45944.1)
The Enterprise encounters an alien probe which emits a particle beam that knocks Picard unconscious. When he awakes, he is not on the Enterprise but on the planet Kataan where the citizens see him as Kamin, a local ironweaver who lives in the community of Ressic. Back on the Enterprise, only minutes pass, but from Captain Picard's point of view, 30 years pass on Kataan as the citizens, facing extinction by drought, prepare to launch a missile containing a device which has stored a record of the way of life on Kataan for future explorer to find.

Peter Lauritson directed this episode which later won the 1993 Hugo Award. Jay wrote a delightful melody which Picard/Kamin plays on the flute. The piece has become a favorite among Star Trek fans, and it made its first appearance in CD on THE BEST OF STAR TREK: 30th ANNIVERSARY SPECIAL (GNPD 8053) with solo pennywhistle played by Brice Martin. It is interpreted here as a duet with Jay Chattaway on piano and his daughter Amy on pennywhistle.

JC: Early in the preproduction of this episode, director Peter Lauritson and I decided to use the pennywhistle as the voice of the Ressican flute, both for its plaintive and pure sound as well as the fact it is small and would not cover Patrick Stewart's face in the close up camera angles. This melody came to me in an instant and invokes a bit of the folk quality of the Ressican culture. The closing shot of this episode was very unique in that it ended with the pennywhistle solo being heard alone in space. The now familiar melody was also heard in the episode "Lessons." My "Inner Light" was the joy of performing this piece with my daughter, Amy.

Sub Rosa (No Stardate)
While attending the funeral of her grandmother, Felisa Howard on Caldos colony, Dr. Beverly Crusher encounters the spirit of her grandmother's young lover, Ronin. The spirit claims to have been the lover of all the women in Beverly's family line since the 17th century. Ronin then sets about seducing Beverly, who becomes obsessed with the lovelorn spirit. It is discovered that Ronin is actually a being composed of anaphasic energy and requires Beverly's lifeforce to survive.

Jay has written a haunting, Bernard Hermannesque score to accompany this episode. The cue "Hooked on Ronin" underscores Beverly's initial seduction by Ronin.

JC: This episode, brilliantly directed by Jonathan Frakes, was a challenge to film making and composing. The seduction sequences, all filled in later with computer imagery, were not present during filming or composing. The music needed to establish the presence of the ghost lover. I used alto and blass flutes to provide the breathy representation of Ronin's supernatural passion.

A Fistful of Datas (Stardate 46271.5)
Lieutenant Worf, his son Alexander, and Counselor Troi embark on a "Wild West" holodeck program as Geordi conducts experiments with Data, linking him to the Enterprise computer. A malfunction occurs in the computer system resulting from Geordi's experiment. Consequently, in Worf's "Wild West" program, the bad guys, Eli Hollander and his father Frank, manifest themselves in the likeness of Commander Data, along with all of his android special abilities. When it comes down to a shoot-out between Worf and the Hollanders, Worf must fin a way to stay alive.

For this episode, Jay was given the opportunity to combine western elements along with those of Star Trek, thus creating a very unique and entertaining score right to the point where the Enterprise flies off into the sunset. Veteran musician Tommy Morgan, who has played on the scores for many famous westerns is featured on harmonica.

JC: This was one of the most interesting scores I have had the privilege of composing for the series. In many previous holodeck experiences, the music was never permitted to becomes on of the characters in the program. I pre-scored one of these sequences to ask producers Peter Lauritson and Wendy Neuss, and director Patrick Stewart, permissions to approach the music in this manner. Their response was, "OK, as long as it's still Trek." I used harmonica, bass harmonica, dobro, guitar and fretless bass along with the orchestra. This sequence appears relatively dialogue free in the show…a true composer's dream.

Dark Page (stardate 47254.1)
The Enterprise has taken on a delegation from a species called the Cairn, which is just learning spoken language after communicating only via image-orientated telepathy. Counselor Troi's mother, Lwaxana, is on board to help train the Cairn to master verbal communication. When Lwaxana begins to suffer a mental collapse, Deanna attempts a mind link with the help of Maques, a member of the Cairn. It is discovered that Lwaxana is tortured by resurfacing memories of Troi's older sister Kestra, who accidentally drowned while Troi was still an infant.

"Painful Revelations" underscores a tender moment between Troi and her mother, where Lwaxana must finally confront the painful memory of Kestra's death.

JC: It's always a joy to get to score a purely emotional episode. I chose a rather complex electronic ostinato to represent the childlike quality of the moment. The orchestral instruments played against that ostinato helped point up the emotional quality of the intense scene about the loss of a loved one.

Descent, Parts 1 and 2 (Stardates 469821.1 and 47025.4)
The Enterprise responds to a distress call from Ohniaka III. Upon beaming down they encounter a group of Borg possessed of apparent human emotions. When Data kills one of the Borg, he realizes it was out of anger, an emotion he has so far never possessed. As Data struggles to understand his emotional outburst, Picard and his crew try to unravel the mystery of the Borg's new behavior, only to discover that they have found a new leader, Data's evil twin brother, Lore.

JC: Action, action, and more action! I was given the opportunity to write and develop a new Borg theme and within the same episode deal with the complex subject of Data's emotions. To help represent the emotional sound, I used an Electronic Wind Instrument, played by Fred Seldon. This instrument is able to electronically play sampled sounds comprised of a saxophone, garden hose, and computer effects. These samples are manipulated by the very emotional qualities of expression and breath control, thus creating a musical representation of android feelings.

Birthright, Part 1 (Stardate 46578.4)
At station Deep Space Nine, an alien informs Worf that his father is alive in a Romulan prison camp. Worf is angered at the news, feeling a Klingon would rather die than face imprisonment. In engineering, Data and Dr. Julian Bashir of Deep Space Nine are examining a battered cylinder when Data is struck down by a burst of energy. He then experiences a surreal vision of his creator, Dr. Noonien Soong. While Data tries to discover the meaning of his dream, Worf sets out in search of his father.

Jay conveys Data's vision in an incredibly soft, ethereal piece showing his substantial acumen in combining electronic and orchestral textures.

JC: Here is another example of struggling with the problem of android emotions. In this instance, I chose a purely electronic path. Steve Croes performed on Synclavier the unique sounds of Data's vision. As more human elements are introduced in the story, the orchestral instruments are introduced until we soar free of the enterprise as a bird soars through space.

• Producer: Jay Chattaway
• Executive Album Producer: Neil Norman
• Associate Executive Album Producer: Mark Banning
• Music recorded at Paramount Scoring Stage "M", the Universal and Warner Scoring Stages, and Twentieth Century Fox Scoring Stage 1
• Main Title Voiceover: Patrick Stewart
• Engineering: Don Hahn, Armin Steiner, Tim Boyle, Bobby Fernandez and Chad Blinman
• "The Inner Light" pennywhistle theme recorded at The Complex Studios, West L.A.
• Orchestra Contractor: Carl Fortina
• Music Editor: Gerry Sackman
• Musc Preparation: Bob Bornstein
• Creative Consultant: Ford A. Thaxton
• CD Art Direction and Liner Notes: Mark Banning
• digitally Edited and Mastered by James Nelson at Digital Outland, Tacoma, Washington
• Additional Mastering by Charlie Watts at Mondophonics
• Special thanks to the producers, writers, and directors of these episodes for their vision and trust. Gerry Sackman for keeping me in sync. Joseph Smith and Greg smith for their score supervision. Carl Fortina for assembling such great performers. Bob Bornstein and his crew for their careful music preparation. Dennis McCarthy for showing me the way. The Gang at Avenue L & 8th Street, The Gang at the Start Trek art department, Carol Faith and Wayne Burgos for their help and friendship. Ford A. Thaxton, Mark Banning, Bill Wistrom and Neil Norman for their valuable assistance in the assemble of this project. Susan, Amy, and Scott for their patience and understanding.

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Review at Soundtrack Express (added December 4, 2002)
Review at Tracksounds (added March 17, 2001)