The initial premise of "Gene Roddenberry's Earth: Final Conflict" was to create a not-too-distant future and a world where humans had been visited by an enigmatic extraterrestrial race; one with a hidden, perhaps sinister, agenda. Unlike Gene's previous creations dealing with the exploration of outer space by people from the Earth, this new series would explore our own planet and the social, political and emotional ramifications of contact with an advanced alien culture.
The task of scoring an ongoing program such as this is no small feat. The scope of the series is such that one episode might take place in an industrialized American city, while the following week's adventure concentrates on a rural European village. Maribeth, Micky and their assembly of talented musicians have captured the essence of this global drama, and have created a sound that is alternatively as exciting and intriguing as the concept itself.
It is a great pleasure to bring to you this compilation of music from "Earth: Final Conflict." I think Gene would have been happy with what they have accomplished.
Majel Barrett Roddenberry
About The Composers
The original theme and score for "Gene Roddenberry's Earth: Final Conflict" is written by Micky Erbe and Maribeth Solomon. Produced in Toronto, Canada, the music is a combination of electronic and orchestral arrangements. One of the unique sounds is provided by soloist George Gao, a master of the erhu � a two-stringed traditional instrument related to the violin � from China. The haunting female voice belongs to Leah Erbe.
The theme features traditional strings and brass along with an EWI, or electronic wind instrument, played by sax great John Johnson. Also playing and adding their musicianship are violinist Lenny Solomon and synthesists Donald Quan, Ray Parker, Tom Szczesniak and Lou Pomanti. On the series, the composers use thematic elements and sounds related to each individual episode's plot. In "The Secret of Strandhill," they use traditional Irish pipes, whistle and fiddle. The meditative sounds of the Taelon homeworld are musically portrayed in "Defector." On "Float Like a Butterfly," the music evokes a traditional Amish community. The pair has also created the unearthly Taelon music for the episode "Old Flame," in which a human musician learns to play the "tubes," a special alien musical instrument.
Micky and Maribeth have worked extensively in film and television for nearly twenty years. They scored the award-winning IMAX space trilogy "Blue Planet," "Destiny in Space" and "The Dream is Alive." They have composed music for the 3D IMAX films "Into the Deep" and "L5: First City in Space," and a number of made-for-television films and series including "To Save the Children," "Peacekeepers," "Friends at Last," "The New Twilight Zone" and John Woo's "Blackjack." Both Micky and Maribeth love the variety and mystery of "Gene Roddenberry's Earth: Final Conflict," and are continuing to score its ongoing story.