Jodorowsky’s Dune – music by Kurt Stenzel

Jodorowsky's DuneA unique documentary about a movie that almost, but didn’t, get made, the musical treatment for Jodorowsky’s Dune is a novel one: score the documentary with the music that the unmade movie should’ve gotten. Chronicling, as it does, an abortive attempt to bring Frank Herbert’s genre-redefining novel to the big screen in the 1970s, Jodorowsky’s Dune is graced with a fittingly ’70s-style score awash with analog synths (or very good approximations of them).

Think of early Tangerine Dream (composer Kurt Stenzel’s auditory reference point), or the all-synth, almost-abstract score of Enter The Dragon, or the music of Jon Pertwee-era Doctor Who: that sound in your head is the sound of the Arrakis that was never meant to be. It’s the sound of a Dune that would’ve starred the likes of Salvador Dali, Orson Welles and Mick Jagger, rather than Kyle MacLachlan and Sting. The music is authentically trippy – as Alejandro Jodorowsky’s vision for Herbert’s epic likely would’ve been – and anyone born in the ’70s or steeped in ’70s genre cinema will likely find the wobbly analog synth sounds are a comforting old friend.

On a few tracks, there is dialogue from the documentary itself, and depending on my mood I can come down on either the “no, just let me hear the music, please” or the “oh, that’s kinda neat and it helps set the tone” side of the fence. It’s only on a few tracks. Stenzel sequences the album as a four-sided double LP, staying true to the medium that would’ve been available to a soundtrack album from the unmade movie. Tracks blend together as ethereal suites and reach an end point whereupon, in some alternate universe where Jodorowsky beat David Lynch to the punch, someone presumably turns the record over.

Alejandro Jodorowsky’s mid-1970s attempt to change how sci-fi reached the big screen never happened, and Dune languished in Hollywood turnaround hell while a little movie about the last of the Jedi Knights became the film that changed the entire playbook in 1977. That movie, of course, redirected movie music back onto a 4 out of 4European-inspired orchestral course, almost exactly 180 degrees away from the music Stenzel imagines here (and 180 degrees away from Jodorowsky’s pie-in-the-sky dream of having post-Syd-Barrett-era Pink Floyd score his vision of Dune). But Kurt Stenzel’s realization of the course on which movie sci-fi soundtracks could have continued is an incredible, atmospheric listen.

Order this CD

  1. Coming of a God (5:27)
  2. Greatest Movie Never Made (1:01)
  3. Parallel World (1:41)
  4. Parallel World (outro) (1:03)
  5. Leap of Faith (0:43)
  6. Time and Space (2:04)
  7. Optical World (2:55)
  8. Nebula (1:25)
  9. Invitation (1:02)
  10. Point of View (2:36)
  11. Moebius (4:48)
  12. Arrakis (1:58)
  13. Millions of Stars (0:21)
  14. Into the Galaxy (1:26)
  15. O’Bannon Meets Jodo (1:18)
  16. Finding the Others (0:57)
  17. Spiritual Warriors (1:36)
  18. Conception of Paul (2:01)
  19. Ships With Souls (1:51)
  20. The Pirate Spaceship (5:23)
  21. Rescue From a Sandworm (2:36)
  22. Mad Emperor (0:23)
  23. Burning Giraffes (1:42)
  24. Baron Harkonnen (0:33)
  25. Giger’s Theme (1:06)
  26. Deepest Darkness of the Soul (1:15)
  27. Feyd Rautha (4:17)
  28. Total Extermination (2:16)
  29. I Am Dune (6:00)
  30. Hollywood (2:22)
  31. Fingerprints (4:16)
  32. Open the Mind (3:38)
  33. Try (2:30)

Released by: Cinewax
Release date: November 13, 2015
Total running time: 75:31

Doctor Who: Series 8 – music by Murray Gold

Though Matt Smith’s first season seemed to take a momentary sidestep into sounds inspired by Doctor Who’s radiophonic, synth-heavy past, the musical paradigm for the new Doctor Who series’ first decade has always been John Williams: big, unapologetically brassy action music, widescreen action cues, and heavy choral doom when the occasion demands.

Peter Capaldi’s first season, however, seems to mark a major turn left (sorry, had to) for new Doctor Who’s musical style: the paradigm has shifted from Williams to a Hans Zimmer-inspired sound, more reliant on synths and urgent low cello ostinatos. There are still brassy action scenes, but they’re brassy in a different way than before. Several cues seem to echo Doctor Who’s 1980s sound, including the new theme tune arrangement (included here in a full-length version).

A suite of themes and variations of the musical signature of the new Doctor proves to be more introspective than the popular, in-your-face bombast of “I Am The Doctor” (a running theme throughout Matt Smith’s tenure). Inexplicably missing is Foxes’ unexpectedly catchy big band cover of Queen’s “Don’t Stop Me Now” – a musical highlight of the season that could have served as a single to 3 out of 4raise this collection’s visibility. (Only an instrumental version is available…and even then, only as a bonus track on the download version, not on CD.)

The first two CDs cover the entirety of Capaldi’s freshman year in the TARDIS, while the third presents virtually the complete score of his first Christmas special, Last Christmas.

Order this CD

    Disc One

  1. Doctor Who Theme (01:17)
  2. A Good Man (Tweleve’s Theme) (07:34)
  3. Something It Ate (02:40)
  4. Concussed (03:28)
  5. It’s Still Him (02:00)
  6. Pudding Brains (05:27)
  7. Breath (04:45)
  8. Hello Hello (03:17)
  9. Drink First (02:02)
  10. Aristotle We Have Been Hit (01:00)
  11. We’re Still Going To Kill You (03:56)
  12. Tell Me, Am I A Good Man? (04:04)
  13. Blue Rescue One (01:38)
  14. What Difference A Good Dalek (03:32)
  15. The Truth About The Daleks (02:08)
  16. You Are A Good Dalek (01:49)
  17. Old Fashioned Hero (02:16)
  18. This Is My Spoon (02:07)
  19. Robert, Earl of Loxley (02:00)
  20. The Legend of Robin Hood (02:18)
  21. Robin of Sherwood (03:15)
  22. The Golden Arrow (01:37)
  23. Listen (02:25)
  24. Rupert Pink (03:57)
  25. Fear (02:47)
    Disc Two

  1. The Architect (01:28)
  2. Rob The Bank (00:59)
  3. Account Closed (02:09)
  4. Open Up (02:07)
  5. The Caretaker (05:16)
  6. Missy’s Theme (01:34)
  7. Hello Earth, We Have A Terrible Decision To Make (00:54)
  8. Are You Going To Shoot Me? (01:57)
  9. When I Say Run (01:46)
  10. They’ve Been Here The Whole Time (02:48)
  11. That Is The Moon (02:02)
  12. NASA Is That Way (01:00)
  13. Start The Clock (01:33)
  14. There’s That Smile (02:24)
  15. The Sarcophagus Opens (03:59)
  16. The Artefact (02:05)
  17. Study Our Own Demise (02:13)
  18. Not Knowing (03:01)
  19. Siege Mode (01:27)
  20. In The Woods (02:22)
  21. We Weren’t Asleep That Long (01:03)
  22. The Song of Danny and Clara (02:41)
  23. Forgetting (01:46)
  24. Throw Away The Key (04:15)
  25. Browsing (02:23)
  26. Missy Theme Extended (02:06)
  27. Heaven (01:30)
  28. They Walk Among Us (02:21)
  29. There is No Clara Oswald (01:00)
  30. Missy And Her Boys (01:18)
  31. Freefall (01:41)
  32. Need To Know (05:00)
  33. Missy’s Gift (02:04)
  34. (The Majestic Tale of) An Idiot With Box (02:22)
    Disc Three: Last Christmas

  1. Perfectly Ordinary Roof People (04:21)
  2. Unsealing The Infirmary (02:47)
  3. Ghosts (01:53)
  4. What Seems To Be The Problem (01:08)
  5. We Don’t Know What’s Real (02:34)
  6. Thinking About It (01:16)
  7. Clara’s Dream Christmas (03:57)
  8. The Doctor’s Dream Christmas (05:33)
  9. Dreams Within Dreams (04:51)
  10. Believe In Santa (01:31)
  11. Sleigh Ride (02:48)
  12. Reunion (03:12)
  13. Every Christmas Is Last Christmas (03:49)

Released by: Silva Screen Records
Release date: May 26, 2015
Disc one total running time: 1:12:54
Disc two total running time: 1:14:01
Disc three total running time: 39:27

Doctor Who: The Rapture – music by Jim Mortimore

Doctor Who: The RaptureIn 2002, Big Finish Productions released The Rapture, a Doctor Who audio play which had the distinction of being the first professionally-published work by one Joe Lidster (who went on to do more for Big Finish before being snatched up by the BBC itself), and of being one of the most controversial things the company had produced up to that point. Plucking the seventh Doctor and Ace out of tea time TV and dropping them into a storyline at an all-week rave complete with sex and drugs was too much for some fans’ tender sensibilities. And The Rapture had some awesome music – real club music, not some soundtrack-composer-for-hire’s second-hand impression of real EDM. Composer Jim Mortimore, in addition to having written Doctor Who novels and audio stories in the past, had also enjoyed a second career, playing live music at raves through much of the 1990s. To say that The Rapture‘s music is merely authentic is probably underselling it. It’s the real deal.

In 2012, via Bandcamp, Mortimore released three CDs’ worth of music from an audio story (whose narrative running time was only enough to take up two CDs). Drawing from his ’90s recordings as well as concocting an entire CD worth of new music, and bringing collaborators Jane Elphinstone and Simon Robinson on board, Mortimore presented Big Finish with a series of pieces that would be excerpted as needed for The Rapture, with some music heard only briefly in the background mix at the story’s titular nightclub and with other pieces – the specially composed ones – more prominently placed in the foreground. A few Rapture tracks had previously been presented on a Big Finish soundtrack CD in the past, but were savagely edited down to two and three minute running lengths: most of the tracks in their original form run close to eight minutes long, and are better for it, with the melodies developing a bit more naturally. Tracks such as “Over Me” show much deeper layers and arrangements than the edited-down versions hinted at.

The “A Side” covers all of the music composed expressly for The Rapture, while the “B Side” tracks are the full-length tracks Mortimore presented from his ’90s work for inclusion in the background of several scenes. (Again, the average length is about eight minutes; most of the excerpts of these pieces in the finished audio play could be measured in seconds or maybe as many as a couple of minutes.) The “E Side” consists of downtempo tracks, one of them quite lengthy; whether the “E” is for “epic”, “ecstasy”, or “etheral” is up for you to decide.

4 out of 4Many times over the years I’ve dragged out that Big Finish soundtrack and its woefully truncated soundtrack for The Rapture because it’s ridiculously good music by which to write. Color me “E” for “elated” that the full tracks – and more of them – are now available. And gloriously, “Doctored Who” gives us the full-length rave remix of Delia Derbyshire’s Doctor Who theme. Whether or not the story of The Rapture is worth the listening time is something that’s still hotly debated in Doctor Who fan circles, but its soundtrack is undoubtedly worth the listening time for audiences far beyond Doctor Who fandom.

Order

    “Side A”

  1. Over Me (7:02)
  2. On The Beach (6:01)
  3. Rebirth (7:46)
  4. Brook Of Eden (8:07)
  5. Freestyle (6:34)
  6. Sorted (6:31)
  7. Jude’s Law (9:09)
  8. Pink Pulloff (4:52)
  9. Music Of The Spheres (6:10)
  10. Gloves Off (3:40)
  11. Doctored Who (2:10)
  12. “Side B”

  13. Kanhra (8:18)
  14. Udu (8:08)
  15. Uracas (8:16)
  16. Xanthulu (7:17)
  17. Mahser Dagi (8:07)
  18. “Side E”

  19. Sven’s Wrath (3:39)
  20. Radio Beach (5:32)
  21. Ice Floes At Twilight (35:20)
  22. Phases Of The Moon (3:58)

Released by: Jim Mortimore via BandCamp
Release date: October 28, 2012
Total running time: 2:36:37

Doctor Who: Day Of The Doctor / Time Of The Doctor

Day Of The Doctor / Time Of The DoctorSo it turns out I owe Murray Gold an apology.

As I watched Day Of The Doctor for the first time, I was mildly annoyed that its score seemed to be a cut-and-paste of “greatest hits” of themes from the modern series dating back to 2005. Not new versions of those themes, mind you, but the same recordings we’d been hearing for years now. It seemed like an uninspired choice, but as it was already known that the BBC had asked for an episode 30 minutes longer than the usual 45-minute shows, in 3-D, with big-name guest stars, without increasing the budget much beyond that of the typical 45-minute episode, it seemed likely that the decision had been made to edit together a score from the music of past episodes. After all, what’s a decadal Doctor Who anniversary special if it’s not a kiss to the past?

As it turns out, the truth is even sadder than that: Day Of The Doctor did have a brand-new score custom-made for its requirements, and a dandy one at that. In various interviews, Gold has hinted that the heavily-promoted special had more cooks in the kitchen than usual, resulting in Hollywood-style second-guessing of creative decisions that rarely occurs with the series’ weekly episodes. Reading between the lines, the answer is simple: some BBC suits, freaked out by a fantastic original score which not only brought back numerous musical themes but paid homage to the show’s long history by incorporating various vintage synthesizer sounds into the orchestral mix, insisted that Day Of The Doctor should largely be “tracked” with existing music, not unlike the original Star Trek. The result is a soundtrack which was either buried in the sound mix or, in some instances, not used at all.

Some of the most eye-opening fun you can have with the Day Of The Doctor half of this 2-CD set is to cue up the DVD to key scenes, turn your TV down, and let the music be heard as originally intended. “He Was There”, which takes us from outside the National Gallery into the three-dimensional painting of the Time War, is a knockout cue that works outstandingly well; the rising howl as we zoom through the painting until we settle on the War Doctor is hair-raising stuff. On TV, this material was dropped in favor of the choral Dalek music from The Stolen Earth, but in the original unused cue, Gold holds off on quoting that theme until the Daleks show up in person. His opening volley, meant to accompany Clara’s motorcycle ride into the TARDIS control room, is an electro dance piece omitted in its entirety. A great many of his more interesting, “radiophonic” sounding pieces were either savagely dialed down in the sound mix or covered/replaced with “whooshy” sound effects to emphasize the show’s all-important (for one night only before the BBC abandoned the technology) 3-D. Even the final scene – all the Doctors dreaming of home – was scored differently, building up to a triumphant flourish that quotes the Doctor Who theme itself as a heroic fanfare: all left on the cutting room floor.

The second disc contains the music from The Time Of The Doctor, and in this case, at least, what you hear is what was heard in the show itself – unless it’s just not on the album, such as the criminal omission of the haunting choral piece heard as Clara bellies up to the crack-in-the-wall that has follow the eleventh Doctor through his entire tenure, appealing to the Time Lords to help the Doctor survive. How that didn’t make the album, I’ll never know.

Highlights of Smith’s final episode as the Doctor include “The Crack” and the bite-sized but propulsive “Rhapsody Of War”. Even some of the more obscure cues, like the John-Williams-esque morsel “Papal Mainframe”, are fun. But the show is stolen by the solid wall of music that takes up the last 25% of the show; “Never Tell Me The Rules” is the accompaniment of modern Doctor Who’s extension of the “explosive regeneration” to ridiculous extremes, while “Trenzalore / The Long Song / I Am Information” – its title giving away that it’s a mashup of themes already established in the previous season of the show – accompanies Smith’s record-settingly long send-off speech. “Hello Twelve”, naturally, rings in the Doctor’s new face in the form of Peter Capaldi.

4 out of 4So it turns out I owe Murray Gold an apology. Here I thought that, out of budgetary necessity, he’d had to phone in one of the most pivotal installments in the entire series, but whether it’s the seventh Doctor’s straw hat, the eleventh’s Fez, or the first Doctor’s shapeless lump of an astrakhan hat, I hereby eat that hat – Murray Gold did his best to honor the show’s sonic history, only to be let down by the marketing department. At least this 2-CD set lets us hear it all in its original intended glory.

Order this CDDisc 1: The Day of the Doctor

  1. I.M Foreman (1:10)
  2. Will There Be Cocktails? (0:40)
  3. It’s Him (The Majestic Tale) (2:04)
  4. He Was There (4:22)
  5. No More (1:05)
  6. The War Room (1:42)
  7. Footprints In The Sand (1:42)
  8. Who Are You (4:37)
  9. England 1562 (1:02)
  10. Nice Horse (1:43)
  11. The Fez And The Portal (2:44)
  12. Two Doctors (1:01)
  13. Three Doctors (1:56)
  14. Somewhere To Hide (1:50)
  15. Rescue The Doctor (1:08)
  16. 2.47 Billion (4:28)
  17. Zygon In The Painting (1:34)
  18. Man And Wife (1:32)
  19. We Don’t Need To Land (2:27)
  20. We Are The Doctors (0:49)
  21. The Moment Has Come (3:06)
  22. This Time There’s Three Of Us (The Majestic Tale) (7:03)
  23. Song For Four/Home (3:41)

Disc 2: Time Of The Doctor

  1. The Message (1:15)
  2. Handles (2:07)
  3. The Dance Of The Naked Doctor (2:12)
  4. You Saved It (0:56)
  5. Papal Mainframe (0:44)
  6. Tasha Lemm (1:06)
  7. Bedroom Talk (1:48)
  8. The Mission (0:54)
  9. Christmas (2:26)
  10. The Crack (5:24)
  11. Rhapsody Of War (0:52)
  12. Back To Christmas (3:09)
  13. Snow Over Trenzalore (Song For Four) (2:45)
  14. Beginning Of The End (2:46)
  15. This Is How It Ends (3:06)
  16. Never Tell Me The Rules (3:11)
  17. Trenzalore/The Long Song/I Am Information (Reprise) (4:03)
  18. Hello Twelve (0:39)

Released by: Silva Screen Records
Release date: November 24, 2014
Disc one total running time: 53:26
Disc two total running time: 39:23

Doctor Who: The Krotons

Doctor Who: The KrotonsA curiosity in Silva Screen’s sparse handful of classic series single-CD music releases early in 2013, this CD – weighing in at barely half an hour – is easily the most obscure entry, and the one that met with the most hoots of derision from fandom. Why The Krotons? Why not a full score for The Five Doctors or Logopolis or something more… pivotal? Why not release the best of the BBC’s Doctor Who Proms concerts on CD?

The answer is actually just this side of the obvious: the existing musical material from the 1970s could fill a teacup (and, between a couple of past releases from the BBC’s now-extinct in-house music label, almost all of it is out there already). So, instead of individual CDs showcasing Doctor Who’s sound in the 1960s, 1970s, and 1980s, we get an example of the BBC Radiophonic Workshop’s musical style (the Caves Of Androzani CD), an example of the freelance composers who supplanted the Radiophonic Workshop in the show’s waning years (the re-release of Ghost Light), and an example of the Radiophonic Workshop at the height of its tape-manipulating powers in the ’60s (this one).

The Krotons is also a canny choice because it’s a rare example of a ’60s Doctor Who serial whose musical material survives intact, and is the product of a single composer’s “voice”. Radiophonic Workshop co-founder Brian Hodgson had a new experimental analog synthesizer to play wiith for The Krotons, and play with it he did, creating the story’s sparse but utterly alien music and its unearthly sound effects with the new synth and the time-tested methods of the Workshop.

Even if you’re a fan of early electronic music – say, Raymond Scott or John Baker or White Noise – you haven’t heard anything quite like this. It has rhythm and a strange sort of not-of-this-world tonality, but human ears trained in western musical traditions may not really register it as “music”. The rhythm and structure are there, but rather than traditional melody or harmony, there are strange, stacatto dronings that are right “out there” with Velvet Underground’s Metal Machine Music – the otherworldly sounds of something so unmusical by any traditional standard that it’s a challenge to stay with it long enough to discern the structure behind it.

While fans expecting more traditional musical underscore may find little to like here, especially if they’ve only been weaned on the grandiose sound of Murray Gold, what can be found here is a cross-section of the glue that held early Doctor Who together: the BBC Radiophonic Workshop’s utterly strange and yet appropriate sounds, married to the sometimes less-than-special effects concocted by the BBC’s in-house effects artists (and 3 out of 4occasional outside contractors who, nevertheless, had only a BBC budget within which to work). Back then, there was no surround sound or CGI to hold the show together – only offbeat scripts, usually better-than-decent performances, and unusual worlds which were just as often sold by sound as by sight. That tradition continued well into the 1970s, even after the BBC realized that its sci-fi output was now competing with the likes of Star Wars and Battlestar Galactica (the original, mind you), and it’s a big part of the appeal to many an older fan. Whether it registers as “musical” or not, The Krotons soundtrack is a nice example of the artistry and technical wizardry behind that appeal.

Order this CD

  1. Doctor Who (New Opening Theme, 1967) (0:55)
  2. The Learning Hall (2:43)
  3. Door Opens (0:39)
  4. Entry Into the Machine (1:36)
  5. TARDIS (New Landing) (0:21)
  6. Wasteland Atmosphere (1:26)
  7. Machine and City Theme (1:52)
  8. Machine Exterior (1:46)
  9. Panels Open (0:20)
  10. Dispersal Unit (0:43)
  11. Sting (0:22)
  12. Selris’ House (0:44)
  13. Machine Interior (1:19)
  14. Snake Bleeps Low (1:04)
  15. Silver Hose (The Snake) (0:48)
  16. Snake Bleeps High (0:33)
  17. Teaching Machine Hums (0:46)
  18. Forcefield (0:50)
  19. Burning Light (1:08)
  20. Birth of a Kroton (1:14)
  21. Kroton Theme (2:16)
  22. Kroton Dies (0:37)
  23. Link – Rising Hum (2:07)
  24. Kroton Dies (Alternative) (0:19)

Released by: Silva Screen
Release date: 2013
Total running time: 26:28

Doctor Who: The 50th Anniversary Collection

Doctor Who: The 50th Anniversary Collection25 years ago, if someone had been asking for a go-to album for casual fans of the Doctor Who theme tune and its accompanying incidental music, I would have somewhat reluctantly pointed them toward the Doctor Who 25th Anniversary Album on BBC Records; reluctantly on the grounds that while it did indeed include the major iterations of the theme tune, its incidental music was drawn entirely from Sylvester McCoy’s first two seasons, largely scored by Keff McCulloch with very ’80s hand clap samples for percussion backing his very ’80s synths. It was a nice enough sound for its time, but not one that has dated very well. In 1993, for the show’s 30th anniversary, the default selection became the BBC’s 30 Years At The Radiophonic Workshop, which I’d recommend with a different set of reservations: most of its tracks were pure sound effects. Very evocative ones, to be sure, the pride of the BBC’s sonic skunkworks at Maida Vale, but little of the 30th anniversary album was actually music.

We had to reach the show’s 50th anniversary to strike the right balance at last. The four-disc Doctor Who: The 50th Anniversary Collection is an unapologetic romp through the tunes accompanying the TARDIS’ travels from 1963 through 2013. If a single show’s sound has evolved more radically over time (without it being a variety show with an ever-changing selection of musical guests), I’d love to hear about it. In five decades, Doctor Who has gone from experimental-going-on-avant-garde analog electronic music, to small orchestral ensembles, to tuneful (and sometimes showy) ’80s synthesizers, and then to full-on orchestral grandeur. That journey is sampled at various points across four CDs here. (A limited edition of 1,000 copies of a more expansive – and, undoubtedly, expensive – 11-CD set will be available in early 2014; Silva has already fessed up that this 4-CD set is a sampling of that larger collection, without giving any indication as to whether the material will be available separately on individual CDs, iTunes, or what have you.)

For those who faithfully bought Silva Screen’s ’90s CD releases of Mark Ayres’ late ’80s scores and the label’s reissues of classic BBC albums, as well as the BBC’s own attempt to fill out the Doctor Who soundtrack library in the early 21st century, there will be a lot of familiar material here, sometimes only in briefly excerpted form. Ayres’ scores, and familiar material such as “March Of The Cybermen” and music from Tom Baker’s last season, can be found here as edited highlights, as can already-released ’60s and ’70s gems such as excerpts from the now-hard-to-find-on-CD-without-getting-a-second-mortgage CD featuring Tristram Cary’s music from the second-ever Doctor Who story, The Daleks. Ayres was the archivist responsible for picking out the best bits from the classic series, and his choices line up almost exactly what what I would have picked. (Note: almost. Leaving the music accompanying the Brigadier’s flashback out of a Mawdryn Undead suite is an unexpected choice, to say the least.)

But there are many surprises as well. The sheer amount of pristine, not-smothered-in-sound-effects Dudley Simpson music to be heard is impressive. For decades, short of Silva Screen’s singular experimental attempt in the 1990s to do a Simpson “cover album” with the best synthesizers and samples available at the time, almost none of Simpson’s music has been available, despite the fact that he remains the reigning champion among Doctor Who composers (having scored episodes from 1964 through 1979). Copies of Simpson’s music simply were not retained, for who knew that it would ever be in demand as a standalone product? But thanks to Simpson’s occasional collaborations with the BBC Radiophonic Workshop – a group which did a better job of archiving, and occasionally had to add synthesizer overdubs to Simpson’s more otherworldly cues – some selections of Simpson’s unique small-ensemble sound now survive. A few other Simpson specimens are culled from scenes in which the music was virtually the only sound in the mix (such as the music from the Patrick Troughton story The Seeds Of Death). This brings us such wonderful lost treats as the suite from 1977’s The Invasion Of Time, a selection of music which reminds me of Blake’s 7 as much as it does Doctor Who, and concludes with a great “slimy” synth motif for the Sontarans, a piece of music that screams “short, squat and ugly”. Other unearthed Simpson gems include music from The Android Invasion, the aforementioned Seeds Of Death, and the Pertwee space opera Frontier In Space. There are surprises from the small stable of other composers who scored the Doctor’s travels in the ’70s, including Carey Blyton’s stuttering stacatto saxophones from Death To The Daleks and his more traditional “Simpsonesque” strains from Revenge Of The Cybermen.

Another surprise heard here is a handful of stock library music pieces used during the 1960s, from the first piece of music ever heard within an episode of Doctor Who (on Susan’s portable radio, no less) to the familiar and oft-reused action cues that accompanied Cybermen and Yeti in equal measure. Many of these pieces have surfaced over the years, in such forms as the fan-compiled Space Adventures CD and short-lived one-off CDs timed to coincide with the releases of such things as The Tenth Planet and Tomb Of The Cybermen. But this is the first time than an officially sanctioned BBC release has declared these to be the Doctor Who music that the fans have always known them to be. The inclusion of a piece by Les Structures Sonores (used in the Hartnell four-parter Galaxy Four) is historically significant: when trying to describe the sound she wanted for Doctor Who’s still-unwritten theme tune, producer Verity Lambert fell back on the work of Les Structures Sonores as a suggested listen. (What actually emerged was wonderfully different from that suggestion, but however your tastes run regarding the show’s stories main theme, every major iteration is included here for your listening pleasure.)

The ’80s, the final decade of original Doctor Who, present a different problem: nearly everything survives from that era, so it becames a question of judiciously picking what to leave out. The major pieces that everyone would wish for are present, however: Tom Baker’s swan song from Logopolis, the thematic bookend of Peter Davison’s first trip in the TARDIS in Castrovalva, Earthshock‘s “March Of The Cybermen”, The Five Doctors, the percussive Sontaran march and the flamenco-style acoustic guitar work of The Two Doctors, edited highlights from three of the four stories making up The Trial Of A Time Lord, and the final moments of music from the original series in 1989’s memorable (and perfectly scored) Survival, which demonstrated that the show’s decade of synths was on the cusp of giving way to a more interesting mix of synth, guitar and live violin if the story demanded it.

Things then transform dramatically. For the first time outside of a 1990s “composer promo” release of questionable legality, selections from the Hollywood-spawned score of 1996’s Paul McGann TV movie come in from the cold on an official Doctor Who soundtrack compilation. Not much more than a taster, to be sure, and yes, the entire score’s been available as the music-only audio track on the DVD of that movie for about a decade now, but it’s nice to see this release taking in the entirety of the franchise’s musical history (with one major omission – more on this in a moment). From here, we jump to an extended best-of from Murray Gold’s reign as the sole musical voice of modern Doctor Who, covering everything from Rose’s theme through The Rings Of Akhaten. As much as some fans have only ever grown up with Murray Gold’s bombastic orchestral music as the sound of Doctor Who, it’s impressive that Silva Screen managed to constrain the new series highlights to a single disc.

But considering that, before the track listing was announced, I fully expected much of this set to be tilted in favor of the new series, the 50th Anniversary Collection is a pleasant surprise from start to finish. Fans weaned on the David Tennant years may be shocked to discover how much the “house style” of Doctor Who has changed, but those of us who grew up with Tom Baker or his predecessors will find much to love here. Yes, the first disc has a lot of sound effects on it, but they’re almost music in their own unique way – the sound of the living, breathing alien worlds found in Lime Grove Studio “D” so many years ago. And I never thought we’d get, on CD, such music as Don Harper’s sinister spy-movie-inspired strains from The Invasion, or the Dudley Simpson tracks that we have here.

I’m a little surprised to see that the two 1960s movies starring the late Peter Cushing as quirky but perfectly human inventor Dr. Who are not represented here. Silva released all of the available score material from both of those movies in their entirety some time back, so they have access to (and rights to) the recordings. I suppose they get excluded for not being part 4 out of 4
of the TV franchise, but if there was any concern that the ’60s-centric CD had too many sound effects, I wonder why these tracks weren’t considered for inclusion. With every passing year, Cushing’s brief tenure as the TARDIS traveler grows more obscure, so I suspect I’m alone in thinking there should have been some hint of the movies here.

The 50th Anniversary Collection is a dandy sampling of the Doctor’s ever-evolving musical accompaniment over the years.

Order this CDDisc One

  1. Doctor Who (Original Theme) (2:20)
  2. An Unearthly Child: Three Guitars Mood 2 (2:03)
  3. An Unearthly Child – TARDIS Takeoff (0:49)
  4. The Daleks (The Dead Planet): Forest Atmosphere (1:07)
  5. The Daleks (The Dead Planet): Forest With Creature (0:54)
  6. The Daleks (The Dead Planet): City Music 1 and 2 (0:56)
  7. The Daleks (The Dead Planet): The Daleks (0:32)
  8. The Daleks (The Survivors) – Dalek Control Room (0:34)
  9. The Daleks (The Ambush): The Ambush (2:00)
  10. The Daleks – Capsule Oscillation (Dalek Destructor Fuse / Bomb Countdown) (0:19)
  11. The Edge of Destruction – Explosion, TARDIS Stops (1:10)
  12. The Keys of Marinus – Sleeping Machine (0:52)
  13. The Chase – Dalek Spaceship Lands (0:17)
  14. The Chase – TARDIS Lands (0:11)
  15. Galaxy Four – Chumbley (Constant Run) (0:27)
  16. Galaxy Four – Chumbley at Rest (0:28)
  17. Galaxy Four: Marche (Les Structures Sonores) (2:40)
  18. The Daleks’ Master Plan (The Nightmare Begins): A Strange Sickness (0:44)
  19. The Daleks’ Master Plan (Destruction of Time): Growing Menace (2:08)
  20. The Gunfighters: Excerpts from ‘The Ballad of the Last Chance Saloon’ (3:51)
  21. The Tenth Planet: Space Adventure Part 2 (1:21)
  22. The Macra Terror – Heartbeat Chase (1:57)
  23. The Macra Terror – Chromophone Band (1:56)
  24. The Macra Terror – Propaganda Sleep Machine (1:08)
  25. The Tomb of the Cybermen – Sideral Universe (2:26)
  26. The Tomb of the Cybermen – Space Time Music Part 1 (1:21)
  27. The Web of Fear – Space Time Music Part 2 (1:19)
  28. Fury from the Deep – Mr. Oak and Mr. Quill (Incidental Music) (0:39)
  29. The Wheel in Space – Cyberman Stab & Music (1:32)
  30. The Wheel in Space – Birth of Cybermats (0:44)
  31. The Wheel in Space – Interior Rocket (Suspense Music) (1:55)
  32. The Dominators – Galaxy Atmosphere (1:04)
  33. The Mind Robber – Zoe’s Theme (1:20)
  34. The Invasion: The Dark Side of the Moon (0:31)
  35. The Invasion: The Company (1:31)
  36. The Krotons – Machine and City Theme (1:49)
  37. The Krotons – Kroton Theme (2:14)
  38. The Seeds of Death: Titles (0:35)
  39. The Seeds of Death: Ice Warriors Music (0:26)
  40. The War Games – Time Lord Court (1:32)
  41. Doctor Who (New Opening, 1967 – full version) (2:20)
  42. The Mind of Evil: The Master’s Theme (0:43)
  43. The Mind of Evil: Hypnosis Music (0:36)
  44. The Mind of Evil: Dover Castle (0:29)
  45. The Mind of Evil – Keller Machine Appears and Vanishes (0:22)
  46. The Mind of Evil: Keller Machine Theme (0:43)
  47. The Claws of Axos – Copy machine tickover (0:16)
  48. The Claws of Axos: The Axons Approach (1:45)
  49. Music from ‘The Sea Devils’ (5:24)
  50. Music from ‘The Mutants’ (7:12)
  51. Music from ‘Frontier in Space’ Episode 1 (1:46)
  52. Music from ‘Death to the Daleks’ (3:50)
  53. Planet of the Spiders – Metebelis III Atmosphere (1:53)

Disc Two

  1. Doctor Who Opening Title Theme (0:44)
  2. The Ark In Space – Nerva Beacon Infrastructure and TMat Couch (1:42)
  3. Music from “Revenge of the Cybermen” (5:28)
  4. Terror of the Zygons: The Destruction of Charlie Rig (0:42)
  5. Terror of the Zygons: A Landing in Scotland (1:22)
  6. Terror of the Zygons: The Zygons Attack (0:51)
  7. Music from “The Android Invasion” Episodes 3 and 4 (6:32)
  8. The Brain of Morbius – The Planet Karn (1:50)
  9. The Seeds of Doom: Antarctica – The First Pod (2:17)
  10. The Seeds of Doom: Get Dunbar! / Krynoid On The Loose (2:55)
  11. The Masque of Mandragora – The Mandragora Helix (1:26)
  12. Music from “The Invasion of Time” Episodes 3 and 4 (5:36)
  13. Doctor Who Closing Titles (40? Version) (1:15)
  14. Doctor Who 1980 (Opening Titles) (0:38)
  15. The Leisure Hive: Into Argolis (1:44)
  16. Full Circle: K9 on a Mission (0:35)
  17. The Keeper of Traken: Nyssa’s Theme (0:41)
  18. Logopolis: It’s The End… (3:18)
  19. Doctor Who 1980 (Closing Titles) (1:16)
  20. Castrovalva (3:18)
  21. Four to Doomsday: Exploring the Lab (1:46)
  22. Earthshock – March Of The Cybermen (5:13)
  23. Mawdryn Undead (4:19)
  24. The Five Doctors (5:29)
  25. Warriors of the Deep (3:53)
  26. Resurrection of the Daleks (5:01)
  27. The Caves of Androzani (Alternative Suite) (6:07)
  28. Doctor Who Theme (1980 – Full Version) (2:42)

Disc Three

  1. The Twin Dilemma (4:04)
  2. The Mark of the Rani (3:45)
  3. The Two Doctors (3:15)
  4. Timelash (5:51)
  5. Revelation of the Daleks (3:53)
  6. Doctor Who 1986 (2:53)
  7. The Trial of a Time Lord: The Mysterious Planet (3:21)
  8. The Trial of a Time Lord: Terror of the Vervoids (2:44)
  9. The Trial of a Time Lord: The Ultimate Foe (3:16)
  10. Doctor Who 1987 2:38()
  11. Music from ‘Time and the Rani’ (1:38)
  12. Delta and the Bannermen: “Here’s to the Future” (1:57)
  13. Music from ‘Dragonfire’ (3:02)
  14. Music from ‘Remembrance of the Daleks’ (5:32)
  15. Music from ‘The Greatest Show in the Galaxy’ (3:23)
  16. Music from ‘Battlefield’ (4:41)
  17. Music from ‘The Curse of Fenric’ (6:35)
  18. Music from ‘Survival’ (5:28)
  19. “…and somewhere else, the tea’s getting cold” (from ”Survival”) (0:24)
  20. Prologue: Skaro / “Doctor Who” Theme (1:34)
  21. “Who Am I?” (1:55)
  22. The Chase (Original Version) (2:20)
  23. “Open the Eye” (2:25)
  24. Farewell (1:35)
  25. End Credits / “Doctor Who” Theme (0:49)

Disc Four

  1. Doctor Who Theme – TV Version (0:42)
  2. Doctor Who: Series 1 – Rose’s Theme (2:15)
  3. Doctor Who: Series 2 – Doomsday (5:08)
  4. Doctor Who: Series 3 – All The Strange Strange Creatures (The Trailer Music) (4:07)
  5. Doctor Who: Series 3 – Martha’s Theme (3:42)
  6. Doctor Who: Series 3 – Boe (3:44)
  7. Doctor Who: Series 3 – The Doctor Forever (4:19)
  8. Doctor Who: Series 3 – This Is Gallifrey: Our Childhood, Our Home (3:18)
  9. Doctor Who: Series 3 – Donna’s Theme (3:16)
  10. Doctor Who: Series 4 – Song Of Freedom (2:51)
  11. Doctor Who: Series 4-The Specials – The Master Suite (4:33)
  12. Doctor Who: Series 4-The Specials – Four Knocks (3:58)
  13. Doctor Who: Series 4-The Specials – Vale Decem (3:20)
  14. Doctor Who: Series 5 – I Am The Doctor (4:03)
  15. Doctor Who: Series 5 – The Mad Man With A Box (2:09)
  16. Doctor Who: Series 5 – Amy’s Theme (2:08)
  17. Doctor Who: Series 6 – Melody Pond (4:43)
  18. Doctor Who: Series 6 – The Wedding Of River Song (2:36)
  19. Doctor Who: A Christmas Carol – Abigail’s Song (Silence Is All You Know) (5:33)
  20. Doctor Who: Series 7 – Towards The Asylum (2:25)
  21. Doctor Who: Series 7 – Together Or Not At All – The Song Of Amy And Rory (3:17)
  22. Doctor Who: Series 7 – Up The Shard (3:02)
  23. Doctor Who: Series 7 – The Long Song (3:39)

Released by: Silva Screen
Release date: 2013
Disc one total running time: 79:01
Disc two total running time: 78:40
Disc three total running time: 78:58
Disc four total running time: 78:48

Doctor Who Series 6 – music by Murray Gold

Doctor Who Series 6It’s rare, but not unheard of, to claim to have enjoyed the music from a movie or TV show tremendously, while not enjoying the story that spawned the music. Much of the sixth season of revived Doctor Who is like that for me – the season’s reliance on, and constant referral to, the Doctor’s apparent date with death, just rubbed me the wrong way. It might’ve been a brilliant device to use if it had been the final season for the incumbent Doctor, but in this day and age the general public knows that the actor in question is contracted for several years, and won’t be bowing out at the end of his second season. All the constant refrain of the season’s already-witnessed cliffhanger did was remind me how suspense-free the whole enterprise was. It was right up there with the third season (the “Martha season”) as my least favorite year of the show’s revival.

Could I separate my noncommittal grunt of a response to the season from the music? Yes and no. Murray Gold gamely gives his all to every episode, though there’s a lot of referring back to the Doctor’s new theme established in the previous season (and on that season’s soundtrack). There’s also a lot of referring back to the style that Gold employed for much of the Davies/Tennant years – unashamed orchestral bombast, even in scenes that don’t always call for it – and less of the promising experimentation of the fifth season. The season’s opening two-parter is at its best when it’s using a slightly twangy electric guitar to signify its setting, although the “Apollo 11” cue is as good a musical theme for the launch of the first moon landing mission as I’ve ever heard. “Another Perfect Prison”, “Day Of The Moon” and “I See You Silence” are the best examples of this, recalling the best of John Barry’s James Bond scores.

The Curse Of The Black Spot and The Doctor’s Wife have outstanding music, with the latter being a standout of the season both musically and story-wise. The “Run, Sexy” cue is one of the few overt examples of the orchestra-and-electronics-joined-at-the-hip style that made the fifth season’s soundtrack such a welcome change of pace from what had come before. The Rebel Flesh and The Almost People, a two-parter dealing with clones demanding independence, are more subdued to make way for dialogue.

But things crank up for the second half of the mid-season cliffhanger. (Sadly, it’s one of the silliest episodes in the series’ nearly-50-year history, but nobody’s perfect.) Let’s Kill Hitler gets a snarlingly oppressive march for the Nazi terror, a good place for orchestral bombast if there ever was one.

The second half of the season has more interesting episodes and more interesting scores. Night Terrors has a deceptively calm opening theme and sinister passages, while The Girl Who Waited is dripping with uncertainty as Amy comes to grips with a TARDIS-free reality on the run, and then learns that even that isn’t immutable. The God Complex has some very unusual keyboard/synth-heavy cues (including the recurring “muzak” motif). “Room Of Your Dreams” opens up with the kind of electronics that haven’t been heard since the original series.

Closing Time sounds almost like a sitcom in its opening track, and most of the cues presented here stay light-hearted. The music from the season closer, The Wedding Of River Song, starts with a rollicking opening track, “5:02 PM”, before becoming surprisingly quiet. One of the better tracks, “Brigadier Lethbridge-Stewart”, accompanies the kick-in-the-gut meta moment where the Doctor learns of the his old friend’s death (Nicholas Courtney, the actor who portrayed the Brigadier in all of his appearances, had died earlier in the year) to a wistful tune.

Wedding finishes off by rehashing the Doctor’s theme in various ways, and includes the cue that sees out the season, accompanying the closing moments in which a portly severed head bellowing “DOCTOR…WHO?” over and over. The soundtrack itself closes by wrapping around to a cue from Day Of The Moon which, again, repeats the Doctor’s theme.

3 out of 4There’s some music here that I’ve had no desire to re-listen to, but that may well represent a failing on my part to separate music from story subject matter. Murray Gold still delivers a unique, full-blooded sounded that’s unlike anything else on TV, and the soundtracks released by Silva Screen are uncommonly generous with their double-disc set covering all 13 of the season’s episodes. Next year, I just want the stories to be as good as the music.

Order this CDDisc One

    The Impossible Astronaut / Day of the Moon

  1. I Am The Doctor In Utah (1:44)
  2. 1969 (2:01)
  3. The Impossible Astronaut (3:16)
  4. Trust Me (1:39)
  5. Help Is On Its Way (3:59)
  6. Another Perfect Prison (0:53)
  7. Greystark Hall (2:53)
  8. Apollo 11 (0:54)
  9. Day Of The Moon (2:44)
  10. I See You Silence (1:05)

    The Curse of the Black Spot

  11. You’re A Dead Man (1:40)
  12. Deadly Siren (5:30)
  13. Perfect Reflection (1:03)
  14. All For One (3:49)
  15. The Curse Of The Black Spot (1:14)

    The Doctor’s Wife

  16. I’ve Got Mail (0:45)
  17. My TARDIS (1:30)
  18. Run, Sexy (1:56)
  19. Locked On (1:11)

    The Rebel Flesh / The Almost People

  20. The Chemical Castle (1:30)
  21. Which One Is The Flesh? (1:39)
  22. Scanning Me (2:31)
  23. Ransacked (2:01)
  24. Always With The Rory (1:22)
  25. Double Doctor (2:02)
  26. Tell Me The Truth (3:48)
  27. Loving Isn’t Knowing (The Almost People Suite) (5:29)

    A Good Man Goes to War

  28. River’s Waltz (1:53)
  29. Pop (1:36)
  30. Tell Me Who You Are (1:52)
  31. Melody Pond (2:36)

Disc Two

    Let’s Kill Hitler

  1. Growing Up Fast (1:21)
  2. The Blush Of Love (1:22)
  3. Terror Of The Reich (3:05)
  4. The British Are Coming (1:07)
  5. A Very Unusual Melody (2:53)
  6. When A River Forms (1:32)
  7. Pay Attention Grown Ups (2:10)
  8. The Enigma Of River Song (3:59)

    Night Terrors

  9. Bedtime For George (2:24)
  10. Tick Tock Round The Clock (2:11)
  11. A Malevolent Estate (3:58)
  12. Night Terrors (1:19)

    The Girl Who Waited

  13. Apalapucia (1:29)
  14. 36 Years (0:55)
  15. Lost In The Wrong Stream (3:25)

    The God Complex

  16. The Hotel Prison (0:47)
  17. Room Of Your Dreams (1:21)
  18. Fear Enough (1:17)
  19. What’s Left To Be Scared Of? (1:00)
  20. Rita Praises (1:08)

    Closing Time

  21. Stormageddon, Dark Lord Of All (1:34)
  22. Definitely Going (1:56)
  23. Over Your Shoulder (1:11)
  24. Ladieswear (0:45)
  25. Fragrance (2:17)
  26. My Time Is Running Out (4:55)
  27. Tick Tock (vocal track) (1:23)

    The Wedding of River Song

  28. 5:02 PM (2:43)
  29. The Head Of An Enemy (1:15)
  30. My Silence (1:13)
  31. Brigadier Lethbridge–Stewart (2:19)
  32. Forgiven (2:31)
  33. Time Is Moving (1:31)
  34. The Wedding Of River Song (4:32)

    Day of the Moon

  35. The Majestic Tale (Of A Madman In A Box) (4:01)

Released by: Silva Screen
Release date: 2011
Disc one total running time: 68:05
Disc two total running time: 55:27