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

Die Hard (Limited Edition) – music by Michael Kamen

Die HardAction films rarely age like fine wine. Most are so rooted in the time period they were released, it’s hard to look past the menagerie of dated cinematic conventions and appreciate them for the fun fluff that they are designed to be. Personally, it’s hard to separate Dirty Harry’s vigilante ambitions from all the sideburns, deliberate camera zooms and funky background music that so characterized ’70s action flicks. Despite their greater leap toward modernization, ’80s films don’t fare much better in the rear-view. The desperate, tortured hero of the ’70s action film was replaced by larger-than-life supermen capable of escaping any trap they were up against. Explosions were bigger, special effects were grander, and if your first name was Arnold, Sylvester, or Harrison you were guaranteed a very secure future in Hollywood. It was a refreshing change from the dreary nihilism that characterized the ’70s, but by the end of the ’80s, the new action formula was itself beginning to grow tired and predictable and not even Steven Spielberg could enliven a genre of action films that he himself helped to inaugurate with Raiders Of The Lost Ark.

Then came a little movie called Die Hard in 1988.

Okay, it wasn’t exactly a little movie. Bruce Willis was already an established star and the movie had some of the best production minds in Hollywood working on it. But nothing about the movie conformed to the established ’80s action-movie style. Deliberately stylized with a wry, tongue-in-check tone, Die Hard banished the superman lead in favor of an anti-hero – an everyday guy caught up in extraordinary circumstances who prevails against the villains – in this case, a group of German “terrorists”. It’s worth buying a special edition DVD just for director John McTiernan’s commentary, who talks at length about the initial resistance he faced for his unconventional, European style of directing and editing. Die Hard ultimately won over just about everyone, becoming a monstrous success and spinning off a new genre of action movies. It also further catapulted McTiernan and cinematographer Jan De Bont into stardom (De Bont would turn in equally impressive DP work on The Hunt For Red October and Basic Instinct before getting his first crack at directing with Speed in 1994).

Critical to Die Hard‘s success was its score by Michael Kamen. Embracing the movie’s dark sense of humor, Kamen loaded the score with sleigh bells and melodic nods to famous classical musical compositions and holiday tunes to give his driving, rhythmic assault a subversive sense of whimsy. As good as the score sounds when viewing the movie, it is even more astonishing in its intricacy and creativity when listening to it by itself. La-La Land’s newly remastered, two-CD set of the Die Hard score spoils you with nearly every note Kamen threw at this movie, and then some. With over 107 minutes of total music included, it’s easy to see just how musically dense Die Hard was. Today, Kamen’s Die Hard score remains a celebrated achievement in action movie scoring.

It would be easy to say the best tracks in the set are the ones where Kamen truly cuts loose, and “Assault on the Tower” is unquestionably his most thrilling composition. The music is both playful and relentless as it unscores the SWAT team’s ill-fated attack on the terrorists in the Nakatomi building. But Kamen’s real genius is how he perverts the innocent spirit of songs such as “Ode To Joy” by Beethoven and “Winter Wonderland” and “Singing In The Rain” by using them as motifs for the German terrorists (Listen: “Terrorist Entrance”). Elsewhere, there’s certainly enough pounding hyperbole to justify the more bombastic action sequences in the movie, but its Kamen’s subtlety and ability to validate some deliberately cartoonish arrangements that make the score so shockingly good. One of McClane’s early motifs is a corny steel guitar arrangement that is nonetheless highly effective in identifying him as the “cowboy” Hans sees him as (“John’s Escape/You Want Money”). Later, Kamen crafts a more fatalistic four-note motif that grounds the character more and suggests his survival is much more tenuous then we at first believed (“And If He Alters It”). In the overall, however, Kamen stays loyal to the movie’s playful spirit, using tip-toeing pizzicato and other strange electronic effects to highlight the fun cat-and-mouse movie moments.

Film score critic Jeff Bond provides an exhaustive, yet illuminating, track-by-track analysis of the score in the CD set’s liner notes. The set naturally includes tracks that weren’t included in the movie or were heavily piped down in the final mix. An example of an omission that actually benefitted the movie was an arrangement Kamen crafted for the exploding office chair McClane’s throws down the elevator shaft to thwart the terrorists. Stopping the music just as the chair begins its descent, as it does in the movie, heightens the feeling of anticipation; this effect would have been lost had the producers decided to score this section (“Assault On The Tower”).

4 out of 4As a longtime fan of the movie, I thought I knew just about everything there was to know about Die Hard. Eric Lichenfeld, in his liner notes, proved me wrong. For example, I did know Alan Rickman was attached to a quick-release harness and released to capture his shocked expression when he plummets from the tower at movie’s end, but I didn’t know the producers tricked Rickman as to when he’d fall in the 3-2-1 countdown (he was dropped on 1, rather than the expected zero!). La-La Land Records sold out their entire supply of the CD set within 72 hours of release – no doubt a testament to the enduring popularity of this groundbreaking score.

Out Of Print

    Disc One

  1. Main Title (0:38)
  2. Terrorist Entrance (4:05)
  3. The Phone Goes Dead / Party Crashers (1:51)
  4. John’s Escape / You Want Money? (6:00)
  5. Wiring the Roof (1:51)
  6. Fire Alarm (2:04)
  7. Tony Approaches (1:41)
  8. Tony and John Fight (1:11)
  9. Santa (0:56)
  10. He Won’t Be Joining Us (3:01)
  11. And If He Alters It (2:39)
  12. Going After John (4:29)
  13. Have a Few Laughs / Al Powell Approaches (3:31)
  14. Under the Table (1:55)
  15. Welcome to the Party (1:09)
  16. TV Station (2:47)
  17. Holly Meets Hans (1:19)
  18. Assault on the Tower (8:35)
    Disc Two

  1. John is Found Out (5:03)
  2. Attention Police (3:54)
  3. Bill Clay (4:09)
  4. Shooting the Glass (1:07)
  5. I Had an Accident (2:37)
  6. The Vault (3:07)
  7. Message for Holly (1:07)
  8. The Battle / Freeing the Hostages (6:53)
  9. Helicopter Explosion and Showdown (4:00)
  10. Happy Trails (1:12)
  11. We’ve Got Each Other (1:57)
  12. Let it Snow (1:43)
  13. Beethoven’s 9th (End Credits Excerpt) (4:00)
  14. The Nakatomi Plaza (1:47)
  15. Message for Holly (Film Version) (2:46)
  16. Gun in Cheek (1:03)
  17. Fire Hose (1:00)
  18. Ode to Joy (Alternate) (2:11)
  19. Let it Snow (Source) (1:58)
  20. Winter Wonderland (Source) (1:26)
  21. Christmas in Hollis performed by Run-DMC (3:00)
  22. Roy Rogers Meets Beethoven’s 9th (Muzak) (1:36)

Released by: La-La Land Records
Release date: 2011
Disc one total running time: 49:42
Disc two total running time: 57:36

Doctor Who: Music From The Excelis Audio Adventures

Music From The Excelis Audio AdventuresOnce upon a time, as hard as it is to imagine from the vantage point of 2011, Doctor Who wasn’t on TV, existing only as a steadily growing series of audio plays, a steadily waning range of original novels, and a steady stream of merchandise related to a TV show that wasn’t there anymore. In 2002, to offset the fact that the regular monthly audio stories would follow the eighth Doctor for half of that year, Big Finish released a quartet of additional stories, chronicling previous Doctors’ sequential encounters with an immortal being named Grayvorn. This kept fans of the earlier Doctors happy, and was an interesting early experiment in story arc plotting for Big Finish.

It also gave resident composer David Darlington a shot at creating a quartet of thematically linked music scores to go with the quartet of linked stories. Each story has overlapping musical ideas, as well as a unique tone suiting the ever-evolving setting of the planet Artaris, from its zombie-infested bronze age, to a Renaissance-like era, to a dystopian dictatorship. A fourth story, featuring not the Doctor but the reckless Time Lady Iris Wildthyme (a character introduced in the BBC’s line of novels), went even further back in time. The material common to all of the scores is a mesmerizing, repeating guitar riff which – uncommonly for synth-dominated early Big Finish – actually sounds like it was played on a guitar. If you can recall the hypnotic quality of the Alan Parsons Project instrumental “Sirius”, it’s sort of like that.

Strangely, a maddening series of equally repetitive drum loops represents the middle ages for the music from Excelis Dawns. This is the least enjoyable element of this series of soundtracks. I’m not completely opposed to the apparent anachronism, but the repetition is maddening – one particular drum loop spans two tracks and just doesn’t let up. By the time the Excelis Dawns music gets interesting, it’s like the drum loop has delivered a dose of a potent mental anesthetic – my ears were desensitized to the more interesting elements.

Excelis Rising continues the guitar riff and adds echoing church bells befitting the story’s reason-vs.-superstition storyline. This story’s soundtrack also includes some attempts to emulate the small acoustic ensemble sound of the Dudley Simpson era of Doctor Who music; it doesn’t quite hit the mark, but the contrast against the other scores on this CD is welcome.

Excelis Decays opens up with a musical suite featuring dialogue from the story in question. I’m not a big fan of that practice, but here it has two interesting twists: Excelis Decays was savagely edited down at the last minute to get it to fit on the single CD that Big Finish had scheduled for it, and the track in question (“There’s More To This Than You Know”) consists largely of dialogue that was edited out of the episode. Slightly less welcome is that the dialogue has been processed to include a layer of dialogue which is slightly auto-tuned to match up with the background music. It’s mixed down behind the spoken version of that dialogue, but it’s a curious – and ultimately distracting – stylistic choice.

The rest of Excelis Decays is much more interesting listening, twisting the church bells of Excelis Rising into dissonant industrial percussion. The composer’s liner notes mention a fixation on Vangelis’ Blade Runner score, and that influence is very evident. The last score, to the Doctor-less Plague Herds Of Excelis, combines elements of all of the previous approaches, with that hypnotic guitar riff still prominent.

3 out of 4Excelis seemed like a bold experiment back in the heady early days of Big Finish-produced Doctor Who (these days, every Doctor gets a thematically-linked three-story “season” every year), and the music helped to cement the connections between the four chapters of this mini-epic in style. I might’ve gone lighter on the drum loops if it was up to me, but overall it’s one of the more cohesive Big Finish music soundtracks.

Order this CD

    Excelis Dawns

  1. Excelis (1:39)
  2. The Mountain of Adventure (6:26)
  3. Dawn of the Dead… (2:36)
  4. …But The Hills Are Alive (1:20)
  5. Welcome To The Jungle (2:02)
  6. A Handbag (1:34)
  7. Vanishing Point (1:46)

    Excelis Rising

  8. The Sacred Art Of Stealing (2:22)
  9. Live Forever (1:42)
  10. Ouija Board, Ouija Board (2:54)
  11. Burn Off Into The Distance (4:40)
  12. Hosanna In Excelis Deo (1:51)
  13. Made of Stone (2:49)

    Excelis Decays

  14. There’s More To This Than You Know (3:28)
  15. Oppression (1:54)
  16. Electric Urban Youth (3:10)
  17. Lake Of Fire (3:20)
  18. Propoganda (2:30)
  19. Time to Die (2:12)
  20. Two Hearts Under the Skyscrapers (3:35)
  21. Let the Nuclear Wind Blow Away Our Sins (0:58)

    Bernice Summerfield And the Plague Herds Of Excelis

  22. Panic On The Streets (2:54)
  23. I’m Under A Cow (1:21)
  24. Two Tortured Souls (3:19)
  25. When the Screams Subside (3:43)
  26. Something Savage and Pure (1:05)
  27. But Now the Weakness Comes (2:19)
  28. The Secret (2:03)
  29. Slight Return (1:19)

Released by: Big Finish Productions
Release date: 2002
Total running time: 72:51

Doctor Who: A Christmas Carol – music by Murray Gold

Doctor Who: A Christmas CarolIf the soundtrack from the fifth season of the revived Doctor Who was a marvelous change of pace for composer Murray Gold, the stand-alone soundtrack release for A Christmas Carol, the 2010 Christmas special, is a homecoming. A Christmas Carol returns to the big, unapologetically brassy sound that Gold used for much of the Russell T. Davies era of Doctor Who. About the only thing that’s missing is an orchestral action piece set to a rock drum beat.

That’s not to say that this special’s music wasn’t just as firmly entrenched in the more subdued musical sensibility of the Steven Moffat era, however. After “Come Along Pond,” the all-out action intro for the show’s Star-Trek-spoofing opening teaser, many of the early tracks take on the dark tone of the Doctor’s latest destination. Once the Doctor travels back in time to Kazran Sardick’s childhood, the story’s essentially dealing with a child who’s been neglected at best and abused at worst – not really the kind of material for jubilant tunes. Once we get into scenes such as the Doctor inadvertently feeding his sonic screwdriver to a flying shark, however, Gold is off to the races in his old style.

The sharks (flying or otherwise) would be circling if the album didn’t also include the mesmerizing “Abigail’s Song (Silence Is All You Know)”, whose title – as of the middle of the 2011 season – sticks out like a sore thumb trying to disguise itself as a subtle hint. Unlike some of the songs that have accompanied past Christmas specials, this one is indeed sung by Katherine Jenkins, who played Abigail on screen, and whose operatic pedigree means she certainly doesn’t need to be dubbed. The melody of the song, however, begins creeping into the score long before the song’s appearance late in the episode.

4 out of 4As always, Gold coaxes an awesome wall of sound out of the BBC National Orchestra of Wales, whose presence has occasionally become a bit sparse as the BBC becomes more budget-conscious across the board. Fully orchestral passages have become a kind of special flavoring during the regular season, and an ear-popping stocking stuffer at Christmas. I wasn’t crazy about the plot of A Christmas Carol, but the music is one of the better things about the show, and is well worth a listen.

Order this CD

  1. Come Along Pond (1:51)
  2. Halfway Out Of The Dark (1:38)
  3. Pray For A Miracle (0:37)
  4. Geoff (3:48)
  5. You Didn’t Hit The Boy (1:44)
  6. Fish (0:50)
  7. Kazran Sardick 12 1/2 (1:29)
  8. Ghost Of Christmas Past (1:33)
  9. Babysitter (0:47)
  10. Talk About Girls (1:41)
  11. Sonic Fishing (1:43)
  12. Just A Little One (1:16)
  13. Big Colour (1:50)
  14. I Can’t Save Her (3:34)
  15. The Other Half’s Inside The Shark (1:08)
  16. Abigail (1:47)
  17. He Comes Every Christmas (1:09)
  18. Shark Ride (1:24)
  19. New Memories (1:00)
  20. Holding Hands (1:45)
  21. Christmas Dinner (0:38)
  22. Goodlucknight (1:51)
  23. Goodnight Abigail (2:10)
  24. This Planet Is Ours (2:00)
  25. Ghost Of Christmas Present (0:48)
  26. The Course Of My Life (1:35)
  27. Ghost Of Christmas Future (1:50)
  28. Abigail’s Song (Silence Is All You Know) (4:41)
    performed by Katherine Jenkins
  29. Everything Has To End Some Time (1:14)

Released by: Silva Screen
Release date: 2011
Total running time: 49:21

Doctor Who: Series 5

Doctor Who: Series 5Following hot on the heels of the Series 4 – The Specials 2-CD set, Doctor Who: Series 5 uses much the same format – two CDs again, and as with The Specials, most of the music is presented as unedited individual cues instead of compilations. Most of the season’s episodes are represented here, so there’s something to keep everyone happy.

Following the suddenly-more-gothic-than-it-used-to-be new rendition of the theme music, The Eleventh Hour storms out of the gates, with Murray Gold’s music sounding very much as it did during the tenure of showrunner Russell T. Davies. But as the music from the season opener progresses, we get a very different musical picture than what we’re used to: darker, heavier with synths, and altogether more moody. Moments of traditional Gold bombast do crop up in several scores, but the brass section isn’t necessarily getting a workout with every episode.

It should be pointed out that this is not a bad thing. Without a change of composer, the new season of Doctor Who managed to sound like a completely different show after the opening titles rolled for The Eleventh Hour. Sinister things are afoot throughout the season, and they’re handled with sinister, slithering music. The major themes for the Doctor, Amy (both young and younger) and the lingering threat of Prisoner Zero / the Atraxi / the Silence (which, we are told repeatedly, will fall) are rolled out fairly early on, and the whole thing has a more mystical feel to it. Highlights of the first disc include the quirky “Fish Custard”, “Amy In The TARDIS”, the unnervingly abstract “Time Of The Angels”, and both tracks from “Amy’s Choice”, an episode that’s atypical both musically and in a narrative sense. Those looking for the Murray Gold sound of old won’t be let down: seek out “Down To Earth”, “Battle In The Sky” (from Victory Of The Daleks‘ silly Spitfires-in-space scene) and “The Silurians”.

Disc two kicks off with the season’s musical highlight, Vincent And The Doctor. I’m going to put my cards on the table and say that the track “With Love, Vincent” – accompanying a scene in which Vincent van Gogh helps the Doctor and Amy visualize the night sky as one of his paintings – is the best piece of music that anyone’s put on our TV screens in the past twelve months, with the only serious challenger to that being the music from Lost’s Ab Aeterno episode.

Other highlights on the second CD include “A Useful Striker” (underscoring a true oddity: a Doctor Who sports montage, from The Lodger), and the music heralding perhaps the quietest Doctor Who cliffhanger in the show’s storied history, “The Life and Death of Amy Pond”. Just about every note of music from the season-ending two-parter is found on this disc, from big set pieces (“Words Win Wars”) to nearly fairy-tale material (“Into The Museum”). I found the cue-by-cue approach – which was unfamiliar ground with the Series 4 – The Specials album – worked very well here. The music of the fifth season of new Who was much more interconnected than the disjointed (and disparately scheduled) final batch of Tennant episodes, and it’s interesting to hear the themes develop.

Minor complaint: as with Series 4 – The Specials, there are two iTunes exclusive tracks that mean you’d have to buy the album all over again in digital if you sprang for the physical CDs. Cut it out, guys. Even assuming 74-minute discs, there was enough room for these tracks on the CDs as well. (For the record, one track was from Victory Of The Daleks, and the other from Amy’s Choice.)

Murray Gold can still do music that makes it sound like the house is on fire, but where I was tiring of some of his orchestra-playing-to-a-rock-beat material under Russell T. Davies’ reign, he’s giving the 4 out of 4Moffat era a very fresh and enjoyable sound. At one point, I hoped that the shakeup of personnel might usher in a new composer, but after hearing Doctor Who: Series 5, I’m now of the opinion that Murray Gold can stick around as long as Dudley Simpson if he so chooses.

Order this CD

    Disc One

  1. Doctor Who XI (1:04)

    The Eleventh Hour

  2. Down To Earth (1:06)
  3. Little Amy (1:45)
  4. Fish Custard (2:00)
  5. Can I Come With You? (1:38)
  6. Little Amy: The Apple (1:12)
  7. The Sun’s Gone Wibbly (2:25)
  8. Zero (1:42)
  9. I Am The Doctor (4:04)
  10. The Mad Man With A Box (2:11)
  11. Amy In The TARDIS (4:18)

    The Beast Below

  12. The Beast Below (1:49)
  13. Amy’s Theme (2:06)
  14. A Lonely Decision (3:24)

    Victory Of The Daleks

  15. A Tyrannical Menace (2:03)
  16. Victory Of The Daleks (1:14)
  17. Battle In The Sky (3:25)

    The Time Of Angels / Flesh And Stone

  18. River’s Path (1:17)
  19. The Time Of Angels (3:59)

    The Vampires Of Venice

  20. I Offer You My Daughter (1:37)
  21. Chicken Casanova (1:24)
  22. Signora Rosanna Calvierri (4:26)
  23. Cab For Amy Pond (2:08)
  24. The Vampires Of Venice (4:50)

    Amy’s Choice

  25. Wedded Bliss (1:07)
  26. This Is The Dream (2:53)

    The Hungry Earth / Cold Blood

  27. Rio de Cwmtaff (4:03)
  28. The Silurians (2:02)
    Disc Two
    Vincent And The Doctor

  1. Paint (0:35)
  2. Vincent (2:00)
  3. Hidden Treasures (1:01)
  4. A Troubled Man (2:30)
  5. With Love, Vincent (3:27)

    The Lodger

  6. Adrift In The TARDIS (0:45)
  7. Friends And Neighbours (1:16)
  8. Doctor Gastronomy (1:08)
  9. You Must Like It Here (0:53)
  10. A Useful Striker (1:34)
  11. A Painful Exchange (1:11)
  12. Kiss The Girl (5:14)
  13. Thank You Craig (0:45)

    The Pandorica Opens / The Big Bang

  14. River Runs Through It (1:28)
  15. Away On Horseback (1:25)
  16. Beneath Stonehenge (3:45)
  17. Who Else Is Coming (1:52)
  18. Amy And Rory (0:46)
  19. The Pandorica (2:00)
  20. Words Win Wars (1:49)
  21. The Life And Death Of Amy Pond (3:12)
  22. Amy’s Starless Life (1:41)
  23. Into The Museum (1:17)
  24. This Is Where It Gets Complicated (1:08)
  25. Roman Paradox (1:22)
  26. The Patient Centurion (2:49)
  27. The Same Sonic (0:55)
  28. Honey, I’m Home (2:13)
  29. The Perfect Prison (2:41)
  30. A River Of Tears (1:00)
  31. The Sad Man With A Box (3:18)
  32. You And Me, Amy (2:27)
  33. The Big Day (2:20)
  34. I Remember You (1:53)
  35. Onwards! (0:58)

Released by: Silva Screen
Release date: 2010
Disc one total running time: 67:12
Disc two total running time: 64:38

Doctor Who: Series 4 – The Specials

Doctor Who: Series 4 - The SpecialsReleased purely by popular demand (a fan campaign that was, admittedly, egged on by composer Murray Gold), this 2-CD set of music from David Tennant’s final Doctor Who episodes is quite different from the collections of Gold’s music that have been released before. Previous Doctor Who CDs from the new series have featured short suites of music from given episodes and, in a few cases, complete cues from particularly high-profile scenes. Doctor Who: Series 4 – The Specials presents almost all of its material as discrete cues rather than edited highlights.

Since modern Doctor Who relies to a certain extent on a “library music” approach – certain pieces of music recorded for earlier episodes in a given season frequently recur throughout that season – some episodes are more heavily represented than others. In the case of the Series 4 – The Specials soundtrack, the episodes that drew the short straw – because they leaned heavily on existing music – are Planet Of The Dead and The Waters Of Mars. As these are generally regarded to be the weak points in the tenth Doctor’s finaladventures, this probably won’t meet with too many howls of protest.

Represented much more fully are The Next Doctor (the 2008 Christmas special) and both episodes of The End Of Time, a two-parter that wrapped up the tenth Doctor’s story. The Next Doctor actually has a rather Christmassy feel to it, and it reinterprets some of Gold’s previous Cybermen music from Rise Of The Cybermen and The Age Of Steel. This is typical Murray Gold: a bit overblown, like a student of John Williams set loose in a candy shop, but a lot of fun.

Somewhat more interesting is the lengthy selection of music from The End Of Time, which has a much heavier, more doom-laden feel to it; whereas The Next Doctor‘s title was a red herring, The End Of Time makes good on its promise to end the tenth Doctor’s story and introduce the Time Lord’s eleventh incarnation. From the beginning, The End Of Time is painted in shades of epic, with an abundance of choral pieces and less jubilant music than a typical Murray Gold Doctor Who outing. Highlights include the scenes set on Gallifrey during the Time War, and a new suite of music expanding the “four knocks” motif from the Master’s previous appearance at the end of series three. Even casual listeners will probably zoom straight forward to “Vale Decem”, the choral piece that sees Tennant’s Doctor out of the Doctor Who mythos. (A prelude to this piece, “Vale”, opens and closes the whole collection.) The energetic, rock-oriented “The New Doctor” gives us our first glimpse of the eleventh Doctor in action – but for more of him, there’s a whole different soundtrack.

Even the music from The End Of Time isn’t all new – the disappearance of Gallifrey back into its rightful (and doomed) place in time isn’t included here, having been tracked with music from the fourth season episode Midnight (already available on that season’s soundtrack). Also, there are two iTunes-exclusive tracks – one from The End Of Time and one from The Next Doctor – which owners of the physical 2-CD set would have to buy the entire thing all over again, this time in digital form, to get. (As a general rule, this kind of exclusivity annoys the hell out of me: digital delivery has killed the brick-and-mortal music store already. Further incentives to abandon physical media are, quite simply, no longer necessary. Put the same material on both formats and let consumers make up their own minds, as those still buying CDs are most likely doing so for reasons that won’t be overridden by two extra tracks.)

It almost seems as though The Waters Of Mars gets shortchanged here, as its very scary, drippy-liquidy music comes and goes all too briefly; I would’ve traded some of The Next Doctor‘s music in for more Waters.

4 out of 4Overall, it’s a nice musical chronicle of David Tennant’s extended swan song as the Doctor, and should more than satisfy fans who are looking for any particularly memorable scene from his final episodes. The change from “brief suites covering much of the season” to “mostly unedited full cues straight off the master tapes” is a bit of a gear shift that’ll take some getting used to.

Order this CD

    Disc One

  1. Vale (1:37)

    The Next Doctor

  2. A Victorian Christmas (1:34)
  3. Not the Doctor (3:19)
  4. A Bit of a Drag (1:23)
  5. In the Sea of Memory (0:44)
  6. Hidden in the Closet (1:51)
  7. The Wonder of Balloons (1:23)
  8. A Forceful Intelligence (1:12)
  9. The Greats of Past Time (5:04)
  10. The March of the Cybermen (4:13)
  11. Goodbyes (5:04)

    Planet of the Dead

  12. A Disturbance in the Night (0:38)
  13. The Cat Burglar (1:30)
  14. Alone in the Desert (3:19)
  15. A Special Sort of Bus (2:19)
  16. Stirring in the Sands (1:58)
  17. Lithuania (1:48)

    The Waters of Mars

  18. Letter to Earth (2:15)
  19. By Water Borne (2:23)
  20. The Fate of Little Adelaide (5:05)
  21. Altering Lives (3:23)
    Disc Two
    The End of Time

  1. We Shall Fare Well (1:26)
  2. A Frosty Ood (2:50)
  3. A Dream of Catastrophe (1:18)
  4. All in the Balance (0:55)
  5. A Ruined Gaol (1:22)
  6. Wilf’s Wiggle (0:43)
  7. Minnie Hooper (1:31)
  8. The End Draws Near (3:46)
  9. Gallifrey (2:22)
  10. Final Days (1:43)
  11. The Council of the Time Lords (0:41)
  12. The Master Suite (4:33)
  13. The Ruined Childhood (3:27)
  14. A Chaotic Escape (2:59)
  15. The World Waits (5:18)
  16. A Longing to Leave (1:18)
  17. A Lot of Life Behind Us (4:20)
  18. Dealing with the Menace (1:35)
  19. Speeding to Earth (1:18)
  20. The Time Lords’ Last Stand (3:27)
  21. The Clouds Pass (1:53)
  22. Four Knocks (4:04)
  23. Song for Ten (Reprise) (2:21)
  24. Vale Decem (3:19)
  25. Vale (4:20)
  26. The New Doctor (1:07)

Released by: Silva Screen
Release date: 2010
Disc one total running time: 52:02
Disc two total running time: 64:06