Raymond Scott – Manhattan Research, Inc.

Manhattan Research, Inc.Perhaps unfairly best known for having his music repurposed into the backing tracks for classic Warner Bros. cartoons, the late Raymond Scott has another claim to fame that often gets overlooked – he was one of the true pioneers of electronic music in America. In this area, Scott was a true renaissance man: not only did he pioneer the sound, but he built his own instruments and early devices that presaged sequencers, and he even did some of the first work on multi-track recording, at roughly the same time that Les Paul was experimenting with similar ideas. In the 1950s and 1960s (at roughly the same time as the ascendancy of the BBC Radiophonic Workshop), Scott was carving out his own path in an entire new genre of music.

Not only that, but Scott was trying his hardest to make his experiments pay for themselves: he marketed his unusual new sounds as music beds and jingles for commercials, with some success. The two-disc Manhattan Research, Inc. collection chronicles and archives that material, with a selection of Scott’s finished spots (both with and without announcers/singers) as well as demos and experiments that never made it to radio. The commercials range from obscurely local/regional campaigns (Baltimore Gas & Electric Company) to major national campaigns (IBM, Bufferin, Vicks, General Motors and a Sprite radio campaign that remains famous enough that it’s now become an ironic cover song). In a way, Scott achieved his aim by getting a new style of music into the ears of millions of listeners – but until now, not with any recognition.

While the commercials are a nostalgia trip that goes back even before the writer of this review was born, some of the purely instrumental pieces are startlingly ahead of their time: the “Night and Day” track on the first disc could’ve caught on in the 1980s had it been revived then. “Take Me To Your Violin Teacher” could easily be mistaken for modern chiptunes performed with 1980s video game hardware… and yet it was recorded in 1969. “Ripples (Montage)” anticipates abstract-but-tuneful electronic film scoring. “Cindy Electronium” sounds like late ’80s/early ’90s video game music.

There are a few throwbacks as well; Scott tries out completely electronic renditions of his existing compositions including “The Toy Trumpet” (which becomes almost unrecognizable) and “Twilight In Turkey”, both of which featured in their original, jazzier forms on Reckless Nights & Turkish Twilights. Some of his electronic music beds are also quite obviously very close cousins of the music from his Soothing Sounds For Baby albums. There’s also one very interesting guest star on a few tracks: the voice of none other than Jim Henson graces some tracks recorded in 1969, including “Limbo: The Organized Mind”, a free-form ramble set to Scott’s electronic sounds, and a couple of Bufferin commercials which seem to have sprung from “Limbo” both conceptually and musically.

A lot of this information, incidentally, is included in a book that clocks in at around 140 pages and covers Scott’s entire life and career, not just the material on these two CDs, in a wealth of detail.

3 out of 4Raymond Scott is still overdue for a reassessment of one of the electronic music pioneers in the United States, to say nothing of being a composer whose works influenced generations of children (by way of Warner Bros. cartoons). Manhattan Research, Inc. really isn’t a “general audience” listening experience, but it’s an invaluable archive for anyone interested in how electronic music gained a foothold in our national consciousness: in little snippets, 30 or so seconds at a time, behind commercial announcers and jingle singers.

Order this CD

    Disc One

  1. Manhattan Research, Inc. Copyright (0:11)
  2. Baltimore Gas & Electric Co. (Instrumental, Take 4) (1:14)
  3. Bendix 1: The Tomorrow People (1:06)
  4. Lightworks (1:52)
  5. The Bass-line Generator (3:10)
  6. Don’t Beat Your Wife Every Night! (1:44)
  7. B.C. 1675 (Gillette Conga Drum Jingle) (3:16)
  8. Vim (0:59)
  9. Auto-Lite: Sta-Ful (Instrumental) (0:47)
  10. Sprite: Melonball Bounce (Instrumental) (1963)
  11. Sprite: Melonball Bounce (1963)
  12. Wheels That Go (0:50)
  13. Limbo: The Organized Mind (4:33)
  14. Portofino 1 (2:13)
  15. County Fair (1:01)
  16. Lady Gaylord (1:02)
  17. Good Air (Take 7) (0:38)
  18. IBM MT/ST: The Paperwork Explosion (4:31)
  19. Domino (0:33)
  20. Super Cheer (0:34)
  21. Cheer: Revision 3 (New Backgrounds) (0:39)
  22. Twilight in Turkey (1:32)
  23. Raymond Scott Quote / Vicks: Medicated Cough Drops (1:34)
  24. Vicks: Formula 44 (0:46)
  25. Auto-Lite: Spark Plugs (1:00)
  26. Nescafe (1:06)
  27. Awake (0:35)
  28. Backwards Overload (6:04)
  29. Bufferin: Memories (Original) (0:59)
  30. Bandito the Bongo Artist (1:30)
  31. Night and Day (Cole Porter) (1:45)
  32. Baltimore Gas & Electric Co. (“395”) (1:07)
  33. K2r (0:19)
  34. IBM Probe (1:56)
  35. GMGM 1A (1:49)
  36. The Rhythm Modulator (3:37)
    Disc Two

  1. Ohio Plus (0:17)
  2. In the Hall of the Mountain Queen (0:49)
  3. General Motors: Futurama (1:04)
  4. Portofino 2 (2:14)
  5. The Wild Piece (a.k.a. String Piece) (4:07)
  6. Take Me to Your Violin Teacher (1:40)
  7. Ripples (Original Soundtrack) (0:59)
  8. Cyclic Bit (1:04)
  9. Ripples (Montage) (4:06)
  10. The Wing Thing (1:00)
  11. County Fair (Instrumental) (1:00)
  12. Cindy Electronium (1:59)
  13. Don’t Beat Your Wife Every Night! (Instrumental) (1:45)
  14. Hostess: Twinkies (0:32)
  15. Hostess: Twinkies (Instrumental) (0:32)
  16. Ohio Bell: Thermo Fax (0:24)
  17. Pygmy Taxi Corporation (7:11)
  18. Baltimore Gas & Electric Co. (Announce Copy, Take 1) (0:29)
  19. Baltimore Gas & Electric Co. (0:44)
  20. Lightworks (Slow) (1:40)
  21. The Paperwork Explosion (Instrumental) (3:30)
  22. Auto-Lite: Ford Family (1:03)
  23. Auto-Lite: Ford Family (Instrumental) (0:54)
  24. Raymond Scott Quote / Auto-Lite: Wheels (1:50)
  25. Bufferin: Memories (Demo) (0:44)
  26. Space Mystery (Montage) (5:11)
  27. The Toy Trumpet (2:15)
  28. Backwards Beeps (1:05)
  29. Raymond Scott Quote / Auto-Lite: Sta-Ful (1:36)
  30. Lightworks (Instrumental) (1:29)
  31. When Will It End? (3:14)
  32. Bendix 2: The Tomorrow People (1963)
  33. Electronic Audio Logos, Inc. (5:23)

Released by: Basta
Release date: 2000
Disc one total running time: 58:48
Disc two total running time: 63:11

Christopher Franke – New Music For Films, Volume 2

New Music For Films, Volume 2In 1994, after Babylon 5’s first season premiered in syndication and I was firmly hooked on all aspects of it, I went looking to see if anything had previously been released by Christopher Franke, and promptly found the then-fairly-recent New Music For Films Volume 1. A pretty good chunk of that compilation of cuts from various Franke film scores sounded authentically Babylon 5-ish, so I was more than happy with it. When actual Babylon 5 music finally appeared, I snatched it up eagerly, though I’ll admit to having balked numerous times when the “episodic CDs” appeared with frequently-reused music and an almost trading-card approach to the soundtrack market.

I passed on New Music For Films Volume 2 when it came out – a year after the last of the Babylon 5 episodic CDs – because I was, frankly, Franke’d out. Having now gotten it and listened to it, I wonder if the problem wasn’t that I was Babylon 5’ed out – or maybe Franke was too, resulting in a fatigued composer and a fatigued audience who both needed a break. This second volume of New Music shows that not Franke was stretching his wings further than the B5 signature style already, with much of this music being contemporary with the show’s final season. In other words, there’s stuff on here that doesn’t sound like Babylon 5.

One area where Franke will never be able to escape the similarity is with action music. His signature low pulsing string arrangements give him away like snare-drum Americana gives John Williams away. His action cues tend to sound the same from project to project, and given that there are few such pieces on this compilation, it’s hard not to wonder if he knows that too.

Where this second volume of New Music excels is in this places where it sounds like nothing Franke has done before. There are a couple of tracks with choral sections, but they sound completely different from the operatic choral elements Franke used frequently on Babylon 5. As his label, Sonic Images, had just opened sublabels for world music and electronica at the time, here Franke seems to be trying those styles on for size to see if they fit the project he’s working on. The result is, in places, something that sounds much more up-to-date than a 2000 release. Middle Eastern influences, processed percussion, and more piano than I’m used to from Franke all make appearances.

Rating: 3 out of 4If you watch The Lost Tales and find yourself yearning for more of the Christopher Franke sound than can be found on the somewhat brief Lost Tales CD, this is certainly an album that can deliver, and maybe it’ll introduce you to a whole new Christopher Franke sound as well.

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  1. Opening (3:17)
  2. Morning Ride (2:23)
  3. Attack On The Village (2:40)
  4. Damaged Goods (1:49)
  5. Jane’s Arrival (5:10)
  6. The Dam Breaks (1:05)
  7. Broken Dreams (2:55)
  8. Escape (2:05)
  9. A New Friendship (1:40)
  10. The Chase (2:13)
  11. Deadly Flight (6:31)
  12. Near Death (1:38)
  13. Dance Lesson (1:17)
  14. The Race (4:05)
  15. Fight For Opar (5:10)
  16. Finale (3:32)

Released by: Sonic Images
Release date: 2000
Total running time: 47:31

The Omega Man – music by Ron Grainer

As one of a trilogy of dystopian flicks from the ’60s and ’70s starring Charlton Heston, The Omega Man is notable for being a loose adaptation of Richard Matheson’s novel “I Am Legend” and, in its own very mild way, anticipating the zombie subgenre of horror movies that was yet to come. For film music enthusiasts, however, Omega Man is a rare treasure – it’s an entire score composed by Ron Grainer, the British composer whose opening title music for such TV shows as The Prisoner and Doctor Who instantly captured the heart of those shows. But could he do more than coin catchy opening title music? That’s what I hoped to find out by giving Omega Man a listen.

Oh, this score is a rare treasure for another reason – a 2000 Film Score Monthly CD release has been its only CD release to date, and all 3,000 copies sold out in what seemed like the blink of an eye. If one of those 3,000 CDs shows up on an online auction site for anything that doesn’t have at least two zeroes to the left of the decimal, that too is a rare thing.

If there’s a previous Grainer work that Omega Man calls instantly to mind, it’s definitely the theme from The Prisoner. Of course one can really only spot this with hindsight; Omega Man hit theaters in 1971, just four years after The Prisoner’s UK premiere, and not everyone had seen The Prisoner (especially outside the UK), and certainly not to a saturation point where casual action moviegoers would recognize the music. The Prisoner’s unmistakable horn figure is heard many times, bringing a brash bravado to many a scene.

I could just about forget trying to make comparisons to Grainer’s previous work after hearing the main theme from this movie. It’s an extremely long-lined melody that just oozes a wonderful sense of world-weariness and manages to sound great at the same time. There’s still a hint of The Prisoner about it, but there’s less swagger and less certainty to it. There’s a feeling of longing, which is completely appropriate for Heston’s character, who’s literally the last man on Earth. As the story wears on, the bravado begins to seep out of the music as the situation gets more desperate. Once we’re past the first two or three tracks, things don’t really kick in and get interesting again until close to the end.

The Omega Man‘s music isn’t timeless, by the way; there are numerous elements which nail it down to a late ’60s/early ’70s sound, with the electric organ (and the way it’s played) frequently being the most obvious of those elements. Some people may find that unpalatable, but I just file it under “endearingly cheesy at times” and keep listening. It was the style of its time, and there’s no mistaking the soundtrack as anything but a product of its time.

As with all of Film Score Monthly’s CDs, the packaging is as impressive as the sound quality of the CD itself, detailing both the music and the movie itself. (It’s worth noting that “I Am Legend” is finally going to hit theaters under its own name, in a new version starring Will Smith, though how faithful the Smith version is 4 out of 4compared to The Omega Man is likely to keep movie fans, and fans of Matheson’s original story, debating for quite a long time.)

Great music, if you can overlook some of its dated elements. Did Ron Grainer have the chops to do more than just theme music? The Omega Man answers with a double-barreled “yes.”

Order this CD

  1. A Summer Place (1:38)
  2. The Omega Man (3:23)
  3. Surprise Party (1:41)
  4. Needling Neville (3:38)
  5. Swinging At Neville’s (1:07)
  6. The Spirit Still Lingers (4:30)
  7. Where Did Lisa Go? (3:41)
  8. ‘Round Midnight (2:22)
  9. Jumped By The Family (2:18)
  10. On The Tumbril (6:08)
  11. Bad Medicine For Richie (2:15)
  12. All Through The Night (3:53)
  13. Zachary Makes His Move (4:49)
  14. Hope Springs Eternal (4:05)
  15. Richie On The Roof (3:59)
  16. Neville Crashes Through (5:33)
  17. Matthias The Victor (5:13)
  18. Dutch Takes Over (5:20)

Released by: Film Score Monthly
Release date: 2000
Total running time: 65:33

Hot Butter – Popcorn

Hot Butter - PopcornA novelty for the early 1970s, Hot Butter helped to drag electronically generated music into the American mainstream. Actually the brainchild of session keyboard player Stan Free, who had played on albums and on stage for numerous other artists, Hot Butter had to ease its listeners into the concept of music generated by machine by doing covers of familiar tunes, including the one that actually made it onto the charts, a cover of an obscure instrumental called “Popcorn”.

The novelty of it all is that, where the British and European listening public had been getting a steady indoctrination of electronic music via the BBC Radiophonic Workshop and other sources for years, often with a psychedelic connotation, the American public wasn’t yet on that same IV drip of music made with machines. There are wavering bass and melody lines in Hot Butter’s songs that simply couldn’t be performed, with the degree of consistency and accuracy heard here, by a human being. To smooth the shock of the new, there are some “real” instruments in the mix, usually drums.

Some of the best pieces here were echoplexed ’60s instrumentals – “Telstar” and “Apache” – that lent themselves well to the Hot Butter treatment. Other fairly well known songs also adapt easily to Hot Butter’s style, though nothing is as surprising as “Amazing Grace”, played bagpipes-style by synthesizers. That synths were at the core of the music was amazing enough at the time; that they were taking the place of an easily recognizable instrument in an almost universally-well-known arrangement was just another shock treatment, 3 out of 4 starsand it works wonderfully.

Though always intended to be a novelty act, Hot Butter may have had some life in it yet, and it’s a bit sad, after hearing Free’s virtuosity here, that the Butter didn’t keep simmering, leaving this act a bona fide one-hit wonder.

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  1. Popcorn (2:34)
  2. Day By Day (3:49)
  3. Apache (2:53)
  4. At The Movies (2:34)
  5. Tristana (3:29)
  6. Song Sung Blue (3:36)
  7. Telstar (2:26)
  8. Tomatoes (2:21)
  9. Amazing Grace (2:58)
  10. Love At First Sight (2:58)
  11. Song Of The Nairobi Trio (2:16)
  12. The Silent Screen (2:12)
  13. Mah-Na-Mah-Na (1:51)
  14. Masterpiece (2:18)
  15. Percolator (1:59)
  16. Skokiaan (2:12)
  17. Slag Solution (2:28)
  18. Sounds (3:13)
  19. Space Walk (2:52)
  20. Syncopated Clock (2:16)
  21. Tequila (1:49)
  22. Wheels (1:54)

Released by: Castle
Release date: 2000
Total running time: 56:58

Logan’s Sanctuary – Brian Reitzell & Roger J. Manning, Jr.

Logan's Sanctuary soundtrackBased on an entirely fictional sequel to the last great pre-Star Wars SF flick of the 70s, Logan’s Run, Logan’s Sanctuary is the equally imaginary musical score, composed by Roger Manning (Jellyfish) and Brian Reitzell (Air) and featuring Jason Falkner as a guest performer. Conceptually, Manning and Reitzell try to create this music as if they were in the 70s.

Musically, your enjoyment of this “soundtrack” from Logan’s Sanctuary (which, by the way, isn’t even trying to be a part of the three-book Logan’s Run cycle written by William F. Nolan) will depend on your tastes in instrumental music. Analog and Moog synthesizers are the order of the day here, all played very much in a 70s style; Falkner contributes appropriately 70s-flavored “wah-chicka” guitar licks to the instrumental track “Metropia”, and plays guitar, bass and sings on the 70s-styled power pop anthem “Search For Tomorrow”. (Unless I’ve completely forgotten what Falkner looks like, he also appears to have been the authentically-costumed “hero” in the CD booklet’s amusing plethora of freshly-shot “movie publicity stills.”) Search is easily the most modern thing on the whole CD, played very much as one of Falkner’s own solo tunes, though Falkner’s own style of writing and performing is so firmly rooted in the 70s aesthetic that this doesn’t put it at odds with the rest of the CD.

Getting back to the liner notes booklet for a moment, the “synopsis” of the movie is knee-slappingly funny (as are the photos of Jason Falkner in full Sandman uniform, dispatching white-hooded villains at futuristic-yet-vaguely-mall-like locales), almost as if we were reading about a Logan’s Run sequel…directed by Ken Russell. This actually enhances the whole experience, as the music on the CD itself isn’t music that’s aspiring to follow in the footsteps of Jerry Goldsmith. It’s music befitting a low-budget 70s cash-in flick. Which, let’s face it, is probably what any cinematic sequel would’ve been, with or without George 4 out of 4Lucas completely rewriting the SF filmmaking book.

Pretty enjoyable stuff, though it’s not going to be up everyone’s alley; fans of 70s power pop or of Jason Falkner might put this one on their list just for “Search For Tomorrow”, however. And the whole “movie that wasn’t” gag is enough to spark one’s imagination (or, at the very least, it worked for Manning and Reitzell).

Order this CD

  1. Islands In The Sky (2:39)
  2. Search For Tomorrow (5:14)
  3. The Game (4:25)
  4. Lara’s Rainbow (5:08)
  5. Metropia (5:56)
  6. Pleasure Dome 12 (4:46)
  7. Ian’s Orbit (6:00)
  8. Escape (3:27)
  9. Endless Tunnels (6:10)
  10. The Silver Garden (5:40)

Released by: Emperor Norton
Release date: 2000
Total running time: 49:25

Konami Game Music Volume 1

Konami Game Music Volume 1I previously griped a bit about Taito Game Music, a CD which I liked despite its shortcomings but really couldn’t see recommending to a general audience. Well, as it turns out, some of the same problems rear their heads with Konami Game Music Volume 1, but those problems are tempered by one thing: generally, Konami’s 80s arcade games had more music than Taito’s, lending themselves more readily to a release like this.

Covered in this first volume of Konami coin-op audio tributes are Gyruss (whose techno take on Bach’s “Tocatta And Fugue In B Minor” was the first video game music ever presented in stereo), the original and arrangement versions of Twin Bee and Gradius, music and effects from Pooyan, Time Pilot, Yie Ar Kung-Fu, Roc ‘N’ Rope and a Japan-only release, Kekkyoku Nankyoku Daiboken. All strictly 80s goodness.

3 out of 4The sound transfers, as usual, are phenomenal, but all the difference is made when one tries to do this with games which had music to begin with. Gyruss and Time Pilot are personal favorites of mine in this department, and there’s no doubt that you’ll probably dig others that have memories attached to them for you as well. Good stuff, but still something for only the biggest video game fans.

Order this CD


  1. Credit – Start BGM (Stage99) (0:10)
  2. Twinbee’s Home Town Song BGM (Game BGM 1) (0:19)
  3. Power Up – Fantastic Powers (1:05)
  4. Boss BGM1 – Clear (0:45)
  5. Boss BGM2 – Stage Clear – Extend (0:54)
  6. Warning – Boss BGM3 – Game Over (0:52)
  7. Normal Ranking (0:18)
  8. Top Ranking (0:26)

    Kekkyoku Nankyoku Daiboken

  9. BGM (1:15)

    Gradius Arrange Version

  10. Beginning Of The History – Challenger 1985 – Free Flyer (4:44)


  11. Gyruss BGM (3:02)

    Roc ‘N’ Rope

  12. Game Start (0:10)
  13. BGM1 (0:56)
  14. BGM2 (0:54)
  15. BGM3 (0:53)
  16. BGM4 (0:59)

    Yie Ar Kung Fu

  17. Game Start (0:09)
  18. BGM (1:02)
  19. Game End (0:36)


  20. Credit – Beginning Of The History (0:24)
  21. Challenger 1985 (0:47)
  22. Beat Bank (0:17)
  23. Blank Mask (0:22)
  24. Free Flyer (0:46)
  25. Mazed Music (0:18)
  26. Mechanical Globule (0:33)
  27. Final Attack (0:24)
  28. Aircraft Carrier (0:16)
  29. Game Over (0:05)
  30. Ranking (0:21)
  31. BGM (0:53)


  32. Game Start (0:13)
  33. BGM1 (0:52)
  34. BGM2 (1:02)
  35. BGM3 (0:53)
  36. BGM4 (0:04)
  37. BGM5 (0:41)

    Time Pilot

  38. BGM1 (0:10)
  39. BGM2 (1:18)

    Twinbee Arrange Version

  40. Twinbee’s Home Town Song – Game Over – Normal Ranking (4:54)

Released by: Scitron Digital
Release date: 2000
Total running time: 35:24

Doctor Who: Music from the Audio Adventures Vol. 1

Doctor Who: Music from the New Audio Adventures, Volume 1Shrewd move, this. Big Finish Productions’ line of well-received radio-dramas-minus-the-radio spun off from the BBC’s much-lamented Doctor Who series has featured some above-average music. Big Finish has wisely decided to release some of the music on its own – and why not? They own the recordings, so they’re able to capitalize on them.

The proceedings kick off with the harpsichord-heavy menace of the period drama Phantasmagoria (the second Audio Adventure to hit the stores). The Fearmonger features some of the best music on the disc. Several suspenseful cues evoke memories of the best all-synth music of early 80s Doctor Who, while the more evocative “Butterflies” and “I Am Afraid” tracks remind me of Mark Ayres’ better music toward the end of the life span of the TV series. More vintage sounds are heard as The Marian Conspiracy relies heavily on recorders and pipes (or, at the very least, samples thereof). The Spectre Of Lanyon Moor, comprising the final eight tracks, has some very effective choral samples mixed in with instrumentation that evokes the tremendously effective Dudley Simpson scores of Tom Baker’s early adventures. It’s all very dark and menacing, but in an intimate way – which, in some cases, makes it all the scarier.

Alistair Lock has obviously done his homework – which consisted largely of growing up with the good Doctor’s adventures and absorbing a good deal of the series’ musical stylings. While bringing the sound into the modern day, Lock’s music stays faithful to the atmosphere of Doctor Who underscores past, and plays a big part in bringing the new adventures to life. Not to downplay the alternating musical contributions of Nicholas Briggs and Russell Stone, but Lock’s music gets it right on the money most of the time – even to the point that, having listened to all of the Audio Adventures thus far, I was hoping that Big Finish had a music CD in the wings before they even announced it.

One minor gripe: valuable time is taken by introducing each story’s music with yet another copy of its minute-or-so-long teaser (which many listeners will recognize from the “coming attractions” track at the end of most 4 out of 4of the Audio Adventures’ second discs). In a way, I suppose this CD serves as a marketing tool, but I really have to question whether anyone would buy the music CD without first having heard the audio dramas whence the music came? The result is nearly five minutes of the CD that could’ve contained music, rather than a promo most everyone will have heard already.

Order this CD

  1. Phantasmagoria trailer (1:17)
  2. Cards and Papers (1:40)
  3. Valentine’s Calling Card (4:37)
  4. Town Crier (1:53)
  5. Card Chase (5:18)
  6. House Hunting (1:53)
  7. Interlude (0:35)
  8. The Fearmonger trailer (1:07)
  9. First Shooting (2:42)
  10. Nightmare Rally (2:36)
  11. Bomb Threat (1:12)
  12. Kitchen Attack (1:11)
  13. Butterflies (3:21)
  14. I Am Afraid (2:20)
  15. A Word From Mike (0:07)
  16. The Marian Conspiracy trailer (1:10)
  17. Historic Argument (1:53)
  18. The Court Of Queen Mary (2:57)
  19. Religious Fervour (4:09)
  20. Tea With The Locals (2:37)
  21. Out Of Time (2:09)
  22. Marriage For The Doctor (1:10)
  23. Escape From The Tower (2:20)
  24. Rescued By An Angel (2:25)
  25. The Spectre Of Lanyon Moor trailer (1:15)
  26. Stranded (1:14)
  27. Ghosts Of The War (0:58)
  28. Imps On The Cliff (0:59)
  29. Recalling The Attack (1:35)
  30. Dead Soldiers (0:49)
  31. The Lab (4:07)
  32. Sancreda (4:17)
  33. Saving The World (3:11)

Released by: Big Finish Productions
Release date: 2000
Total running time: 72:41