Depeche Mode – Exciter

Depeche Mode - ExciterI’ll admit it upfront: Depeche Mode lost me for the longest time. I wasn’t the biggest fan of Violator, though there was stuff to like on that album. But it was the group’s 90s output – especially Ultra – that had me tuning them out. But at the risk of sounding a little too cheesy, I found Exciter much more exciting. This album sees Depeche Mode – and specifically core members David Gahan and Martin Gore – on the rebound from some of the events that helped the group hit that low ebb.

Gore’s songwriting acumen, which seemed to be on the decline, is back in full force with a number of fascinating and listenable tunes. And it helps that Gahan is back in fine form (and even better voice) for the first time since Violator. Normally I point out standout tracks, but the truth is, there’s little on Exciter to not enjoy. My personal favorites, however, have to be the dreamy “Comatose” – replete with the kind of mesmerising chords and structure that haven’t been a mainstay of the pop music landscape for decades, only with an updated sound and some of the best Gahan/Gore vocal harmonies ever – and the bouncy and slightly sarcastic “I Feel Loved”. Other highlights include the slinky Breathe and a thundering anthem to the goth generation, “The Dead Of Night”.

Overall, I’m thrilled with Exciter – this is the best thing Depeche Mode has done in rating: 4 out of 4years. When they started out, they were mavericks on the pop scene, abandoning any sign of traditional instrumentation for the innovative sounds they could coax out of the then-new synths and samplers available in the new wave days. Even though that field’s pretty crowded now, Depeche Mode surprised me with this album, which shows they’re still the innovators they were twenty years ago.

Order this CD

  1. Dream On (4:19)
  2. Shine (5:32)
  3. The Sweetest Condition (3:42)
  4. When The Body Speaks (6:01)
  5. The Dead Of Night (4:50)
  6. Lovetheme (2:02)
  7. Freelove (6:10)
  8. Comatose (3:20)
  9. I Feel Loved (4:20)
  10. Breathe (5:17)
  11. Easy Tiger (2:05)
  12. I Am You (5:10)
  13. Goodnight Lovers (3:48)

Released by: Warner Bros.
Release date: 2001
Total running time: 56:48

Neil Finn – One All

Neil Finn - One AllSome of us self-confessed pop music addicts are so gaga over just about anything by the Finn Brothers that we’ll plunk down thirty bucks to import an album that appears to have no chance of arriving on store shelves in America. And that was the case when I got One Nil, the second solo album by Neil Finn. And while my music-buying budget isn’t that big, $30 is worth it for a finely crafted album like One Nil.

One All, on the other hand, is the American version of the album, arriving a year later, subtracting two songs (both of which I liked a lot) and adding two more (both of which I like a lot). Why any tracks had to be deleted, I’ll never know, but Finn himself made that decision. He also had several of the surviving One Nil tracks remixed by Bob Clearmountain (who did so much to make Crowded House’s Together Alone album the masterpiece of atmosphere that it was), and changed the running order a bit.

The result is a nice album, but one which may now be missing its emotional core. One All is still, like its original version, largely about fidelity in a relationship, but the addition of the lovely “Lullaby Requiem” (possibly the most tragically beautiful pop song I’ve ever heard) and the quirky “Human Kindness” jars that running theme a bit. Even more than that, the absence of “Elastic Heart” – an abstract, atmospheric song about anger and forgiveness and stretching a relationship to its limits – damages whatever flow One All might’ve had even with the two new songs. I know “Elastic Heart” was probably a song that most listeners considered “weird,” but I grew to like its unusual melancholy brass-band ambience and especially its lyrics. I miss its presence here.

4 out of 4Overall, however, my reaction is one of relief that the album has been released in the U.S. in any form at all. I have a few minor gripes about the remixing done on some of the songs (I actually preferred the moody and sometimes murky mixing of the songs in their original One Nil form), but the songs themselves are still worth the price tag.

Order this CD

  1. The Climber (4:15)
  2. Driving Me Mad (3:56)
  3. Hole In The Ice (4:06)
  4. Last To Know (2:59)
  5. Wherever You Are (4:42)
  6. Secret God (5:24)
  7. Lullaby Requiem (3:44)
  8. Human Kindness (4:41)
  9. Turn And Run (3:41)
  10. Anytime (3:23)
  11. Rest Of The Day Off (3:57)
  12. Into The Sunset (4:12)

Released by: Nettwerk America
Release date: 2002
Total running time: 49:00

Peter Gabriel – Up

Peter Gabriel - UpPeter Gabriel is such a busy performer, what with his occasional soundtrack songs (for such movies as Philadelphia and City Of Angels and his occasional soundtrack scoring (Long Walk Home, Birdy, Passion: Music For The Last Temptation Of Christ, etc.) and other projects which don’t quite qualify as solo albums (OVO). And it’s easy to forget, with all of that activity, that here we have a man who hasn’t really released a solo album in a decade. Let’s put that in perspective, shall we?

  • When Us was released, I was still working part-time in radio.
  • When Us was released, the fifth season of Star Trek: The Next Generation was still on the air, and it was still the only Star Trek series on TV. No one had ever heard of Babylon 5 or Xena.
  • When Us was released, the Persian Gulf War had been over for a year – or so many of us thought.
  • When Us was released, Britney Spears was still on the New Mickey Mouse Club, and Toad The Wet Sprocket was actually getting radio airplay.
  • When Us was released, I was in my 20s, not my 30s.

Now, bearing in mind that Up has been “just around the corner” since 1998 or so, there’s a certain anticipation factor at work here as well. Given that Pete’s soundtrack work in the past decade or so has been exceptional, most of his fans were eager to hear what it would be like when the man would actually open his mouth and sing again.

Up was either going to be nothing short of a spiritual revelation, or a total disappointment.

Actually, it’s neither – it’s a good album, certainly, but in some ways Gabriel has yet to match the diversity and virtuosity of 1986’s So, the album which put him on the charts with “Big Time” and “Sledgehammer”. There’s a certain introspective murkiness that has dominated Gabriel’s work, both solo and theatrical, since 1989’s Passion, which was the project where he fell in love with Mediterranean soundscapes and instruments. There’s nothing wong with that, but sometimes that atmosphere just doesn’t lend itself to a great pop song like “Big Time”.

Up opens with “Darkness”, which smacks mightily of the first song on his third self-titled album. Almighty searing blasts of distorted guitar belie the song’s true nature, which gets much quieter as it goes on despite a paranoid lyric that made sense with the blasting intro of the song. Things get a little more lively with the outstanding “Growing Up”, which is a complex, jumpy tune in which two or three simultaneous lyrics occasionally overlap, especially in the last verse of the song.

“Sky Blue” is a quiet, ambient number (featuring guitars by none other than Peter Green) which had already been heard to a certain extent – a few tracks on Gabriel’s soundtrack project Long Walk Home previewed the awesomely atmospheric backing vocals of the Blind Boys Of Alabama, though here the power of those vocals is somewhat diminished. I can’t really explain, but on Long Walk Home, the Blind Boys came out of nowhere and made a quiet little cue a show-stopper; here, they’re just echoing a melody that Gabriel’s been singing throughout the song.

“No Way Out” is another quiet song with an alarming and arresting lyric – the simplest interpretation of which is that someone standing next to the person singing the song has been shot – featuring former Crowded House producer Mitchell Froom on piano and Gabriel himself on guitar (I could be wrong, but I don’t think I’ve ever seen or heard of Pete playing guitar). Froom’s presence is no surprise, as the entire album is mixed by Tchad Blake, who also lent a lot of atmosphere to the latter Crowded House albums.

The next track, however, makes “Sky Blue”‘s recycling of vocals pale in comparison: “I Grieve”, though a nice song (which almost feels like two wildly different songs glued together), was heard two or three years ago on the City Of Angels soundtrack. If anything, this is my biggest beef with Up – I was hoping to hear completely new material. “Sky Blue” I can handle – it was previewed on a soundtrack mere months before Up‘s release – but “I Grieve” is a few years older than that.

“The Barry Williams Show”, a slightly dated pop number whose lyrics address Jerry Springer/Maury Povich-esque talk shows, has already been widely heard as the album’s lead single. It’s probably the most radio-ready song on the album, but its subject matter has passed its sell-by date, and one wonders how long ago it was written. Maybe around the same time as “I Grieve”.

The next four songs may be the most interesting stuff on the entire album: “My Head Sounds Like That” (guest starring the uniquely spare brass sound of the Black Dyke Band, which made OVO‘s “Father, Son” the sentimental tear-jerker that it is), more of the Blind Boys of Alabama on the upbeat “More Than This” (not a remake of the Bryan Ferry song of the same name), the epic orchestral grandeur of “Signal To Noise”, and the brief and surprisingly quiet closing number, “The Drop”. The last of these four is quite a shocker compared to the rest of the album, as it primarily features Gabriel’s untreated voice accompanied by an untreated solo piano (there are some other ambient-ish sounds in the mix too, but they’re way down in the mix).

“Signal To Noise” features the wailing vocals of guest Nusrat Fateh Ali Khan, the strings of the London Session Orchestra, and the thundering wall of sound of the Dhol Foundation Drummers, but while the guest performers and the arrangement are very impressive, the basic melody itself and the sparse lyrics are almost like something out of Gabriel’s second or third album; it’s a simple song, nicely dressed up. And speaking of guest performers, I couldn’t help but notice that Jon Brion got a credit in “More Than This” – seems that even though he can’t get a major label to release that underrated (and finished) album of his, Brion’s getting plenty of attention from other musicians. That may be a higher compliment than record sales anyway.

3 out of 4Overall, Up is yet another intense Peter Gabriel listening experience, but in some places it’s curiously lacking the heart of his earlier works. And I’ll admit, Gabriel’s increasing tendency to borrow from his own back catalogue is becoming worrisome – this coming from someone who’d prefer to hear new material when he plunks money down on the counter for a supposedly new CD. Still, I recommend it – perhaps Up will be an instance of an album that finds new fans for Gabriel rather than living up to the wishes of his established listeners.

Order this CD

  1. Darkness (6:51)
  2. Growing Up (7:33)
  3. Sky Blue (6:31)
  4. No Way Out (7:53)
  5. I Grieve (7:24)
  6. The Barry Williams Show (7:16)
  7. My Head Sounds Like That (6:29)
  8. More Than This (6:02)
  9. Signal To Noise (7:36)
  10. The Drop (2:59)

Released by: Geffen
Release date: 2002
Total running time: 66:43

Jars Of Clay – The Eleventh Hour

Jars Of Clay - The Eleventh HourStill my favorite Christian rock act, Jars Of Clay’s fourth album sees them returning not only to the studio, but to the producer’s chair. Though I liked the stylistic stretches that it represented, not everyone dug If I Left The Zoo, with its almost Jellyfish-like experimentation with everything from bluegrass banjos to hard rock. That spirit of not sticking to the program, fortunately, survives through The Eleventh Hour with the hard-rocking “Revolution” (a smart song whose message is that if you really want to be a rebel, try being a decent person instead of trying to be a badass), and flirting with a latter-day R.E.M.-ish sound on “Silence”. The more traditional Jars Of Clay sound is still present too, with “Fly” and an alternate rock hit waiting to be discovered, “I Need You”. The band still excels at love songs which are neither sappy nor overly concerned with physical relations; they could be sung to the object of your affections as easily as they could be sung to Jesus – and that’s the beauty of it, because the latter is who the songs are 4 out of 4directed toward, but these songs could hit mainstream secular radio without sounding like Christian music.

Though the entire album is excellent, the cluster of “Fly”, “I Need You” and “Silence” is one of the better three-song runs I’ve heard on anything I’ve listened to recently. But the entire CD is highly recommended.

Order this CD

  1. Disappear (3:56)
  2. Something Beautiful (3:46)
  3. Revolution (3:42)
  4. Fly (3:20)
  5. I Need You (3:40)
  6. Silence (5:17)
  7. Scarlet (3:32)
  8. Whatever She Wants (3:43)
  9. The Eleventh Hour (4:27)
  10. These Ordinary Days (3:04)
  11. The Edge Of Water (3:54)

Released by: Silvertone
Release date: 2002
Total running time: 42:21

Taito Game Music

Taito Game MusicWhen I first heard about this one, I was eager to get my hands on it, hoping it’d turn out to be something like the Namco Classic Collection remix album.

Nope. This is just the game sound. And nothing more.

While that works for some games – Elevator Action had a jaunty tune or two, to say nothing of Bubble Bobble – who wants to sit and listen to an audio track of someone playing Space Invaders? Because that’s what you’ll hear on this disc – the unaltered, un-remixed sounds of the games themselves. And nothing more.

I can see classifying this as more of a sound effects CD than anything; might come in handy if they ever get around to turning “Joystick Nation” into that PBS miniseries they’ve been promising forever, or it might come in handy for any movies where a scene takes place in an arcade. But as a pure listening experience, it’s 2 out of 4daunting to look at a list of 69 tracks, knowing that there’s many a bleep and a boop in each one, and in some cases precious little music.

Now, on the other hand, if a DJ wanted to take some of this stuff and sample it for their own remix…well, this CD would suddenly be beyond merely useful.

Order this CD

  1. The Legend Of Kage – BGM1 (2:20)
  2. The Legend Of Kage – BGM2 (0:49)
  3. The Legend Of Kage – Track 3 (0:58)
  4. Space Invaders – Playing Sound (0:17)
  5. Elevator Action – Track 1 (0:08)
  6. Elevator Action – Track 2 (1:28)
  7. Elevator Action – Track 3 (0:19)
  8. Super Dead Heat II – Track 1 (0:24)
  9. Super Dead Heat II – Track 2 (0:24)
  10. Super Dead Heat II – Track 3 (0:12)
  11. Super Dead Heat II – Level 1 (0:34)
  12. Super Dead Heat II – Level 2 (0:33)
  13. Super Dead Heat II – Level 3 (0:22)
  14. Super Dead Heat II – Level 4 (0:19)
  15. Super Dead Heat II – Level 5 (0:19)
  16. Super Dead Heat II – Level 6 (0:21)
  17. Super Dead Heat II – Level 7 (0:51)
  18. Super Dead Heat II – Level 8 (1:08)
  19. Super Dead Heat II – Track 12 (0:09)
  20. Super Dead Heat II – Track 13 (0:04)
  21. Super Dead Heat II – Track 14 (0:44)
  22. Wyvern F-0 – BGM: Codename Zero – Type I (1:11)
  23. Wyvern F-0 – BGM: Codename Zero – Type II (0:39)
  24. Wyvern F-0 – BGM: Count Zero (0:08)
  25. The Fairyland Story – Track 1 (0:04)
  26. The Fairyland Story – Track 2 (BGM) (1:26)
  27. The Fairyland Story – Track 3 (BGM) (0:32)
  28. The Fairyland Story – Track 4 (0:05)
  29. The Fairyland Story – Track 5 (0:05)
  30. The Fairyland Story – Track 6 (BGM) (0:40)
  31. The Fairyland Story – Track 7 (0:09)
  32. Gladiator – Playing Music (1:56)
  33. Kikikaikai – BGM1 (1:36)
  34. Kikikaikai – Boss (0:22)
  35. Kikikaikai – Track 3 (0:05)
  36. Kikikaikai – Track 4 (0:10)
  37. Kikikaikai – Track 5 (0:04)
  38. Kikikaikai – Track 6 (0:42)
  39. Kikikaikai – Track 7 (0:34)
  40. Scramble Formation – BGM1: Flying Alive (1:02)
  41. Scramble Formation – BGM2: Avoid Muzik (0:55)
  42. Scramble Formation – BGM: Dot Shooter (1:13)
  43. Scramble Formation – BGM3: Finale (0:32)
  44. Arkanoid – Track 1 (0:11)
  45. Arkanoid – Playing Sound (0:33)
  46. Arkanoid – Track 3 (0:14)
  47. Arkanoid – Track 4 (0:47)
  48. Chack’n Pop – Playing Sound (1:29)
  49. Chack’n Pop – Track 2 (0:30)
  50. Empire City 1931 – BGM1 (1:59)
  51. Empire City 1931 – BGM2 (1:06)
  52. Empire City 1931 – BGM3 (0:44)
  53. Empire City 1931 – BGM4 (0:51)
  54. Empire City 1931 – BGM5 (0:45)
  55. Empire City 1931 – BGM6 (0:08)
  56. Empire City 1931 – BGM7 (0:08)
  57. Empire City 1931 – BGM8 (0:35)
  58. Bubble Bobble – Track 1 (0:11)
  59. Bubble Bobble – Track 2 (0:49)
  60. Bubble Bobble – Track 3 (0:25)
  61. Bubble Bobble – Track 4 (0:29)
  62. Bubble Bobble – Track 5 (0:25)
  63. Bubble Bobble – Track 6 (0:04)
  64. Bubble Bobble – Track 7 (0:36)
  65. Halley’s Comet – Ed1986 (1:12)
  66. Halley’s Comet – Contact (0:32)
  67. Halley’s Comet – Mechanical Brains (1:13)
  68. Halley’s Comet – Track 4 (0:51)
  69. The Outer Zone – Outer Zone (2:33)

Released by: Sci-Tron Digital Content
Release date: 2002
Total running time: 46:46

Star Trek: Enterprise – music by Dennis McCarthy

Star Trek: Enterprise soundtrackMy sincere apologies to Dennis McCarthy. I initially shrugged off the music from Enterprise when I watched the pilot movie – I liked the theme song and opening credits (and, by the sound of things, I’m one of approximately five people who openly admit to liking the song, and one of the others is Rick Berman, if that tells you anything). Now I realize that my beef is with Berman, not McCarthy. The newly released soundtrack from the pilot movie is actually a fine addition to the musical canon of Star Trek.

Topped and tailed with two different versions of Russell Watson’s rendition of “Where My Heart Will Take Me” (originally written by Diane Warren), the Enterprise soundtrack CD features most of the hour-long score, excluding a few source music cues, recorded for the two-hour episode. One of the nicer things about the score from Broken Bow, the two-hour pilot movie, is the all-American-flavored theme used for both Captain Archer and the Enterprise herself (which you do actually get to hear in the show each week – as the end credit music, on the rare occasion that UPN doesn’t do the annoying but almost ubiquitous credit squeeze). Like the theme McCarthy coined for Captain Picard some 15 years ago, Archer’s theme fits perfectly and has its own grand sweep (though sadly, like Picard’s theme, it seems to have disappeared from regular use over the course of the show’s first season, probably due to Berman’s aversion to any of the composers creating specific themes associated with any character). Many of the tracks are infused with an edgy energy that may come from the musicians’ and conductor’s reactions to other events that occurred on the second day of the scoring sessions for the pilot: September 11th, 2001. (In his liner notes, McCarthy dedicates the music on this CD to victims of that tragedy.)

Some of the music will sound familiar – “Klingon Chase / Shotgunned” in particular, though it’s among my favorite tracks, sounds like it could easily be slotted into the soundtrack from Star Trek: Generations. (I do like that menacing downbeat chord combination, though.) McCarthy even steps right up to the edge of quoting his own theme music from Deep Space Nine in the next-to-last track, “New Horizons”. The music also gets slimy, low-key and discordant for scenes involving the shape-shifting Suliban, and downright weird (but in a good way) for the climactic, time-warped fight in the track “Temporal Battle”.

Some fans – those other four people out there who like the song (and I’m sure Berman’s already gotten his copy of the CD) – will also be pleased to hear both the long album version and the shortened TV version of “Where My Heart Will Take Me”. I still find it to be an inspiring little number, especially when combined with the show’s opening title montage. Quite why fandom has bared its teeth at this song and the opening credits, I just haven’t managed to comprehend yet. I actually thought it was a nice switch from the usual Goldsmithian-sounding opening credits that have become de rigeur for Star Trek spinoffs.

I was surprised to see this album appear on Decca, rather than GNP/Crescendo, which has done an excellent job of giving us one to two Star Trek (or related) CDs a year since 1991 or so. From what I understand, this is more to do with the behind-the-scenes negotiating needed to include Russell Watson’s theme song on the CD, not a reflection of any kind of dissatisfaction on Paramount’s part with Crescendo Records. GNP/Crescendo certainly could have done better with the packaging, which is kind of bland here – though there’s only so much you can do with those pre-launch publicity photos where the crew looks like they’re standing inside the round-patterned walls of Doctor Who’s TARDIS.

Hopefully more Enterprise music will be forthcoming, whether Decca or Crescendo issues it. Some of the first season’s episodes have had very interesting music, with the most notable being the surprisingly melodic Vox Sola, with its sly, sinewy theme for the parasitic life form. Crescendo has already turned out a “Best Of Season One” CD for Stargate SG-1, and hopefully they may follow suit with Enterprise – even if it means ditching “Where My Heart Will Take Me” from future releases; after all, we have it on this CD. (Sadly missing, however, is the 4 out of 4acoustic guitar rendition of that song which was heard only on the un-squished end credits of the pilot episode; the track “Archer’s Theme” is now used as the end credit music.)

Love it or hate it, Enterprise is worth a listen. Kudos to Dennis McCarthy for introducing some new energy and material into his Trek repertoire – don’t stop now, Dennis! The show desperately needs it.

Order this CD

  1. Where My Heart Will Take Me – Album Version (4:09)
  2. New Enterprise (1:40)
  3. Klingon Chase / Shotgunned (2:05)
  4. Enterprise First Flight (2:50)
  5. Klang-Napped (2:10)
  6. Morph-o-Mama / Suli-Nabbed (2:45)
  7. Phaser Fight (5:53)
  8. Breakthrough (2:01)
  9. Grappled (4:09)
  10. The Rescue (6:40)
  11. Temporal Battle (8:05)
  12. Blood Work (2:11)
  13. New Horizons (1:26)
  14. Archer’s Theme (1:24)
  15. Where My Heart Will Take Me – TV Version (1:28)

Released by: Decca / Universal
Release date: 2002
Total running time: 49:22

Doctor Who, Volume 4: Meglos / Full Circle

Doctor Who, Volume 4: Meglos / Full Circle soundtrackAs the BBC’s excellent range of remastered Doctor Who music CDs reaches into the early 80s era of the show, sonic gems are being unearthed for the first time in years. If any proof be needed, check out the music from Full Circle, a 1980 story infamous in some fans’ eyes for introducing awkward youth Adric to the TARDIS crew. Paddy Kingsland’s memorable melodic score for Full Circle features a number of themes that beg – no, demand – to be hummed long after you’ve hit the stop button. Kingsland went on to score many other Doctor Who episodes, including the pivotal regeneration story Logopolis, but even though he has an instantly recognizable style, he seldom repeats actual material from story to story. (Kingsland’s trademark style was also a big part of the musical sound of The Hitchhiker’s Guide To The Galaxy.) Unusually, the other score featured on this disc was divided up between Kingsland and Peter Howell (who arranged the most enduring of the 1980s’ versions of the Doctor Who theme). Meglos was a bit of a muddled exercise as far as storytelling goes, but musically it takes an interesting approach, including the use of a vocoder to weave random syllables and occasionally even story-relevant “lyrics” into the music.

4 out of 4The disc’s material has been fully remastered and remixed into stereo by Mark Ayres, and the effort poured into archiving and preserving the music is outstanding. Simply to have the music from Full Circle on CD has been a dream of mine for years – almost since I first saw the show – and that alone makes this latest volume of the BBC’s Doctor Who music series a worthwhile purchase.

Order this CD

  1. Doctor Who: Opening Theme (0:38)
  2. Burnout On Walkway 9 (1:10)
  3. The Deons (1:29)
  4. K9 Repaired (0:16)
  5. The Screens Of Zolpha-Thura (3:09)
  6. The Last Zolpha-Thuran (3:31)
  7. Chronic Hysteresis (1:59)
  8. To Tigella (1:55)
  9. The Deon Oath (1:24)
  10. The Power Room (0:51)
  11. The Bell Plants (2:10)
  12. Meglos (1:31)
  13. “She’s Seen Too Much!” (1:40)
  14. The Dodecahedron (1:43)
  15. The Ultimate Impossibility (1:01)
  16. The Deons Take Command (2:31)
  17. Earthling (1:04)
  18. Sacrifice (4:09)
  19. Other Lives To Save (1:17)
  20. Countdown (4:14)
  21. Summons To Gallifrey (1:27)
  22. Alzarius / The Outlers (1:07)
  23. The System Files / Adric (1:15)
  24. Mistfall (4:15)
  25. The Starliner (0:47)
  26. Decider Deceased (0:35)
  27. Adric Finds The TARDIS (0:40)
  28. Starliner Sealed (0:54)
  29. The Giants Leave The Swamp (1:57)
  30. K9 On A Mission / Third Decider (1:23)
  31. TARDIS Taken (1:57)
  32. The Marsh Child / K9 Loses His Head (2:43)
  33. The Spiders I (1:26)
  34. The Spiders II (0:26)
  35. A Little Patience (1:14)
  36. Romana Comatose (0:49)
  37. The Bookroom (0:34)
  38. The Experiment (1:22)
  39. The Work Of Maintenance (0:50)
  40. Marshmen I (2:43)
  41. Blue Veins (2:01)
  42. Marshmen II (1:24)
  43. No Return (1:01)
  44. Oxygen (3:02)
  45. Full Circle / The Deciders Decide (2:29)
  46. Doctor Who: Closing Theme (1:18)

Released by: BBC Music
Release date: 2002
Total running time: 77:48