Stargate SG-1: Music From Selected Episodes

If there’s a property I didn’t expect to resurface in the soundtrack world in the summer of 2017, it’s the Stargate TV franchise. In hindsight, though, I wasn’t paying attention to the clues – Intrada has long championed the musical output of Richard Band, brother of Full Moon Pictures producer Charles Band, and composer-in-residence on Full Moon’s extensive slate of low-to-mid-budget horror movies. And, patterned somewhat after the arrangement that governed music during the entirety of spinoff-era Star Trek, Band alternated on episodes of Stargate SG-1 with Joel Goldsmith for the show’s first two years on the Showtime pay cable channel, with other composers occasionally filling in (including, ironically, Star Trek’s Dennis McCarthy). This 2-CD set from Intrada gather’s Band’s carefully selected highlights from his time with the Stargate franchise.

The episodes for which Band felt he’d done his best work were Cold Lazarus, In The Line Of Duty, In The Serpent’s Lair, and Singularity – oddly enough, all early favorites of mine. Listening to the scores Band composed for these episodes, which feature small orchestral ensembles attempting to fill out and deepen the sound of synthesizers and samples, it’s easy to tell the real musicians from the electronic sounds. With the show opening every week with an adapted version of David Arnold’s theme from the original Stargate movie (for which Arnold had to be paid for every usage), the rest of the music budget – especially before Stargate SG-1 found its legs and popularity with its audience – was tightly constrained. But even when roughly half of what you hear is synthesized, it’s still a fun listen. Military drums, low, urgent brass ostinatos, and actual recurring themes (including quotes of Arnold’s theme) – the music of SG-1 was everything that the music of the show’s Star Trek contemporaries usually wasn’t: propulsive and threatening and dangerous. Stuff was happening in the music rather than it being relegated to background wallpaper. Nowhere is this better exemplified than in the nearly-nine-minute solid cue covering the entire final act of In The Serpent’s Lair: literally wall-to-wall music for the show’s climax.

Cold Lazarus, which uncovers a painful incident from Jack O’Neill’s past, is the outlier here, with gentle piano accompanying the unfolding revelation that Jack had lost a child. In The Line Of Duty and Singularity are far more representative of the musical sound of Stargate SG-1 as a whole, with both quiet passages, mysterious music for the team’s discoveries of ancient (or is that Ancient?) mysteries, and gung-ho action music where needed.

3 out of 4I remember, when first seeing that Intrada was releasing a new round of Stargate TV scores, being a bit let down that Joel Goldsmith’s work wasn’t represented. Now I realize this wasn’t a downside: Richard Band was as much a part of SG-1’s sound in those heady formative years of the show – where anything was possible and the Stargate franchise had yet to fall into the trap that befalls many a long-running series, namely slipping its neck into the noose of ever-thickening continuity – as Joel Goldsmith’s sound was. Much like the Star Trek: The Next Generation box sets that finally gave Dennis McCarthy’s work exposure in the wake of a massive all-Ron-Jones soundtrack box set, this SG-1 soundtrack set redresses an imbalance and is worth a listen.

Order this CD

    Disc One
    Cold Lazarus

  1. Teaser (3:42)
  2. Is It Really Jack? (3:53)
  3. Jack At Ex-Wife’s House (3:25)
  4. Jack Visits Charlie’s Room (3:24)
  5. The Crystals (2:14)
  6. The Crystal Monitor (2:18)
  7. Jack And Wife On Park Bench (3:08)
  8. They Re-Activate The Crystal Monitor (2:03)
  9. Pushing Back Through Gate To Hospital (3:53)
  10. Jack Meets Alien Self And Finale (9:10)

    In The Line Of Duty

  11. Teaser (2:50)
  12. Medical Time (3:12)
  13. O’Neill Comforts Cassie (3:05)
  14. O’Neill To Burn Victim (0:38)
  15. Teal’c Gives O’Neill Advice (2:28)
  16. Daniel Talks To Girl Survivor (2:07)
  17. Bad Guy Bandages Doc (2:20)
  18. Daniel Talks To Alien Carter (2:26)
  19. Finale – Daniel And Then Others Visit (10:11)
    Disc Two
    In The Serpent’s Lair

  1. Finale (8:50)


  2. Teaser (3:34)
  3. From Stargate To New World (2:36)
  4. Sam With Girl And Back Through Gate (2:49)
  5. Sam And Little Girl Get Closer (2:58)
  6. Heart Attack And Operation (3:36)
  7. Jack And Teal’c Escaping Battle (4:22)
  8. To The Underground Site (2:35)
  9. Time Is Up And Finale (8:26)

Released by: Intrada
Release date: June 27, 2017
Disc one total running time: 67:01
Disc two total running time: 40:01

Independence Day: The Complete Score

Independence Day: The Complete ScoreThe soundtrack from Independence Day – or at least some of it – has already seen the light of day in a soundtrack release concurrent with the movie’s 1996 release, but by overwhelming demand, La-La Land Records has revisited this blockbuster’s music, with every note of the final score spread across two discs and the obligatory copious liner notes. The original big-screen version of Stargate may have given Roland Emmerich, Dean Devlin and frequent musical collaborator David Arnold their first taste of the big time, but ID4 all but made them household names. Arnold has gone on to find success and steady work, most recently in the James Bond films (where he’s proven to be one of the few major behind-the-scenes figures to survive the transition from the Pierce Brosnan era to the Daniel Craig era), so there’s gotta be something to all the hype.

If ID4 was the audition for a stellar career, Arnold passed with flying colors. The music from ID4 is epic, with a capital EPIC: nothing is downplayed, and to be honest, very little is played with subtlety. But even the interviews with the filmmakers in the booklet confirm what I’ve always felt about ID4: it’s a big and largely un-intellectual popcorn movie which delights in blowing stuff up real big and dishing out crowd-pleasing one-liners, both visual and verbal. (C’mon, there is something humorously satisfying about Will Smith beating the crap out of a crashed alien pilot in hand-to-tentacle combat.) ID4 isn’t a movie that demanded subtlety from its musical score. Arnold knew exactly what kind of movie he was working on, and delivered music worthy of a blockbuster, loaded down with instantly identifiable leitmotives and themes.

The new album spreads the complete original score, note for note as heard in the movie, across the first CD and about a quarter of the second CD. The rest of the second CD includes unused alternate versions of many scenes, as well as stripped-down versions of cues that originally featured choir. These tracks are fully orchestral, but let you focus only on what the orchestra’s doing. It’s a neat trick, and an economical one since musicians’ union rules charge even more for a recording featuring a choir than an orchestral recording alone can charge. The original single-CD release from 1996 was no slouch and featured a generous amount of music from major scenes, at a time when many soundtrack CDs were starting to clock in at about 40-45 minutes due to the costs of paying every orchestral musician and every singer for every minute of their music being published. La-La Land took a real risk on reissuing the complete soundtrack: it was a far more expensive proposition (for the label), and it’s not exactly a new movie. (It’s not an obscure movie either, though, which is probably the saving grace of the new ID4 soundtrack.)

It almost goes without saying that the highlights on either disc are the major action setpieces. Few of the quieter moments are nearly as memorable: in going back to listen to “The President’s Speech”, the music wasn’t quite as inspirational as I seemed to remember. The alternate takes are interesting stuff, though: if you own the DVD of ID4, you know that a very different ending was originally planned before the producers decided to go for a more credibility-stretching (but, again, crowd-pleasing) conclusion, and the music for that rejected sequence can be found here. The other alternate takes range from minor differences in musical emphasis 4 out of 4and arrangement, to more major changes that are likely the symptoms of constant changes to the movie in the editing room.

It’s good foreground listening material, and well worth the purchase price. ID4‘s soundtrack isn’t subtle, but neither was the movie. Sometimes you just need good accompaniment for big explosions. That would be this soundtrack.

Order this CD

    Disc One

  1. 1969: We Came In Peace (2:01)
  2. S.E.T.I. – Radio Signal (1:53)
  3. Mysto Bridge /Satellite Collision / Destroyers Disengage / Russell Casse, Pilot (2:17)
  4. First Sighting /AWAC Attack (2:18)
  5. The Darkest Day (4:14)
  6. Moving Day / Countdown (2:12)
  7. Cancelled Leave (1:46)
  8. Commence Lift-off / Parabolic Indenwhat? (1:17)
  9. Evacuation (5:48)
  10. Firestorm (1:24)
  11. Aftermath (3:36)
  12. Base Attack (6:11)
  13. Marilyn Found (1:29)
  14. Area 51 / The Big Tamale / Formaldehyde Freak Show (4:12)
  15. El Toro Destroyed (1:31)
  16. Slimey Wakes Up (5:24)
  17. Target Remains / Rescue (5:56)
  18. The Death of Marilyn / Dad’s A Genius (3:34)
  19. Alien Ship Powers Up (1:46)
  20. International Code (1:32)
  21. Wedding (1:50)
  22. The President’s Speech (3:11)
    Disc Two

  1. Just In Case /Attacker Fires Up (3:10)
  2. The Launch Tunnel /Mutha Ship / Virus Uploaded (8:27)
  3. Hide! / Russell’s Packin’ (The Day We Fight Back) (4:44)
  4. He Did It (1:33)
  5. Jolly Roger (3:17)
  6. Victory (3:40)
  7. End Credits (9:07)
  8. 1969: We Came In Peace (Alternate Take) (2:11)
  9. Destroyers Disengage (No Choir) (0:34)
  10. Cancelled Leave (Alternate Take) (1:43)
  11. Commence Lift-off (Alternate Take) (0:55)
  12. Base Attack (Segment – Film Version) (2:27)
  13. Marilyn Found (No Choir) (1:28)
  14. Target Remains/Rescue (Alternate Take) (2:40)
  15. Dad’s A Genius (Alternate Take) (0:45)
  16. Attacker Fires Up (Original Version – No Choir) (2:01)
  17. Virus Uploaded (Alternate Take) (2:35)
  18. The Day We Fight Back (Original Version) (5:48)
  19. Jolly Roger (Alternate Take) (3:22)
  20. End Credits (Segment, No Choir) (2:47)

Released by: La-La Land Records
Release date: 2010
Disc one total running time: 65:31
Disc two total running time: 63:34

Godzilla – music by David Arnold

Finally out after nine years (just one year shy of the movie’s tenth anniversary) David Arnold’s score for Roland Emmerich’s remake (a 2-CD set, limited to 3000 copies) of Tokyo’s resident bad boy displays all of the pluses and minuses of Arnold’s previous collaborations with Emmerich.

One of the most striking things that occurred to me when listening to this set was the fact that Arnold tends to compose similar music whenever the military is on screen at any given point. In fact, “Military Command Center” is a case in point. The drum beats alone tends to signify “Ten-shun!” whenever a military type enters the scene. Ironically, and much to Arnold’s regret according to the booklet’s liner notes (one of the most illuminating I have come across, by the way), the military in Emmerich’s opus doesn’t get as much screen time as one would expect in a film with the big G.

Another puzzling thing is that about halfway through the production process was the decision on Emmerich’s part to make his CGI big G as much a thing of wonder as of a thing of terror. Perhaps the most significant result of this sudden change of direction is “Guess Who’s Coming To Dinner”. At first the piece emphasizes the terror, but around the halfway mark it switches to an almost Williams-style feeling of awe and wonder.

Still, what this score does right, it does very right indeed. “The Beginning” does an excellent job of setting things up and while it’s not going to dethrone Akira Ifukube’s now-iconic theme anytime soon, it manages to display a sense of dread all its own. In fact, in the alternate version of this (no choir in the latter) it almost sounds remarkably similar to Ifukube’s previous work. Also, “Nick and Audrey” has a feel to it that’s more than a little reminiscent of John Barry.

4 out of 4In all, this is an album that many people have been waiting for a long time and whether you like the movie or not, the score itself should be listened to at least once, since it seems unlikely, despite Arnold’s optimism, that he’ll do another job for Emmerich anytime soon.

Order this CD

  1. The Beginning (3:29)
  2. Tanker Gets It (1:11)
  3. Chernobyl (3:13)
  4. Footprint (0:33)
  5. Footprints / New York / Audrey (0:54)
  6. Chewing Gum Nose (0:30)
  7. Ship Reveal / Nick Discovers Fish / Flesh (1:39)
  8. The Boat Gets It* (2:09)
  9. Dawn Of The Species (1:49)
  10. Joe Gets a Bite / Godzilla Arrives (3:11)
  11. Mayor’s Speech (1:03)
  12. Caiman’s Office (0:45)
  13. Animal’s Camera (1:39)
  14. Military Command Center / New Jersey (1:55)
  15. Audrey’s Idea (0:22)
  16. Evacuation (2:41)
  17. French Coffee (0:56)
  18. Subway Damage / Command Enters City (2:50)
  19. Fish (1:48)
  20. Guess Who’s Coming To Dinner? (5:13)
  21. 1st Helicopter Chase / Godzilla Swats A Chopper (4:08)
  22. We Fed Him / Audrey Sees Nick (1:21)
  23. Nick And Audrey / He’s Pregnant / Audrey Takes The Tape / French Breakfast (4:46)
  24. He’s Preparing To Feed (0:34)
  25. Nick Gets Fired / Nick Gets Abducted / Frenchie’s Warehouse / Nick Joins The Foreign Legion (5:47)
    Disc two

  1. Chewing Gum (1:51)
  2. Rumble In The Tunnel (1:35)
  3. Godzilla O Park / Godzilla Takes A Dive / Godzilla Versus The Submarine / Egg Discovery (9:42)
  4. Baby ‘Zillas Hatch* (3:51)
  5. Nick Phones For Help (1:28)
  6. Eat The French (2:14)
  7. Phillip Shoots The Lock (1:39)
  8. Nick’s Big Speech / The Garden Gets It (7:07)
  9. He’s Back! / Taxi Chase & Clue (7:06)
  10. Big G Goes To Monster Heaven (4:30)
  11. The End (4:05)

    Bonus Tracks

  12. The Beginning (no choir) (3:32)
  13. Footprints / New York / Audrey (alternate) (0:50)
  14. The Boat Gets It (alternate) (1:09)
  15. Gojira (Album Version) (2:46)

* contains material not used in the film

Released by: La-La Land Records
Release date: 2007
Disc one total running time: 55:28
Disc two total running time: 53:47

The Best Of Stargate SG-1

The Best Of Stargate SG-1A collection of suites from the first season of the show, The Best Of Stargate SG-1 paints a picture of the show in its infancy – and before Joel Goldsmith had cemented his place as the franchise’s composer-in-residence. Though after listening to the CD several times, it’s just possible that a case could be made that this CD shows why Goldsmith became the solo voice of Stargate.

Naturally, the CD opens with Goldsmith’s main theme for the movie, adapted from David Arnold’s original Stargate score. The first few tracks, however, present us with a completely different sound than what we’ve grown accustomed to. First up is a suite from The Enemy Within, composed by Star Trek’s Dennis McCarthy and frequent collaborator Kevin Kiner (who McCarthy came to rely on heavily during the last season of Star Trek: Enterprise, when budget constraints forced that series to all but abandon full orchestral scores). This music also sounds synthesized/sampled, but even so, it bears many of the hallmarks of McCarthy’s Star Trek scores – it’s rather nice, and maybe a bit more colorful than McCarthy was generally allowed to be with his Star Trek music.

Richard Band, who began his film scoring career with Joel Goldsmith on the movie Laserblast, contributes a score to Cold Lazarus, but in places it suffers from some slight cheesy-sounding synthesized instrument sounds; that wouldn’t be so distracting, except that the rest of the suites presented here seem to be a notch above it. (To be fair to Mr. Band, however, while this may stick out like a sore thumb on CD, I don’t recall it detracting from the episode itself.) Kevin Kiner flies solo with the scores for two episodes, Emancipation and The Torment Of Tantalus, the latter of which is up there with the best scores that the series has had. Its music is truly varied enough to merit this suite being the longest track on the CD, with the 1940s “period” scenes getting a touch of saxophone.

Longtime fans won’t find the sound they’re used to until the next track, Thor’s Hammer, which introduces a series of suites by Joel Goldsmith. Thor’s Hammer has a chaotic chorus that livens things up, and some passages strongly reminiscent of sections of the music from the then-recent Star Trek: First Contact, on which the junior Goldsmith collaborated with his father. The Nox has some lovely thematic material for the Nox themselves, with some shades of First Contact again creeping into the scenes featuring the Goa’uld. Hathor and Tin Man both show a playful side to Goldsmith’s scoring. Within The Serpent’s Grasp stands as Goldsmith’s crowning achievement of the first year, however, with outstanding action and suspense sections, and as a season cliffhanger it’s practically required to kick ass, and Goldsmith delivers. That’s why he’s got the job.

rating: 4 out of 4Overall, it’s a nice little selection of music from some of the first season’s standout episodes, displaying a musical diversity that the Stargate franchise has since abandoned. Though I might criticize them on their own musical merits, I find all of the tracks here enjoyable, and I sometimes wonder why some of these other composers haven’t been heard from again (aside from these scores being recycled into virtual “library music” for the first two seasons, a la the original Star Trek) – not that I’m complaining about Joel Goldsmith, mind you. Even just from Goldsmith’s scores, I could rattle off a list of 10 or 15 scores off the top of my head which could comprise a second Best Of Stargate SG-1 volume, though whether or not there’d be enough of a market to support it would be another question.

Order this CD

  1. Main Title (1:03)
  2. The Enemy Within (6:46)
  3. Cold Lazarus (6:10)
  4. Emancipation (3:36)
  5. Torment Of Tantalus (10:14)
  6. Thor’s Hammer (7:33)
  7. The Nox (10:02)
  8. Hathor (6:45)
  9. Tin Man (6:57)
  10. Within The Serpent’s Grasp (8:43)
  11. Stargate SG-1 End Credits (0:58)

Released by: GNP Crescendo
Release date: 2001
Total running time: 59:27

Stargate – music by David Arnold

Stargate soundtrackAs a part of the movie, I’m very happy with David Arnold’s score for Stargate. It reflects the film’s blend of historical epic, contemporary military action, and futuristic SF adventure. It’s appropriately rousing during the battle scenes and it sets the mood for quieter moments. There is a fanfare here or a moment there that makes me think of John Williams, but that say more about how much I’ve internalized that work than anything else. The main themes are certainly distinct and memorable enough to stand the test of time, as their continued use in Stargate SG-1 would indicate.

As an album in its own right, however, I’m not sure how well the soundtrack works. This isn’t a reorganized concert suite, but a collection of 30 music cues from throughout the movie. Many of them are very short, about a minute or so in length. They just don’t have the chance to build up much momentum of their own or stand out as distinct pieces, especially since Arnold continually goes back to variations of the main themes. The longer pieces that do exist, like “The Stargate Opens”, are rather good at telling the story musically; I rating: 3 out of 4particularly like the loud build-up to the actual opening and then the quiet choral voices that reflect the shimmering open gate. The longest cue, “Battle At The Pyramid”, also flows very well and suggests the urgency and chaos of combat. But for the most part, this album tends to fade into background music for me, albeit very good background music.

Order this CD

  1. Stargate Overture (3:01)
  2. Giza, 1928 (2:10)
  3. Unstable (2:07)
  4. The Coverstones (0:58)
  5. Orion (1:29)
  6. The Stargate Opens (3:58)
  7. You’re on the Team (1:55)
  8. Entering the Stargate (2:57)
  9. The Other Side (1:44)
  10. Mastadge Drag (0:56)
  11. The Mining Pit (1:34)
  12. King of the Slaves (1:15)
  13. Caravan to Nagada (2:16)
  14. Daniel and Shauri (1:53)
  15. Symbol Discovery (1:15)
  16. Sarcophagus Opens (0:55)
  17. Daniel’s Mastadge (0:49)
  18. Leaving Nagada (4:09)
  19. Ra – The Sun God (3:22)
  20. The Destruction of Nagada (2:08)
  21. Myth, Faith, Belief (2:18)
  22. Procession (1:43)
  23. Slave Rebellion (1:00)
  24. The Seventh Symbol (0:57)
  25. Quartz Shipment (1:27)
  26. Battle at the Pyramid (5:02)
  27. We Don’t Want to Die (1:57)
  28. The Surrender (1:44)
  29. Kasuf Returns (3:06)
  30. Going Home (3:09)

Released by: Milan/BMG
Release date: 1994
Total running time: 64:46

Doctor Who: The Eighth Doctor Audio Adventures

Doctor Who: Music From The Eighth Doctor Audio AdventuresWhile some fans may still be debating the merits of the first “season” of Doctor Who Audio Adventures starring Paul McGann, I’m sitting here being wowed by the music. Big Finish Productions has seldom let us down on the musical side of things, but what with the eighth incarnation of the wayward Time Lord having appeared in only a big-budget TV movie that featured an ambitious orchestral & synth score, this raised the bar somewhat. And for the most part, Big Finish’s composers in residence stepped up to the plate and delivered.

Alistair Lock’s synth-orchestral score for the first story, Storm Warning, sets a new high water mark for his work. Lock’s scores for the Doctor Who audio plays have seldom been less than exceptional, but the depth and texture of the samples used for the Storm Warning score achieve the aim of picking up where the TV movie’s music left off – it feels big-budget.

The only entry that I routinely skip on the entire two-disc set is Nicholas Brigg’s music for The Sword Of Orion, which he also wrote and directed. Briggs has a habit of scoring the stories he scripts, and while I applaud anyone who wishes to extend their creative vision in such a fashion, I’ve seldom found his musical output to be entirely pleasing to the ear, and sometimes it commits a worse offense: it doesn’t serve the story. I can see and heard what Briggs was trying to do here – using massively echoplexed percussion and brass samples (perhaps too echoplexed), he’s trying to evoke the feel of the famous stock music used in such Cybermen stories as The Tenth Planet and Tomb Of The Cybermen – but purely as a musical experience, it becomes extremely grating. It worked better with dialogue and sound effects to distract from the repetitive nature of the music itself, and the over-reverbed style of production.

One of the biggest surprises for me was Russell Stone’s lovely score for The Stones Of Venice, a moody, offbeat story which required music to match. Stone’s largely piano-based music gives it that, with everything from unnerving suspense music to a jaunty march that appeared in part three (a piece of music which jumped out at me even when I was first listening to the story itself). Of the four McGann stories released in 2001, Stones is the one that benefits the most from its music. The score does just what’s required of it in an all-audio medium, including occasionally taking center stage as narrator.

But my favorite score of the entire collection has to be William Allen’s Minuet In Hell score. Delightfully atypical in that it leans heavily on honest-to-God electric guitar more than synthesized samples, Allen’s score wasn’t exactly favored in that story’s sound mix, an so hearing it sans dialogue and effects is an eye-opener. Allen’s guitar work is excellent, and not unprecedented in Doctor Who (remember the wickedly menacing electric guitar riffs in the series’ final episode?).

Closing the collection is something the fans would’ve lynched Big Finish’s entire staff for had it been omitted, Independence Day composer David Arnold’s creepy new version of the Doctor Who theme, arranged especially for Big Finish’s eighth Doctor audios. Though I’ve grown a bit weary of Arnold’s interpretation of the theme, it’s nice to have a complete collection of every theme music arrangement down through the years. This version tops out at around two minutes, much like the 45 RPM single arrangements of yesteryear.

Music From The Eighth Doctor Audio Adventures is a nice selection of the music from what many fans are regarding as the first real adventures of the McGann version of the Doctor (not everyone’s been 4 out of 4thrilled with the BBC’s eighth Doctor novels), attractively packaged and – considering it’s a 2-CD set – budget priced. Big Finish sweetened the pot by issuing a few thousand copies with McGann’s signature on the cover of the booklet – being the most reticent of the surviving Doctors, and not yet having hit the convention circuit, McGann’s autograph is damn near impossible to get on anything. It’ll be interesting to see how they top this after McGann’s six-story stint concludes in 2002.

Order this CD

    Disc one:

  1. Storm Warning trailer (2:06)
  2. The Timeship (3:00)
  3. Masters Of The Air (1:26)
  4. Aboard The R101 (2:54)
  5. Charley Meets The Doctor (1:28)
  6. Belly Of The Whale / Something On The Hull (5:18)
  7. Chasing Vortisaurs (0:56)
  8. Rendezvous At 5,000 Feet (3:30)
  9. Greeting The Aliens / Inside The Spaceship (4:07)
  10. War Is Declared (2:52)
  11. The Final Flight / The Edge Of Destruction (3:00)
  12. Charley Joins The Doctor (1:43)
  13. Sword Of Orion trailer (1:29)
  14. The Truth About Ramsay (1:44)
  15. Garazone: Evil And Bazaar (8:53)
  16. Mission Of The Vanguard (2:58)
  17. Awakenings (3:07)
  18. Undercurrents, Airlocks And Revival (5:05)
  19. Cyber Pursuits (3:16)
  20. Cyber Spooks (5:01)
  21. Ion Destruction (1:01)
  22. Farewell Deeva (1:39)
    Disc two:

  1. The Stones Of Venice trailer (1:37)
  2. Run Doctor! / Ms. Lavish (2:45)
  3. Drugged By The Cultists (2:30)
  4. The Holy Of Holies (2:19)
  5. Gondolier Attack (2:07)
  6. Plots And Dark Powers (2:47)
  7. The Death Of Venice (3:28)
  8. Estella (1:24)
  9. The Ducal Hoofers / Portents (5:40)
  10. The Truth / Into The Flames (2:11)
  11. You’re My Best Friend (2:51)
  12. Minuet In Hell trailer (1:22)
  13. Hell Or Malebolgia (1:50)
  14. Becky Lee (2:32)
  15. The Brigadier / Malebolgian Minuet (4:14)
  16. Deeper Into Hell (2:29)
  17. Zebediah Doe / Memory Lapse (3:23)
  18. Marchosias Arises (4:08)
  19. Political Subversion (3:19)
  20. Tentative Steps / Becky Lee Finds The Brigadier (4:12)
  21. A Trick For Victory (1:59)
  22. Private Hell (3:27)
  23. An Odd Idea Of Fun (2:56)

  24. Theme from Doctor Who – David Arnold’s full version (2:09)

Released by: Big Finish Productions
Release date: 2002
Disc one total running time: 70:21
Disc two total running time: 67:02