Disc Four: The Fourth Doctor – Tom Baker (1974 - 1981)
Total running time 78:32
41:03 appeared on the 4CD collection, across 19 tracks (52% of the 11CD material).
20:06 appeared on the 2CD collection, across 5 tracks (48% of the 4CD tracks, 22% of the 11CD material).
2, 31, 34 Featuring Special Sound by Dick Mills (BBC Radiophonic Workshop)
3, 4, 11, 16, 17, 20-22, 35 ** Special Sound by Dick Mills (BBC Radiophonic Workshop)
All tracks Mono except 6-9, 12-15, 25-27, 29, 30, 36 electronically processed Stereo, 28, 31-34 Stereo
The 1970 opening titles, with the long version of the repeat-to-fade ending, was first released in stereo on 30 Years track 14, titled 'Signature Tune - A New Beginning' (wrongly attributed to the Second Doctor, a mistake repeated on Music from Tomb of the Cybermen). As remastered by Ayres, a short version appeared on the Geoffrey Burgon soundtrack, Terror of the Zygons/The Seeds of Doom (faded out at 33 seconds, and treated with a stereo effect) and a longer version, with a stutter-start, was heard on Volume 2: New Beginnings (45 seconds). This was the first release of the clean-start, full-length, mono version of Ayres' new master.
ROBOT (1974) - Music by Dudley Simpson
Previously unreleased, with added sound effects from the story by Dick Mills. This track is in fact a rerecording of a cue from Robot made for the 'Doctor Who Library': a collection of 43 Dudley Simpson cues intended for use in foreign dubs of episodes from Seasons 12 and 13. The voice introducing each cue on the reel is revealed in Ayres' sleevenotes to be Paddy Kingsland, who collaborated with Simpson on these recordings in Brian Hodgson's studio, circa 1975.
The dating of the tape is slightly contentious, however; Andrew Pixley believes the cues were recorded specifically for French channel TF1 in the early 1980s. This is corroborated by a Dudley Simpson interview from 1988, where he recalled, "BBC Enterprises asked me into their offices for a chat about the sale of the early Tom Baker's to France. They couldn't lift the voices off from the music track (they had to redub all the dialogue into French you see) and so they'd got the filmed stuff but without the music track and they couldn't find a copy of my music anywhere so I've had to lay down a completely new score for them on tape which will go on with the French dialogue". (DWB issue 57, August 1988)
THE ARK IN SPACE (1975)
A version of these effects (first heard in The Ark in Space, and used again in Revenge of the Cybermen) had appeared on 30 Years, track 37 (as 'Wirrn in the Infrastructure', 1:05). This edit was first heard on Volume 2: New Beginnings, track 42, where it segued out of/into the preceding and following tracks ('Metebelis III Atmosphere' and 'The Planet Karn' respectively). Here, it fades in and out from silence.
The incidental music for this story was composed and conducted by Dudley Simpson, with electronic enhancements by Dick Mills at the Radiophonic Workshop. Although no tapes survive for this, or any of their Season Twelve episodes, in 1993 Silva Screen released an album of Simpson's music recreated on keyboards and vintage synthesisers by Doctor Who fan, Heathcliffe Blair. Tracks were presented from The Ark in Space, Genesis of the Daleks, Planet of Evil, Pyramids of Mars and The Brain of Morbius, and a selection of these tracks included on the compilation The Worlds of Doctor Who in 1994.
THE SONTARAN EXPERIMENT (1975)
First released on Doctor Who - Sound Effects, side 1 track 4, with the subtitle '(Approach, Stop, Search, Depart)'.
REVENGE OF THE CYBERMEN (1975) – Music by Carey Blyton
For this serial Blyton chose a selection of unusual instruments for his 31-minute score. However, producer Philip Hinchcliffe felt that Blyton's music was unsuitably comical, and had Peter Howell of the Radiophonic Workshop add a minute of electronic music to Part Two and almost five minutes to Part Three. None of Howell's music appears in this suite, and there have been indications that it does not survive - such as the absence of an isolated music track on the DVD, the only one of Blyton's scores to be unreleased in this format. Only 20 minutes of music appeared in the finished episodes, suggesting that one-third of Blyton's score went unused.
Four minutes from the original soundtrack were featured on Carey Blyton's Film & Television Music series in 2003 (CD2, tracks 23-28), and some material was duplicated here. A shorter version of this new suite appeared on the four-disc set (repeated cues are marked with an asterix):
Selections from the score were re-arranged for Horn (or Saxhorn) & Piano in 1993, with sheet music published by AV Music ('Vogan Suite - Op. 101'), and a recording of this suite released on the 1999 CD Sherlock Holmes Meets Dr. Who.
TERROR OF THE ZYGONS (1975) – Music by Geoffrey Burgon
30 minutes of music from this story had been released on Ayres' Terror of the Zygons/The Seeds of Doom release in 2000, where these cues had appeared as tracks 2, 3, 6 & 11. They included some unused material - the end of 'The Destruction of Charlie Rig' and the start of 'A Landing in Scotland' were both cut from the programme, though they did appear in the 2013 'Directors' Cut' of Part One on DVD. The complete mono score (running to 38 minutes) was released as an isolated soundtrack on the same DVD, with a stereo version of the score on the 5.1 mix of the story.
THE ANDROID INVASION (1975) – Music by Dudley Simpson
This suite included the following cues, with some appearing on the shorter four-disc and two-disc suite (*):
In total around 22 minutes of music had been composed for this serial, with Dudley Simpson conducting the five musicians involved across two recording sessions: one for Parts One and Two, and another for Three and Four. Approximately three minutes of music from the same two episodes had been included on the DVD Photo Gallery in 2012, mixed with sound effects, and most of this music was included here. (Roughly 35 seconds of music remains exclusive to the Photo Gallery, and a further 1:40 from these episodes is still to be released.)
THE BRAIN OF MORBIUS (1975)
First heard on Volume 2: New Beginnings, track 43, where it segued out of/into the preceding and following tracks ('Nerva Beacon Infrastructure & T-Mat Couch' and 'The Shrine of the Sisterhood of Karn' respectively). The track as it appeared here was longer by three seconds at the start, and four seconds at the end, allowing for a slow fade in/out.
Dudley Simpson was particularly pleased with his music from Season Thirteen, citing Pyramids of Mars as one of his favourite scores; when the Television and Film School asked him to give a lecture, he arranged to have an undubbed version of The Brain of Morbius made available to demonstrate his work.
THE SEEDS OF DOOM (1976) – Music by Geoffrey Burgon
As with Terror of the Zygons, director Douglas Camfield hired composer Geoffrey Burgon for this story in preference to Dudley Simpson. Burgon contributed around 64 minutes' of music for this, his second and final Doctor Who, of which 46 minutes were released on the Terror of the Zygons/The Seeds of Doom CD with a subtle stereo effect. The complete score was released as an isolated soundtrack on the DVD in 2010.
These tracks had appeared as tracks 19, 21, 30 & 36 on the soundtrack album, with 'The Hymn of the Plants' sharing a track with a cue entitled 'Floriana Requiem'.
Dudley Simpson composed all the programme's incidental music for the next four years (Seasons Fourteen, Fifteen, Sixteen and Seventeen), turning down other work to ensure that he was free for the series. Very few of the tapes from these sessions are known to have survived, and the 50th Collection presents suites from what we might presume to be the only existing recordings.
THE MASQUE OF MANDRAGORA (1976)
A version of this effect (titled 'Void') had first appeared on 30 Years track 38, where it ran to 1:11 and was treated with a stereo effect. The original mono version later appeared on Volume 2: New Beginnings track 45, though it only ran to 46 seconds and segued out of/into the preceding and following tracks ('Kraal Disorientation Chamber' and 'Atomic Reactor Runs Wild' respectively). The version here was longer by six seconds at the start and 34 at the end, and faded in/out from silence.
THE INVISIBLE ENEMY (1977)
A short version appeared on Doctor Who - Sound Effects, side 2 track 8 (as 'Inside Dr. Who´s Mind', 1:15).
THE SUN MAKERS (1977) – Music by Dudley Simpson
Previously unreleased. Ayres confirmed in the sleevenotes and in his Radio Free Skaro interview that the entire score survives.
Simpson's complete score ran to 25 minutes and was recorded by six musicians, including Tristram Fry on percussion, who notably struck railway tracks for scenes where Leela entered the 'steamer'. Leslie Pearson played the organ, which he had done on numerous Simpson scores previously; he and Simpson would often record on the organ at St. Gabriel's Church in Cricklewood, with some stories (such as The Deadly Assassin, 1976) featuring solo cues for this impressive instrument.
THE INVASION OF TIME (1978) – Music by Dudley Simpson
Highlights from these episodes, presented in chronological story-order. The music here represents just over half of that composed for these two episodes.
Unusually for a Dudley Simpson score, the cue numbers are mentioned on the PasB paperwork for Part Six as “Links m61/m70”, and it is possible to reach this number if you count cues from the first episode onwards. I've therefore presented cue numbers for Parts Three and Four in the track listing below... though they are only estimates! This guestimate assumes that the cues are split as follows: Part One (links 1-12), Part Two (13-23, along with a repeat of m12 in the cliff-hanger reprise), Part Three (24-35), Part Four (36-50) and Part Five (51-60).
As with The War Games and The Deadly Assassin, Simpson made use of organ music in association with the Time Lords; and the theme that Simpson had originated in Season Twelve for Tom Baker's Doctor (re-recorded by Heathcliff Blair for the Pyramids of Mars CD) was used for scenes in Part Five. As with The Android Invasion suite, it's likely that the music for these two episodes was recorded in one session, and hence survives when the scores for Parts One, Two, Five and Six do not.
DESTINY OF THE DALEKS (1979)
A short version had been released on Volume 2: New Beginnings, track 46 (0:12).
No music tapes from Season Seventeen have been found, though a memorable excerpt from Dudley Simpson's City of Death score was arranged by Mark Ayres and Ben Foster for inclusion in the 2013 Doctor Who Prom and 2014/15 Symphonic Spectacular tours.
NIGHTMARE OF EDEN (1979)
Previously released included on the DVD Photo Gallery, where it was mixed with stock stock jungle effects. These jungle sounds had appeared numerous times before in Doctor Who, dating all the way back to Mission to the Unknown (1965). Continues into:
First heard on Volume 1: The Early Years, track 76. This short edit of the theme was not actually used on television during the fourth Doctor's era; its only contemporary use was on the Genesis of the Daleks LP in 1979.
The final story of Season Seventeen, Shada, was abandoned due to industrial action at the BBC. Dudley Simpson had already started composing music for the serial, though it would be over thirteen years before the story was ready for music, for a special version assembled for BBC Video. Seventh Doctor composer Keff McCulloch composed a new score, sampling conventional instruments in a bid to create a Simpson-style score, and five minutes of his music was featured on the DVD Photo Gallery in 2013.
For Season Eighteen the Radiophonic Workshop was asked to provide modern electronic music for the entire series, replacing Dudley Simpson and his conventional instruments. Their new interpretation of the title music was first released on Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive in 2002, though the full-length version of the theme had been available as a 7" single since 1980.
THE LEISURE HIVE (1980) - Music by Peter Howell (BBC Radiophonic Workshop)
This track had first appeared on Volume 3: The Leisure Hive, track 3, a disc which presented the complete 50-minute Leisure Hive score with a subtle stereo enhancement (tracks 2-19). On that CD, 'Into Argolis' ran for 2:36 and featured a second cue (running to 51 seconds) after the point at which this track cut out. The complete mono score had also been released as an isolated soundtrack on the DVD in 2004, differing only slightly from the CD (where a sound effect had been added during one track), and the same DVD included a 5.1 mix of the story that included a genuine stereo version of the music.
The second half of this cue had been part of 'The Leisure Hive' suite, mixed into stereo, and segued with other music and effects from the story. The suite was first released on BBC Records' Space Invaded LP in 1982, featured on Doctor Who - The Music, side 1 track 9, and was mastered for CD on Earthshock: Classic Music... Volume 1, track 11, in 1992.
First released on Volume 3: The Leisure Hive, track 5, with another cue included on the same track ('His Time Has Come').
First released on Doctor Who at the BBC Radiophonic Workshop Volume 4: Meglos and Full Circle, tracks 3 and 12. This album presented 40 minutes from the soundtrack mixed into stereo (tracks 2-20), and the complete 50-minute mono score was presented on DVD in 2011.
The cue 'Meglos' was featured in its entirety on Doctor Who - The Music, side 1 track 3, mixed into stereo. That suite opened with a ten-second sound effect, and was first mastered for CD on Earthshock: Classic Music... Volume 1, track 3.
FULL CIRCLE (1980) – Music by Paddy Kingsland (BBC Radiophonic Workshop)
First released on Volume 4: Meglos and Full Circle, track 21. This was a shorter version, missing a five-second cue from the start of the original CD track. The album had presented 40 minutes from the soundtrack mixed into stereo (tracks 21-45); the DVD release in 2009 featured the complete 50 minute mono score.
This track was a shorter edit of Volume 4: Meglos and Full Circle, track 30, 'K9 on a Mission/Third Decider', featuring the first and last cues and omitting approximately 44 seconds from the middle of the original track. It segues into the following track.
Music from State of Decay was not included in this collection. Paddy Kingsland's 49-minute score was featured as an isolated soundtrack on the 2009 DVD.
WARRIORS' GATE (1980) – Music by Peter Howell (BBC Radiophonic Workshop)
First released on Doctor Who - The Music, side 2 track 4, and first mastered for CD on Earthshock: Classic Music... Volume 1, track 16. This version segues with the preceding track (instead of starting from silence) and fades to silence (instead of segueing into the following track, as on the original album). The Banqueting Music was featured throughout the DVD isolated soundtrack from 2009, which presented the complete 40-minute mono score to the story.
THE KEEPER OF TRAKEN (1981) – Music by Roger Limb (BBC Radiophonic Workshop)
First heard in stereo on Doctor Who - The Music, side 1, tracks 4-6, and first mastered for CD on Earthshock: Classic Music... Volume 1, tracks 6-8; here they segue together rather closer than they did on their original releases. The complete mono score, running to 33 minutes, had been released as an isolated soundtrack on the DVD in 2007.
LOGOPOLIS (1981) – Music by Paddy Kingsland (BBC Radiophonic Workshop)
This suite of sound effects was previously unreleased, though this version of the TARDIS stationary effect had first been presented on Doctor Who - Sound Effects and the other effects were included (with stereo enhancement) on 30 Years: 'TARDIS Landing Bleep' (track 55, 0:08) and 'Cloister Bell' (track 55, 1:06). Continues into:
This stereo suite brought together the final three cues of Part Four, first heard on the DVD isolated soundtrack in 2007.
A CD featuring Paddy Kingsland's music for Logopolis and Castrovalva had been rumoured to be on Silva Screen's list of future projects in the mid-1990s. For a while, Ayres stated that he did not have the Logopolis tapes, but these were evidently located by the time he scored the 1999 Comic Relief sketch, The Curse of Fatal Death, which used some short cues from Logopolis within its soundtrack. The complete mono score was released as a DVD isolated soundtrack in 2007.
First heard as the closing tracks on Volume 3: The Leisure Hive and Volume 4: Meglos and Full Circle in 2002. All its previous appearances on CD started from silence, though here the theme segued from the end of the Logopolis suite.
The Radiophonic Workshop's incidental music for Season Eighteen was considered a success, and they continued to provide all the music for the programme for the next four years (Seasons Nineteen, Twenty, Twenty-One and Twenty-Two)...