Disc One: The First Doctor – William Hartnell (1963 – 1966)
Total running time 78:38
25:55 appeared on the 4CD collection, across 21 tracks (33% of the 11CD material).
10:01 appeared on the 2CD collection, across five tracks (38% of the 4CD tracks, 13% of the 11CD material).
3-5, 8, 10, 11, 16, 22-25, 27-32, 34-36, 40, 54-55, 57-58 * Special Sound by Brian Hodgson (BBC Radiophonic Workshop)
26 featuring Special Sound by Brian Hodgson (BBC Radiophonic Workshop)
37, 38, 42, 44-46, 48, 49 Instrumental music composed by Tristram Cary
Performed by Eddie Walker and Musicians conducted by Tristram Cary
43 - Treated music composed by Tristram Cary
Performed by Eddie Walker and Musicians conducted by and with electronic treatments by Tristram Cary
53 - "The Ballad of the Last Chance Saloon"
Music by Tristram Cary
Words by Donald Cotton and Rex Tucker
Vocalist Lynda Barron. Pianist Tom McCall.
All tracks are Mono recordings.
The original full-length theme and tie-in single, released on 7” vinyl in February 1964 b/w 'This Can't Be Love' by Brenda & Johnny. It had been released on a lot of Doctor Who soundtracks (often with stereo enhancement or added TARDIS sound effects) and its history is outlined fully here; this is the original mono version, as included on Doctor Who at the BBC Radiophonic Workshop Volume 1: The Early Years 1963-1969, track 1, an album that Ayres compiled and produced for BBC Music in 2000.
This is not the theme as it appeared on-screen; it was re-edited for broadcast (in two versions, one of which was only heard on the Pilot Episode and The Macra Terror Episode 1) and these versions can be found below.
A notable true-stereo remix was included on the 2002 release, Doctor Who at the BBC Radiophonic Workshop Volume 3: The Leisure Hive, and a 5.1 version was released on the An Unearthly Child DVD in 2006. The same theme was deconstructed and played 'live' by the Radiophonic Workshop at the Roundhouse in 2009, and on tour in 2013/14.
Previously unreleased on CD, the only prior release of this recording was on Radiophonic Workshop - 21, side 1 track 16, where the track cut short at 1:31.
AN UNEARTHLY CHILD - UNAIRED PILOT VERSION (1963)
First released in this form on Volume 1: The Early Years, track 2. This was presented, as on the pilot, played at double speed (so that the effect sounded an octave higher than originally recorded). It had appeared on 30 Years, track 2 at its recorded speed, running to 1:36. At 0.18 there is the original door opening effect. Continues into:
This extended version of 'Entry into the TARDIS' was previously unreleased, the version on Volume 1: The Early Years, track 3 having faded out at 0:41. Continues into:
First released on Volume 1: The Early Years, track 4. Ayres explained: “This sequence consists, as in the programme, of a mix between two effects: 'Lights/Motors TARDIS' and 'Original TARDIS Take Off'.”
The televised theme had been released for the first time on Volume 1: The Early Years, track 5.
AN UNEARTHLY CHILD (1963)
The incidental music for An Unearthly Child was composed by Norman Kay. In total his ensemble of seven musicians provided around 16 minutes of music for the four episodes. Kay later provided music for The Keys of Marinus (1964) and The Sensorites (1964). None of his tapes are known to have survived.
This was one of a number of tracks in this collection that were not composed for Doctor Who at all. It was stock music, recorded for a music publisher before the programme was made, and chosen from a library by the director. The composition was played on Susan's transistor radio in the first episode, credited in the dialogue to (the fictional) John Smith and the Common Men. Just over a minute was used in the Pilot Episode in three bursts (once in the classroom, with two shorter passages heard coming from within the TARDIS as the Doctor opened the door). In the completed episode only 48 seconds was used, since the tune was now only heard during the classroom scene.
The track was previously released on Space Adventures, side 1 track 1, an album of music-library recordings that had been used in Doctor Who, though this was only available in limited quantities on cassette (1987) and CD (1998). (Plans for Silva Screen to re-issue the album in 1994 came to nothing.) 'Three Guitars Mood 2' was later given a limited edition vinyl release for Record Store Day 2013, on the EP Music from The Inferno, knowingly credited to John Smith and the Common Men. The recording appears to be identical on each release, possibly using the same Chappell Music Library digital master, though it ran at a slightly slower speed on the 50th Anniversary Collection than the Space Adventures CD.
This sound effect was first released on the LP Out of This World in 1976, cut-down to 1 minute, and a similarly short version (49 seconds) was released on the four-disc and two-disc sets. The full-length version was first heard on Volume 1: The Early Years, track 6.
THE DALEKS (1963) - Music by Tristram Cary
Electronic Music composed and realised by Tristram Cary
Music first heard on Devils’ Planets: The Music of Tristram Cary, a double-album produced by Ayres in 2003, which presented the complete 26-minute score to The Daleks. Cary used electronically-generated sounds and musique concrete techniques to produce his incidental music, inspired by the futuristic setting.
A sound effect first heard on Volume 1: The Early Years, track 7, in a shorter version that faded out at 1:46. The final 35 seconds of this track were previously released.
First released on Volume 1: The Early Years, track 8.
Music first released on Devils' Planets, CD1 tracks 4-5.
This was an extended version of the sound effect, double the duration of earlier releases. The version of 'Dalek City Corridor' on Volume 1: The Early Years (track 9) faded out at 1:01, and on the DVD Photo Gallery at 1:06. On Devils' Planets (CD1 track 8) this cue segued with the next track, 'The Daleks', though here it fades to silence.
The sound effect of the 'Dalek Control Room' had first been released in 1978 on Doctor Who Sound Effects, side 1 track 2 (1:40), and then appeared on both Volume 1: The Early Years (track 10, 0:26) and Devils' Planets (CD1 track 11, 0:27). On the 50th Anniversary Collection the effect ran to a unique new length - longer than its previous CD appearances, but shorter than the LP - and faded to silence for the first time (all previous versions had cut out). The original master tape actually looped for 3:25.
Music first heard on Devils' Planets, CD1 tracks 13, 15-16, 18-19.
Music from this serial would re-appear in later adventures, as a means of cost-saving on expensive stories. Cues were edited into new tracks to underscore The Rescue (1965), The Ark (1966) and The Power of the Daleks (1966).
Sound effects were re-used, too. The distinctive Dalek control room effect was heard in many later Dalek tales; it was also used for the Rill Central Chamber in Galaxy 4 (1965). The Dalek city door sound was re-used as the airlock of the Drahvin space vessel in the same story.
Tristram Cary later composed the 66-minute score for Marco Polo using conventional instruments, played by the Eddie Walker Ensemble. For that story, he also provided some electronic “voices” for the sandstorm scenes. Cary did keep his tapes for Marco Polo but they were lost, and remain lost to this day.
First released on Volume 1: The Early Years, track 11. This cue was later reused as 'Dalek Destructor Fuse' in The Chase (1965).
THE EDGE OF DESTRUCTION (1964)
The presentation of the countdown clock from The Daleks leading into the explosion from The Edge of Destruction was exactly as it appeared on Volume 1: The Early Years, tracks 11-12.
This story relied entirely on stock tracks for background music, since it was cheaper to pay the music libraries their nominal fees than it was to hire original composers and musicians. In many later stories, library music allowed extra room in the budget for bigger sets, monster props, location filming, or costumes. The Web Planet, The Space Museum, Galaxy 4, Mission to the Unknown (all 1965), The Massacre, The War Machines, The Tenth Planet (all 1966), The Highlanders (1966-7), The Moonbase, The Abominable Snowmen (both 1967), The Enemy of the World (1967-8) and Inferno (1970) all made exclusive use of library discs, while many other stories used them alongside specially-composed music.
THE KEYS OF MARINUS (1964)
Mark Ayres described this track as being “a very early example of a functional sound effect becoming atmospheric 'music'”. It was first heard on Volume 1: The Early Years, track 13.
THE SENSORITES (1964)
This track was first heard on Volume 1: The Early Years, track 14.
There is quite a gap in the music archives at this point. No original music exists from any further stories in Seasons One or Two, though the majority of these serials did have specially-composed scores. The 50th Anniversary sleeve notes lament the absence of music by Richard Rodney Bennett for The Aztecs, Stanley Myers for The Reign of Terror, Francis Chagrin for The Dalek Invasion of Earth (1964), Raymond Jones for The Romans (1965) & The Savages (1966), Charles Botterill's percussion for The Time Meddler and Humphrey Searle's music for The Myth Makers (1965). Dudley Simpson's earliest scores are also missing: Planet of Giants (1964), The Crusade, The Chase (both 1965) and The Celestial Toymaker (1966).
The Radiophonic Workshop, by contrast, retained all their sound effects produced for Doctor Who (with only a handful of stories absent from the archives), hence this section of the collection being dominated by 'special sounds'...
THE CHASE (1965) - Music by Dudley Simpson
This music and effects suite was previously unreleased, and appears to contain excerpts from the finished TV soundtrack, mixed to remove as much background noise as possible. One of the earliest Doctor Who records, The Daleks (1966), was based on the cut-down soundtrack of Episode Six!
First released on 30 Years, track 9, and remastered on Volume 1: The Early Years, track 15. The cue was also used in The Daleks' Master Plan (1965-6).
Previously unreleased, though similar effects were included on the DVD Photo Gallery.
First released on 30 Years, track 8, in a shorter version that faded out at 0:38.
First heard on Volume 1: The Early Years, track 16. This is the earliest TARDIS landing effect in the Radiophonic Workshop library.
GALAXY 4 (1965)
Three Chumbley sound effects (Constant Run, at Rest, and Dies) had first been released on 30 Years, tracks 10-12, and all of the above were heard on Volume 1: The Early Years, tracks 17-21. The 30 Years versions of the first two effects were longer (1:09 and 0:57 respectively).
The music by Les Structures Sonores (a French collective, whom producer Verity Lambert had approached to record the original Doctor Who theme in 1963) appeared here for the first time on a Doctor Who album, though the track was first released on record in 1963, on the French LP Les Structures Sonores Lasry-Baschet (BAM LD 087). The same album was re-issued in America in 1965 to accompany a major exhibition of the sculptures and music at the Museum of Modern Art, New York, with the record re-titled Structures for Sound.
As well as being heard in Galaxy 4, ‘Marche’ was used as background music in The Web Planet (1965). Both stories made extensive use of library recordings by Jacques Lasry and Francois Baschet, and several of their recordings were played over the Photo Gallery on The Web Planet's DVD release in 2005, including 10 seconds from 'Marche'.
THE DALEKS’ MASTER PLAN (1965) - Music by Tristram Cary
Ayres noted that this effect was presented with the master tape played at half speed, as used on the original episodes.
The complete score to The Daleks' Master Plan, running to 59 minutes, had been released on Devils' Planets in 2003, and the eleven-disc set presented over half of this material. The music combined conventional instruments with electronic sounds, a style that would later become Doctor Who's signature sound (with Dudley Simpson collaborating with the Radiophonic Workshop in a very similar manner). The track 'Invisible Creatures' was shorter than the Devils' Planets version (1:05), cutting two short stings from the end.
THE GUNFIGHTERS (1966) - Music by Tristram Cary
Originally conceived as a song that would be heard in scenes throughout the serial, the idea was developed into a narrative that would replace the incidental music and tell the story of the gunfight itself (and emphasise the humour that the story hoped to achieve).
The complete song, running to 10½ minutes, had previously been released on the narrated TV soundtrack of The Gunfighters, produced by Ayres for BBC Audiobooks in 2007 (CD2, tracks 33-52), with highlights also included on the DVD photo gallery in 2011. The highlights here, compiled into one track, were:
II (“With rings on their fingers…”, 0:31)
IV (“It’s your last chance of boozing…”, 0:26)
XII (“It’s your last chance of earning…”, 0:32)
XV (“So them bad, cruel outlaws…”, 0:39)
XIX (“It’s the OK Corral, boys…”, 0:33)
XX (the story’s final cue: “They paid for their sin and…”, 0:42)
THE SAVAGES (1966)
First heard on Volume 1: The Early Years, track 23.
THE TENTH PLANET (1966)
Released by the Chappell Recorded Music Library in 1964, this 3-part composition (of which Part 2 was the longest) became famous in Doctor Who as the theme of the Cybermen in The Tenth Planet (1966), The Moonbase and The Tomb of the Cybermen (1967); it was also used in The Web of Fear (1968). The complete track was first released on Space Adventures side 1 track 12, and appeared on two short independent albums: Music from Tomb of the Cybermen in 1997 and Music from The Tenth Planet in 2001.
Once again the speed was slightly different here, approx 0.5% slower than the earlier CD releases. It appeared to be higher quality than the Space Adventures recording, with less tape hiss in the upper frequencies and greater range of frequencies overall; a faint background hum from the original release had also been cleaned up.
Previously unreleased in this form, though an excerpt was featured on the DVD Photo Gallery in 2013, mixed with 'Space Adventure'.
First heard on Volume 1: The Early Years, track 24.