TME > Audio > Tributes Discography

The Theme Tune

Something very peculiar happened in the late 70s. Just as, twenty years later, quick-buck musicians would cross vintage theme tunes with a dance beat (starting with Mission: Impossible, James Bond, The X Files, etc), a small collection of groovy session musicians decided, apparently independently, to turn TV themes into disco hits. What possessed them? We don't think any Doctor Who tributes have dated quite as badly as the disco themes on this page. Brilliant though they are, you simply can't listen to them without experiencing psychedelic daydreams involving long brown flares and bushy afros.

1971 - Pink Floyd

Pink Floyd: Meddle
12" vinyl LP, November 1971 (Harvest SHVL 795)
CD, 1984 (EMI CDP 7 46034 2) and digitally remastered CD, 1994 (EMI 8 29749 2)

Meddle also included in The First XI 11xLP Boxed Set, 1979 (Harvest PF 11) and Shine On 9 CD Boxed Set, 1992 (EMI 7 80557 2)

1. One Of These Days
2. A Pillow Of Winds
3. Fearless
4. San Tropez
5. Seamus
6. Echoes

A controversial addition to our theme tunes discography, Pink Floyd's One of These Days features a pulsing "bum-ba-da-dum" bass line and a "wah-wah-waaaaaahh" guitar whine that are both clearly derived from the Doctor Who theme. Some fans have even claimed that the flashing lights on either side of the stage during live performances were representative of the Doctor's hearts. Whilst the latter suggestion is taking it a little too far, it is undeniable that this early Floyd track - with its sole modulated lyric, "One of these day's I'm gonna cut you into little pieces..." - boasts a 6 second tribute to Doctor Who, surrounded by 5 minutes of a bass line that may or may not be an extension of that, whilst live versions spent considerably longer paying tribute to the theme, with the electric guitar solo incorporating as much of the melody as Neil Norman's Cosmic Orchestra or Pound System did in their own recordings.

--> Compilation Releases (Original Version & Remixes)

Live Recordings

These are the versions that most resemble the Doctor Who theme, where the entire main melody is played during the glorious, echoing breakdown.

  • Live at BBC Paris Cinema, London 30.09.71 released on Vintage Pink Floyd 1970-71 12" vinyl promotional LP, 1983: BBC CN4208/S
  • Live at Nassau Coliseum, New York 19-23.08.88 released on Delicate Sound of Thunder Double 12" vinyl LP (EMI EQ 5009) CD (EMI CDS 7 91480 2), 1988 and VHS (Castle Music Video CMV 1128), 1989
  • Live at Niedersachsenstadion, Hannover 17.08.94 released as a B-side on High Hopes 12" vinyl and CD single, 1994: EMI 8 81772 6
  • Live at Amphitheatre, Pompeii 6-7.10.71 released on Live At Pompeii VHS-PAL, 1994: Polygram Music Video 0807303
  • Live at Earls Court, London 16&20.10.94 released on p.u.l.s.e. 2 x cassette (EMI 8 32700 4), 4 x 12" vinyl LP (EMI) and VHS-PAL, 1995

    1978 - Planet Earth!



    Arranged and produced by Richard Hill
    Assistant producer: Liz Higgins
    Album co-ordination: Jed Kearse
    Planet Earth!
    12" vinyl LP / cassette, 1978
    Pye Records NSPL / ZCP 18556

    SIDE ONE

    1. Rocket Man
    2. Space Boogie
    3. Across the Universe
    4. Telstar

    SIDE TWO

    1. Doctor Who (from the BBC TV Series)
    2. You Are My Starship
    3. My Galactic Hero
    4. Andromeda

    Guitars: Colin Green, Kevin Peek / Bass Guitar: Billy Christian / Drums: Barry Morgan / Percussion: Tristan Fry
    Acoustic piano, Fender Rhodes electric piano, Poly Moog synthesiser, Mini Moog synthesiser: Trevor Bastow
    Arp Odyssey synthesiser, electronic sequencer: Mike Ratledge
    Mini Moog synthesiser: Karl Jenkins
    Soprano sax solo on "You Are My Starship": Ronnie Asprey
    Synthesiser programming: Karl Jenkins, Mike Ratledge

    A compilation of cover versions and original compositions, this groovy instrumental LP was recorded by 9 "session" musicians (sight-reading artists employed for the recording date only) at Scorpio Sound, London in January 1978. The sleeve gives nothing away, listing only Planet Earth as the artist and title (see the record label, above right), and not even offering a small note to explain the point of the whole thing. Sanctuary Records, who currently own the copyright for all Pye releases, hold no information on the LP besides its release code, and have no plans to re-issue the recordings.

    Despite the rest of the album being soothing, relaxing and traditional, the Doctor Who theme was given a unique disco makeover for the project, and brought to life with some furious guitar work and some excellent synthesiser sounds. Ron Grainer's bass line was replaced with a new rhythm, and the melody alternated with freestyle solos and breakdowns. It's by far the most polished track on the album, mixed to perfection, and it's a shame that it was never released as a single - judging by Mankind's success, they could have done well!

    Many of the session musicians performing as Planet Earth would later work together as 80s instrumentalist group Sky. Percussionist Tristan Fry, already timpanist for the Royal Philharmonic Orchestra and the Academy of St. Martin in the Fields, would play drums for Sky between 1979 and 1994, and Australian Kevin Peek, Sky guitarist through 1979 - 1985, had recorded for artists including Cliff Richard, Olivia Newton-John, Roger Daltry and The Shadows, as well as the London Symphony and the Royal Philharmonic Orchestras. Both musicians had backed Sky stalwart John Williams as early as 1971, and would continue to appear together in session up to Sky's formation in 1979.

    Of the other musicians, Colin Green, a top-rated session guitarist from 1959 to present, had recorded on albums and singles by such diverse artists as Diana Ross, Gene Vincent and Bjork, and has since played on film scores for composers including Henry Mancini, Jerry Goldsmith, John Barry and James Horner. Drummer Barry Morgan had performed on Jeff Wayne's musical version of The War of the Worlds in 1977, and enjoyed a diverse and intensive recording career throughout the 1980s. Keyboardist Karl Jenkins would later return to his classical background and create the Adeimus project, while Billy Christian and Trevor Bastow, although remaining incongruous, can be found listed on numerous instrumental albums and singles.

    1978 - Mankind

    Mankind: Dr. Who
    12" blue vinyl single (w/picture sleeve) Motor Records MTR001/12
    13th November 1978

    This was later distributed by Pinnacle Records, who re-branded the single as PIN 71-12 and pressed the 12" in black, blue, brown, green, grey, yellow, red, white, multi-coloured and clear vinyl.

    7" black vinyl single (some w/picture sleeves), Pinnacle Records PIN 71

    A. Dr. Who *
    B. Time Traveller *

    * Edited versions on 7", extended versions on 12"

    Arranged by Mark Stevens / D. Gallacher
    Produced by Don Gallacher

    --> Sleeve Designs / Lyrics / Top of the Pops / International releases / Compilation releases

    This distinctive disco interpretation of the Doctor Who theme - the first to feature lyrics, besides Jon Pertwee's monologue on Who is the Doctor - reached No.25 in the UK charts during its third week within the Top 40. The BBC were evidently quite fond of the track - as well as an infamous Top of the Pops appearance (where the band wore Tom Baker-esque hats and scarves, the audience bopped, and the Beeb mixed in visuals of the Bernard Lodge credit sequence), the record was used on a BBC trailer for The Androids of Tara - the first time that a non-TV arrangement of the Doctor Who theme is known to have been used to advertise the programme (excepting only the Delaware version on a trailer for The Three Doctors in 1973).

    The record was conceived and produced by Don Gallacher, a former songwriter and recording engineer who was determined to break into the music industry. “In those days, in the 70s, it became quite democratic,” he told TME in 2007. “If you could find the right song, and the right artist and producer, quite cheaply you could get it out; it’s a bit like it’s becoming now, with iTunes and the like, it was very free. But the one thing I couldn’t afford was radio plugging.” At the suggestion of his 3 year-old son, Gallacher picked Doctor Who as a tune that the radio stations would instantly recognise, with a disco beat in emulation of Meco Monardo’s hit disco version of Star Wars the previous summer (“disco was really big – if it wasn’t disco it was punk, and I couldn’t stand punk”), having discovered that “...a slight tweaking of the beat would make it exactly fit into the disco rhythm” Don worked on the arrangement with keyboard player Mark Stevens, and the pair quickly hired additional session musicians with whom they had worked previously; “we booked a 24-track studio, cheap, above a bingo hall in Clapham... did it all in, I think, about twelve hours. Four days, for three hours a day, did it all.”

    The musicians, TME can exclusively reveal, were Graham Jarvis on drums (“Graham was known as ‘The Rhythm Box’ for his time-keeping, it was absolutely spot-on”); Dave Green on bass; Mark Stevens on keyboards; Dave Charlesworth on guitar (“although I didn’t use much guitar on it: right at the beginning, it starts off really loud and then disappears, ‘cause I reached over the fader and went ‘argh, hate that!’“); and Don himself on vocals. “The reason I did that was that Radio One had an absolute anti-instrumental policy: if it didn’t have a voice on it, they wouldn’t play it. That was the only reason I put the words on, and made it up on the day that I had to do it, just literally wrote down whatever came into my head. Interestingly, about fifteen years ago, I actually heard the playback of the multi-track, the original 24-track multi-track, and the stuff I’m saying on there, I’m going ‘... automated biscuit-box’, and absolute garbage. Of course we didn’t use that.”

    Upon leaving the studio, Don posted cassette copies of the song to all the major record labels, but, fully expecting to hear nothing in return, immediately pressed the first batch of singles himself. “I found this little pressing plant who said ‘we’ll do it all for you,’ and they produced five hundred 7” Dr Who’s for me.” These were custom-printed, high-quality black vinyls [coded Motor Records SRTS 78 CUS 153], but distributing them was not easy. “The label was so awful – I couldn’t bare to look at it, let alone put it out. It had this horrible orange sticker... it looked as if someone had made up an old stamp-printing set, like a kiddie’s printing set – horrible.” And there were further problems: “the only way that a record shop would buy stock from the makers was to have an account. Getting an account with a major was not an easy thing to do.” Luckily, Gallacher was able to locate a wholesaler willing to sell his records onto the retailers, and, on their advice, produced his next batch of records on blue vinyl 12”, manufactured this time at a classical music pressing plant in dazzling, eye-catching colour. On the advice of a supermarket supplier (“who said to me ‘as far as a label is concerned, everything we do in terms of design and labels for products is designed to get the customer to pick it up’“), the cover design did not feature the title: record shop browsers would literally have to pick it up to see what it was!

    On 13th November 1978, Gallacher collected the new pressings, delivered half to the wholesalers for retail distribution, and hand-delivered the remainder himself to clubs and smaller shops around London. He was, by this time, well prepared for success. “Before I even recorded it, I got in touch with the BBC – with Graham Williams, the producer – and we got together for a drink. I told him what I was gonna do, and he said ‘so you want our permission?’ I said, ‘I don’t need your permission. But if I get a hit, if I get in the Top 40 and I get onto Top of the Pops, I want swirling Daleks and the TARDIS and stuff like that. I want to clear it in advance.’ And he said, ‘You’re very confident, aren’t you?’ I said ‘Oh no, but if you don’t plan to succeed, you fail, basically; there’s no harm done, is there – if I fail, you won’t get a phone call, if I succeed, you will.’“ Once distributed, the record was an instant hit. Gallacher was soon getting orders from all over the country, and was relieved, after several weeks, to take a phone call from one Pete Waterman, then a writer/reviewer for Record Mirror, suggesting he speak to Pinnacle Records about taking over the record’s distribution and promotion. “Pinnacle were a wholesaler, selling stylus, record decks, electronic stuff and the odd classical record, that’s how they started. I had a meeting with Pinnacle – they were desperate for a hit, having just launched themselves as a label – and I was a bit naïve, I just wanted to get it over and done with.”

    The deal was significantly in Pinnacle’s favour, and the Motor Record labels were immediately covered by new Pinnacle-branded stickers with ‘Motor’ written in very plain letters, even smaller than a logo for Firebird. “The guy who signed me up, he had a company called Firebird so he wanted his logo on. I’m sure if I’d dug my heels in and said ‘I want my own label,’ they’d have said ‘OK’; but the thing was already moving, I didn’t want to delay it. Literally: it’s in the charts, I either sign this deal, or I walk out of here.” With Pinnacle’s promotion, a new pressing of the 7”, multi-coloured versions of the 12” (now with a titled sleeve) and the securing of airplay on Radio Luxemburg (though sadly, not on Radio One; the BBC would have seemed biased in playing a remix of one of their own themes), the single climbed to number 24 in one chart and 25 in another, selling, in Gallacher's estimate, over 240,000 singles. The long-planned-for appearance on Top of the Pops was quickly arranged, albeit with a slightly different line-up of musicians. “Mark Stevens was there, with the hat on and the scarf; same bass player, Dave Green; Graham Jarvis couldn’t make it, so we used a guy called Graham Hollingworth, a session drummer; and Dave Charlesworth, the guitarist, he wasn’t good looking enough – that’s how we did things, in those days! – so we got a guy from my old band called Paul Martinelli who did the guitar and mimed the vocal bit.”

    Pinnacle asked Gallacher for a follow-up straight away. “I said, ‘there is no follow-up. It’s a one-off, you can’t follow that up.’ They made me do one, that was under duress as I was convinced it wouldn’t work.” Using the musicians who had appeared on Top of the Pops, the result was another 12” and 7" disco record, Chain Reaction. “We spent thousands on it – used 48 tracks, and I was bouncing-down to get more tracks.” It’s certainly a polished recording, and the keyboard jingles and funky bass are unmistakeably twinned with the original Mankind. “But having urged me to make the follow-up, I don’t think they had faith in it. I got it on television, I got it on Cheggers Plays Pop. It could have been a hit in its own right, but that’s the thing about the record business, you’ve got to promote, you’ve got to believe.” The Mankind moniker was resurrected a few years later for a company called Ovation. “That was Dark Star Angel and UFO. And that never did anything.” Yet these rare records could well be made available again soon: “I’m going to clean up the recordings and put them out on iTunes and things like that, see if there’s an interest. I’m going to put out a mini-album – it will be an album, 'cause it’ll have all these 7” versions, 12” versions – and just put it out. That’s my last chance – I’ll put it out on iTunes, but if you want Dr. Who, you gotta buy the album.” Unfortunately, the chance for digital remastering has long-since passed. “I haven’t got any of the masters, all the masters have gone up in fire. I ended up in offices in Carnaby Street in the early 80s, all my master tapes were there and they had a fire. So I can’t remix Dr. Who.”

    The single certainly provided Gallacher with an entrée to the business, but perhaps not in the way he intended. “If you have a hit record, no-one asks if it was good, bad or indifferent: you’ve had a hit record, you’re a player. Unfortunately, as a record producer, my fate was sealed, ‘cause the only requests I ever got was ‘can you do a disco version of...?’ I started to try to launch quality stuff – rock ‘n’ roll, and stuff I really wanted to – but of course it was just as hard, even though I’d got the connections, it was just as hard as anyone else trying to.” Don eventually ended up in the music-for-film industry, and is now a successful and established music licenser. “I do actually submit my own songs to directors, amongst others, but they never now. That’s a hit and miss thing.”

    Scratchings



    There are at least three variations of the scratches around the centre of the 12 inch records: the original Motor pressing, the blue vinyl Pinnacles and the multi-coloured Pinnacles.

    All of them have the same typings in the centre of each side – MTR 001-12 A/B-1 and 2931 – though Pinnacle multi-colours have PIN+71+A/B hand-scratched as well. MARK STEVENS IS A DALEK [A-side] and YOU MAY THINK SO WE DID BEWARE [B-side] are hand-scratched on all versions, with ‘II’ above them on multi-colours. EG (both sides) and A PORKY PRIME CUT [A] are the only other markings present on all discs.

    Exclusive to the blue vinyl Pinnacles are IIIX GREN HERE [A]; HI I’M CALLED B. REYNOLDS [B]; SEX PISTOLS OK MATE [B]; IVX [B]; and a picture of a grinning face [B].

    COSTA [B on Motor, both sides on blue Pinnacle] and VIII [Motor] are replaced with OREX on multi-colour discs.

    The 7 inch records do not feature any amusing scratchings, but the markings do indicate their order of production. The orange-labelled Motor Records discs (which were later covered in 'advance copy only - not for resale' stamps) read SRTS +78+CUS+153+A/B in neat handwriting; this is dimly-visable on all later UK pressings, too, suggesting the promos were used as the master discs for all later versions. The Pinnacles have MTR 001 written in large handwriting close to the centre, with VR 08-102467-1A/B-1 typed close to the edge; this type is replaced on later Motor Records discs (the ones that we presume to have been distributed alongside Dr Who (The Sequel) in 1984) with LYN 615 7 [A] / 8 [B], PIN 71-A-35 [A] and MAX [A].

    The international 7 inches are completely re-pressed and feature none of the above; the German discs have 100287 A/B-1/79S in large type and Made in Germany in small type, whilst the New Zealand discs have RTS 702 A/B 5884 [A] / 5883 [B] 700 hand-scratched.

    Sleeves & Vinyls



    The original Motor picture sleeves are noticeably thicker, with an end-spine and inner sleeve (both blank) that make the overall sleeve a little larger, and protect the record better than the Pinnacle facsimiles. The back sleeve spells Chappell with only one ‘l’, a mistake corrected on Pinnacle reprints, and MOTOR RECORDS (top left) and MTR 001/12 (top right) were initially covered-up with small stickers (reading ‘Pinnacle Records’ in the company font, and ‘Pinnacle/Firebird PIN 71’ in a plain font, respectively) then changed to simply the latter code on the reprints. The Pinnacle logo, Pinnacle’s contact details and the name of the printer were also added to the bottom of the sleeves.

    The blue vinyl Pinnacles appear to be the same shade of blue as the original Motor vinyls, although they are somewhat thinner and thus more transparent.

    Sheet Music



    Such was the prominence and popularity of the record that the 1964 Chappell sheet music was re-issued to tie-in with the Mankind single, even though the piano score remained unchanged from its 1964 version (i.e., it wasn't disco!). “Chappell were very pleased, they were very, very pleased,” rememberes producer Don Gallacher. “Ron Grainer’s manager was able to go into Chappell and renew his contract for a big wodge of money; Chappell were able to say to Ron Grainer, ‘look at what a good job we’re doing for you’!”

    Mankind: Dr Who (The Sequel)
    12" vinyl single, January 1984
    Motor MTR 001T (Pinnacle Distributed)

    A. Dr Who (The Sequel)
    B. Dr When

    Produced by Don Gallacher & Mike Collier
    Remix by Mark Stevers [sic] & Ron 'Spider' Baker

    Click to view record sticker / full sleeve

    Blessed with many new wibbles, whooshes and synth sections, this subtly improved version of the Mankind theme was released on a rare black-labelled 12" before its appearance as B-side to the Dominic Glynn theme (see below). The remix, by original producer Don Gallacher and new collaborator Ron 'Spider' Baker, introduces many new instruments apparently created with digital MIDI equipment, and seemingly replaces the original bass line with a synthesised and more lively re-recording.

    According to Don Gallacher, this mix was commissioned by the BBC themselves. “I got a request from the BBC, of all people, to do a remix for them for a recording, and went in and did a remix with a guy called Ron Baker, ‘Spider Baker’. And the BBC had that for 5 years or something. My best friend Mike Collier helped out in some way or another, and I owed him something so he said ‘can I have the B-side?’ So I went, ‘I’ll credit you as a writer’ and we made something up for the B-side and called it ‘Dr When’. I don’t even remember it.” Upon being provided with a copy, Gallacher was amused to recall that Dr When had in fact originally been the backing track for an abandoned ABBA tribute, ‘My My My’.

    Gallacher doesn't recognise the 12" release, and believed that the remix had only been released on the BBC Records label, making the Motor release something of an oddity. A 7" version of Dr Who (The Sequel) is also rumoured to exist (according to a listing in Record Collector), although the assumption that the release code is MTR 001 - the same as the original 1978 version - is unlikely and, if correct, the original 7" of Dr. Who/Time Traveller is more likely to have been re-issued, probably in the diamond-logo picture sleeve whose label closely matches The Sequel 12", and which Gallacher also has no recollection of. TME suspects that either Gallacher pressed his own records before giving the copyright to the BBC for 5 years, and has simply forgotten about it, or else that Pinnacle got hold of the remix and released it without Gallacher's knowledge, using the Motor labels to pay lip-service to their original contract as distributors... but we've no way of knowing!

    Doctor Who: Theme from the BBC TV series
    12" vinyl single, hologram sleeve, December 1986 (BBC 12RXL 193)
    Cassette single (on 12" hologram sleeve), December 1986 (BBC ZRSL 193)
    7" vinyl single, plain sleeve, November 1987 (BBC RESL 193)

    A1. Doctor Who Dominic Glynn
    A2. Doctor Who BBC Radiophonic Workshop *
    B. Doctor Who (Cosmic Remix) Mankind **

    * 12" and cassette only
    ** Edited version on 7", full-length version on 12" and cassette

    BBC Records eventually released The Sequel in 1986, retitling it Dr. Who (Cosmic Remix) as a novelty B-side for their release of Dominic Glynn's Doctor Who theme. The single was advertised in the Radio Times at the end of a short feature about the new series: "A new version of the Doctor Who theme - even more electronic - is available on BBC records, RESL 193; a 12"-inch version 12 RESL 193; or mini-cassette ZRSL 193." A 7" of the Glynn theme appeared the following year, backed with a newly-prepared 7" edit of Dr Who (The Sequel).

    Mankind: Gallifrey and Beyond
    Digital release, January 2011

    1. Dr Who? (Radio)
    2. Time Traveller (Radio)
    3. Chain Reaction (Radio)
    4. Funky Revolution (Radio)
    5. Dark Star Angel (Radio)
    6. UFO (Radio)
    7. Dr Who? (Club)
    8. Time Traveller (Club)
    9. Chain Reaction (Club)
    10. Funky Revolution (Club)
    11. Dark Star Angel (Club)
    12. UFO (Club)

    In January 2011 Gallacher released all his Mankind recordings - from both 7" and 12" versions of all three singles - as a digital album, initially just from iTunes but eventually from a multitude of retailers. The tracks were professionally recorded from vinyl and still featured vinyl pops and crackle; these files were replaced shortly afterwards with digitally restored versions that removed the crackle and noise.

    Don's plan had always been to release a physical version of this album when time permitted, and the 50th anniversary of Doctor Who in 2013 proved a useful deadline for him to work towards! In October 2013 he announced (via a huge press release, a new Facebook page, a new (and very active) Twitter account and a new record deal with Mondo Recordings) that the recordings would be released on a special blue vinyl LP and on a digipak CD, each attractively packaged. Re-titled 'Space, Time and Beyond' the album would feature extra opening and closing tracks: the first a newly commissioned remix by Dos Amigoz (which will also be released a digital single), and the 1984 remix, The Sequel (aka the Cosmic Remix), which, like the other tracks, has been recorded from the original vinyl, then digitally cleaned up afterwards.

    Further news on this very exciting release as and when we get it!

    1979 - Pea Green Philharmonic Pullover Set

    Pea Green Philharmonic Pullover Set: [EP]
    7" vinyl EP, 1979
    Hillside Records HIL EP4012

    SIDE 1

    1. Dr. Who (R. Grainer)
    2. How Deep Is Your Love (B. R. & M. Gibb)
    3. Lay Your Love On Me (N. Chenn/M. Chapman)

    SIDE 2

    1. Every Night (P. McCartney)
    2. Love Is In The Air (Vands/Young)
    3. Stranger On The Shore (A. Bilk)

    Keyboards/Vocals: Graham Colthorpe
    Percussion/Vocals: Chris Haden-Scott

    Mankind's disco arrangement of the theme was mimicked by the Pea Green Philharmonic Pullover Set, who described themselves as "a multi keyboard/drum duo, who with modern technology have a sound that much surpasses that of many larger bands." Right down to the drum rolls and backing keyboards, their version of Doctor Who was Mankind to a tee - shockingly without a credit in sight!

    This electric/percussion duo have been performing for over three decades, and are still available for dinner dances, weddings or just an evening in a social club, should you need them. They have also released several records during their career, including the eponymous LP, Pea Green Philharmonic Pullover Set (SRT Productions SRTZ/CUS 77057) and the earlier EP, also titled Pea Green Philharmonic Pullover Set.

    1979 - Ron Grainer (Disco Version)



    The Exciting Television Music of Ron Grainer US 12" vinyl LP, 1979 (STET Records DS 15018)


    Doctor Who and Other Classic Ron Grainer Themes - CD (with additional tracks), 1994 (Play It Again PLAY 008)


    Play It Again 1998 reissue

    This fascinating recording, allegedly arranged by the man who wrote the theme itself, sounds very much like the theme to The Prisoner (which he also wrote and arranged), and features some great breakdowns and alternative melodies. Performed (like the Planet Earth and Mankind recordings) by a guitar-led band and synthesisers, this arrangement also features a small orchestra - achieving a middle ground that seems to take the best of the orchestral recordings with the best of the disco arrangements; we wonder whether Mr Grainer had been listening with interest to all the different treatments his theme had been getting! The build-up to the final 'chorus' section is especially brilliant, with synths, drums and trumpets all pumping out the rhythm, ending with a rising and falling wind-effect. It's an excellent alternative, but, if this is what Ron Grainer believed the theme should sound like, we're glad that he liked Delia's original and we weren't lumped with this for 40+ years.

    According to a reader letter in Doctor Who Magazine 68, the Disco Version was initially available on the American version (pictured above left) of a British Ron Grainer themes album. The back cover featured photographs from The Seeds of Doom and Terror of the Zygons, and every track was reportedly out of order to the listings both on the sleeve and the record label itself. We're a little unsure whether this information is correct, so we present the records above as re-issues - we're still looking for the original release!