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The Invasion THE INVASION MUSIC BY DON HARPER SPECIAL SOUND BY BRIAN HODGSON AND THE BBC RADIOPHONIC WORKSHOP Doctor Who (New Opening Theme, 1967) 01 THE SCORE The Dark Side of the Moon (Music 2 Variation) 02 The Company (Music 7) 03 Hiding (Music 8) 04 International Electromatics Headquarters (Music 3) 05 Muzak 06 The Cyber Director (Music 5) 07 The Cybermen, My Allies (Music 7) 08 Brigadier Lethbridge-Stewart (Music 12a) 09 Plans for Invasion (Music 8) 10 Mysteries (Music 12) 11 Fire Escape (Music 11) 12 The Dark Side of the Moon (Reprise) (Music 2) 13 The Cybermen, My Allies (Reprise) (Music 7, Looped) 14 ADDITIONAL CUES 15-34 ELECTRONIC SCORE AND SOUNDS Part of TARDIS Disappears 35 All of TARDIS Disappears 36 TARDIS Take Off Slow And Painful 37 Track 1 composed by Ron Grainer International Electromatics Headquarters Exterior 38 Realised by Delia Derbyshire, BBC Radiophonic Workshop International Electromatics Headquarters Interior 39 Computer 40 Tracks 2 - 5, 7 - 34 by Don Harper Track 6 by John Baker, BBC Radiophonic Workshop Cyber Director Appears 41 Tracks 35 - 44 by Brian Hodgson, BBC Radiophonic Workshop Cyber Director Constant 42 Compiled, mastered and produced by Mark Ayres Cyberman Brought to Life 43 Cyber Invasion 44 THE WORLD’S LEADING ELECTRONICS COMPANY Home of Cyber-technology and the Micromonolithic circuit Managing Director: Tobias Vaughn Head of Security: Packer Press Photographer: Isobel Watkins 01 Doctor Who (New Opening Theme, 1967) 0.52 ELECTRONIC SCORE AND SOUNDS 35 Part of TARDIS Disappears 0.25 THE SCORE 36 All of TARDIS Disappears 0.24 37 TARDIS Take Off Slow And Painful 2.13 02 The Dark Side of the Moon (Music 2 Variation) 0.33 38 International Electromatics Headquarters Exterior 10.33 03 The Company (Music 7) 1.31 39 International Electromatics Headquarters Interior 6.26 04 Hiding (Music 8) 4.54 40 Computer 0.21 05 International Electromatics Headquarters (Music 3) 0.16 41 Cyber Director Appears 1.01 06 Muzak 2.46 42 Cyber Director Constant 2.37 07 The Cyber Director (Music 5) 0.08 43 Cyberman Brought to Life 2.26 08 The Cybermen, My Allies (Music 7) 0.27 44 Cyber Invasion 7.51 09 Brigadier Lethbridge-Stewart (Music 12a) 1.22 10 Plans for Invasion (Music 8) 1.25 Total Duration: 1h 3mn 4s 11 Mysteries (Music 12) 1.31 12 Fire Escape (Music 11) 1.11 13 The Dark Side of the Moon (Reprise) (Music 2) 0.31 14 The Cybermen, My Allies (Reprise) (Music 7, Looped) 1.07 ADDITIONAL CUES 15 Music 4 (Trapped in Gas Chamber - v. 1 & 2) 1.29 25 Music 15f 0.04 16 Music 9 2.20 26 Music 15g 0.04 17 Music 10 2.00 27 Music 15h 0.23 18 Music 13 0.05 28 Music 16a 0.04 Track 1 composed by Ron Grainer, Realised by Delia Derbyshire, BBC Radiophonic Workshop 19 Music 14 0.15 29 Music 16b 0.05 Tracks 2 - 5, 7 - 34 by Don Harper 20 Music 15a 0.04 30 Music 16c 0.06 Track 6 by John Baker, BBC Radiophonic Workshop 21 Music 15b 0.20 31 Music 16d 0.07 Tracks 35 - 44 by Brian Hodgson, BBC Radiophonic Workshop 22 Music 15c 0.04 32 Music 16e 0.04 23 Music 15d 0.20 33 Music 16f 0.08 Compiled, mastered and produced by Mark Ayres 24 Music 15e 0.16 34 Music 16g 0.05 ‘The Invasion’ was an 8-part Doctor Who story made and transmitted in 1968. Written by Derrick Sherwin (from a story by Kit Pedler) it starred Patrick Troughton as the second Doctor. At the helm was Douglas Camfield, one of popular television’s most maverick and talented directors in the 1960s and 1970s. The music was composed by Don Harper, the third Australian émigré composer (after Ron Grainer and Dudley Simpson) to work on the programme. Camfield seems to have had a difficult relationship with music in his productions, seldom using a composer more than once. Dudley Simpson composed for his first two Doctor Who outings, ‘Planet of Giants’ (for which Camfield directed one of the three episodes) and ‘The Crusade’, but the director chose to use library music thereafter, other than for ‘The Invasion’ and his final two stories, ‘Terror of the Zygons’ and ‘The Seeds of Doom’. The latter two featured memorable scores by Geoffrey Burgon and are unusual in that the music was used largely as the composer intended, which was not the case with The Invasion. Born on 18th March 1921, Don Harper had already built quite a name for himself as a jazz violinist in his native Melbourne before he came to England in 1955 and spent seven years building a career as a session musician with an eye to work as a composer. After a brief return to Australia, he was soon back in Britain providing theme music for programmes including ‘The World of Sport’ (1964, and probably his biggest ‘hit’), the long-lost ’Champion House’ and the ITV production of ’Sexton Blake’ (again, only one episode out of 50 survives to this day). Having got a few themes under his belt, ’The Invasion’ was possibly Don’s first incidental scoring work. It is not known how he met Camfield, but he went to see established Doctor Who composer (and fellow antipodean) Dudley Simpson for advice, only letting on to a crestfallen Dudley at the end of their meeting that he had been commissioned for a Doctor Who. The following year, Harper would provide the music for Camfield’s ‘The Last Lonely Man’, an episode of Out of the Unknown. It was very similar to his music for ‘The Invasion’ and would be the last time the two collaborated. Harper appears to have been formally commissioned for ‘The Invasion’ on 7th October 1968, by which time the music had already been recorded. The commissioning memo states, “The music was recorded on 16th September and consists of 32 minutes of music, to be used at the rate of 4 minutes per episode for an 8-part serial”. According to a budget sheet, the music was scored for just four musicians in addition to Harper. The BBC Music Library card notes that instruments included organ, cimbalom, percussion, clarinet (doubling clarinets in A and Bb, bass clarinet and oboe) and bass guitar. When I had a chance to take a very brief look at the scores a few years back, I noted the addition of contra-bass clarinet and cor anglais. Percussion consisted of bim bams and temple blocks, timps including piccolo timp and hand timp, cymbal and vibraphone. The organ (as evidenced by a hire chit attached to the budget) was a Hammond M100 with Leslie speaker. The master tape of the music for ‘The Invasion’ was lost soon after transmission, but Harper retained a 7½ ips ‘composer’s copy’ and - with this long-awaited release in mind - was kind enough to send me a DAT copy in the early 1990s. Contradicting the commissioning memo, there is but 19 minutes of unique music on the reel (complete, according to the written score). Just under 11 minutes of this was actually used in the episodes. The score, for instance, notes that “Music 4” (the score identifies the music simply by numbers, so the titles here are mine) was intended for the gas attack sequence in episode 2, but it is unused. But that which was used, was looped and used extensively, frequently to well over the 4 minutes per episode noted on the commissioning document and also on the music cue sheet. “Music 10” (which I have called ‘Hiding’) is already looped (as presented here) three times on Don’s tape, but other cues received the same treatment, including “Music 7” which as an example I present here both as on the master and as a 3 x loop. Additionally, the score was augmented by extensive use of electronic sounds by Brian Hodgson of the BBC Radiophonic Workshop, also noted on the cue sheets. And, of course, there is the “Muzak” (referred to as such in the cue sheets for episodes 1 and 2) by John Baker that had its first outing in an Out of the Unknown episode, “Time In Advance”; for episode 3, the cue sheet amusingly BE LIKE US titles it as “Mucrete”. For this release, I have placed the used music together, followed by additional unused cues, followed by the electronic score. We can only imagine what the discussions between Camfield and Harper must have been like, but the music bears the obvious influence of John Barry’s score for The Ipcress File (1965) in its use of the cimbalom, also featured in ‘The Last Lonely Man’. Sadly, we can find no note - at this time - of the musicians hired for the sessions, but it seems very likely that the cimbalom player on both was John Leach (who also worked under the name Janos Lehar), who played on The Ipcress File and other scores by Barry including King Rat and The Persuaders. A few months after ‘The Invasion’, Harper reworked and re-recorded some of his cues for an album, ’New Decades’, for the De Wolfe Music Library. Some of his titles are amusingly cheeky; for example the track I have called “Brigadier Lethbridge Stewart” is... “Aunty’s Army”. Executive Producers for Silva Screen Records Ltd: Don Harper returned home to Australia and his first love, jazz, Reynold D’Silva and in 1984, and died in 1999 at the age of 78. David Stoner Sleeve Illustration: Clayton Hickman Album Artwork: Mark Ayres, January 2018 Stuart Ford An International Electromatics Product SILCD1552 Original music recorded in 1968.
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