Tracks 1-10 EPISODE 1: THE DEAD PLANET Tracks 11-13 EPISODE 2: THE SURVIVORS Tracks 14-16 EPISODE 3: THE ESCAPE Tracks 17-19 EPISODE 4: THE AMBUSH Tracks 20-22 EPISODE 5: THE EXPEDITION Tracks 23-28 EPISODE 6: THE ORDEAL Tracks 29-31 EPISODE 7: THE RESCUE MUSIC BY TRISTRAM CARY BONUS TRACKS SPECIAL SOUND BY 32. FIVE EXPLOSIONS BRIAN HODGSON 33. THE AMBUSH (LOOP) AND THE BBC RADIOPHONIC 34. FUNERAL CHORDS WORKSHOP 35. FUNERAL CHORDS (ALTERNATIVE) 36. FUNERAL CHORDS (LOOP) Track 1 composed by Ron Grainer, realised by Delia Derbyshire, BBC Radiophonic Workshop Tracks 2, 4-6, 8, 10, 11, 13-29, 32-36 composed, realised and produced by Tristram Cary Tracks 3, 7, 9, 12, 30-31 Special Sound by Brian Hodgson, BBC Radiophonic Workshop Album compiled, mastered and produced by Mark Ayres EPISODE 1 - THE DEAD PLANET EPISODE 5 - THE EXPEDITION 01. DOCTOR WHO (ORIGINAL THEME) 1.25 20. RISING TENSION 1.18 02. FOREST ATMOSPHERE 1.08 21. DEMENTED DALEK 0.22 03. SKARO: PETRIFIED FOREST 22. THE SWAMP 2.31 ATMOSPHERE (“THAL WIND”) 4.53 04. FOREST WITH CREATURE 0.55 EPISODE 6 - THE ORDEAL 05. CITY MUSIC 1 & 2 0.56 23. THE CAVE I 2.07 06. THING IN JUNGLE 0.52 24. BARBARA LOSES THE ROPE 0.18 07. TARDIS COMPUTER 1.13 25. HIGH SOUND AND HEARTBEATS 08. CITY MUSIC 3 0.43 (ANTODUS AND GANATUS) 2.06 09. DALEK CITY CORRIDOR 3.46 26. PEBBLE DROPPED 0.13 10. THE DALEKS 0.33 27. CAPTIVES OF THE DALEKS 0.16 28. HEARTBEATS (ANTODUS FALLS) 2.17 EPISODE 2 - THE SURVIVORS 11. RADIATION SICKNESS 0.52 EPISODE 7 - THE RESCUE 12. DALEK CONTROL ROOM 3.26 29. THE CAVE II 2.21 13. THE STORM 1 & 2 2.01 30. CAPSULE OSCILLATION (DALEK DESTRUCTOR FUSE / BOMB COUNTDOWN) 1.09 31. EXPLOSION / TARDIS STOPS 1.10 EPISODE 3 - THE ESCAPE 14. THE STORM CONTINUED Track 1 composed by Ron Grainer, realised by (SUSAN MEETS ALYDON) 2.38 BONUS TRACKS Delia Derbyshire, BBC Radiophonic Workshop Tracks 2, 4-6, 8, 10, 11, 13-29, 32-36 15. INSIDE THE CITY 0.27 32. FIVE EXPLOSIONS 0.31 composed, realised and produced by 16. WHAT’S INSIDE A DALEK 0.35 33. THE AMBUSH (LOOP) 1.45 Tristram Cary Tracks 3, 7, 9, 12, 30-31 Special Sound by 34. FUNERAL CHORDS 0.17 Brian Hodgson, BBC Radiophonic Workshop EPISODE 4 - THE AMBUSH 35. FUNERAL CHORDS (ALTERNATIVE) 0.32 Track 1 published by Warner/Chappell Music 1.02 0.46 17. THE FIGHT 36. FUNERAL CHORDS (LOOP) Tracks 2, 4-6, 8, 10, 11, 13-29, 32-36 published 18. THE AMBUSH 2.00 by Tristram Cary (MCPS / PRS) Tracks 3, 7, 9, 12, 30-31 published by BBC 19. FLUID LINK 0.26 DURATION: 50.29 Worldwide / Universal Music Publishing THE FIRST DOCTOR WILLIAM HARTNELL TRISTRAM CARY I first met director Christopher Barry early in 1963 when he asked me to do a score for a 6-part TV thriller called No Cloak No Dagger. This was instrumental music, but shortly afterwards he mentioned that he was directing the second adventure of a new science fiction serial, Doctor Who, which introduced a fascinating new set of characters - the Daleks. This definitely called for electronic music, and I had fun devising tracks in my Suffolk studio. Nearly all the Doctor Who stories I worked on over the years were in the era of the first Doctor - William Hartnell - but the last one I scored before taking a university job in Australia featured Jon Pertwee as the third Doctor, and was also directed by Chris Barry, nearly a decade after our first cooperation on what had by then become a national institution. Fortunately I made sure that master tapes of all electronic work I did for the BBC were returned to me, so I was able to provide Mark Ayres with good quality digital transfers to work on for this album. It is interesting to compare the tracks of 1963 (The Daleks), when my studio was still fairly primitive, with those of The Mutants in 1972 [not featured on this album], by which time I had many voltage control devices, a digital sequencer and other items unheard of in 1963. Listening to this music all these years later, I don’t think the newer tracks are necessarily better, but they are certainly different. Compositionally, too, methods changed with time. A ‘theme’ in electronic music is not necessarily melodic - it may be a special way of attacking a sound, or a distinctive combination of tone colours. In The Daleks, with few purely electronic sources, the largely atmospheric tracks are mostly made by manipulating real sounds mechanically (e.g. speed changing, retrograding) and/or electronically (filtering, reverberating), whereas by The Mutants the material is entirely electronic, and treated to various formal developments as the story unfolds. I look back on those years with affection and nostalgia - I had plenty of other scores to work on besides Doctor Who, but the Doctor’s adventures always occupied a special place. TC, 2003 MARK AYRES A pioneer in the field of electronic music, Tristram Cary was born in Oxford EPISODE 1 - THE DEAD PLANET EPISODE 2 - THE SURVIVORS in 1925 and initially started to develop his musical consciousness while serving as a wartime naval officer specialising in radar and electronics. 1. Doctor Who (Original Theme) 11. Radiation Sickness After leaving the Navy in 1946 he combined a career at the cutting edge of Cue 7A - Slightly Creepy experimental music with works for the cinema (his first film score was forThe 2. Forest Atmosphere Cue 7B - Impact and High Note Ladykillers with Alec Guiness in 1955), television, radio (including pre-BBC Cue 1c - Forest atmos Cue 8 - Backwards and forwards sound Radiophonic Workshop productions such as The Japanese Fishermen - evoking the terror of a fishing crew caught in an H-bomb blast - and the 3. Skaro: Petrified Forest Atmosphere 12. Dalek Control Room 1962 Prix Italia winner The Ballad of Peckham Rye), and the concert hall. (“Thal Wind”) In 1963 and 1965 his Doctor Who work combined live musicians with pure 13. The Storm 1 & 2 electronics, musique concrête and electronic treatments; his music for the 4. Forest With Creature Cue 9 - Thunder and Wind 1967 film of Quatermass and the Pit took these techniques further. With Cue 1 A/B - Forest with Creature Cue 10 - More Storm Peter Zinovieff and David Cockerell, Tristram was one of the founders of EMS, the company behind the classic VCS3 and Synthi 100 synthesisers, 5. City Music 1 & 2 which he helped design. Cue 2 - City 1 EPISODE 3 - THE ESCAPE Cue 3 - City 2 Tristram’s work on The Daleks (which, confusingly, bore the working title of 14. The Storm Continued (Susan Meets Alydon) The Mutants, a title also used for a 1972 Doctor Who story scored by Tristram) 6. Thing in Jungle 10A - TARDIS Doors Open (this is on the reel uses “found” sounds in distorted forms, recorded to disk and tape (Tristram Cue 4 - Thing in Jungle but unlisted, so the label is mine) had a disk-cutting machine in his home studio) and manipulated in various Cue 5 - Night Shot, Jungle Cue 11 - Dying Storm ways. Individual cues were often used more than once; for this release, cues are presented in order of their first appearance and titled (the titles are mine) 7. TARDIS Computer 15. Inside the City appropriately. Tracks from The Daleks were also reused on a later adventures Cue 12 - Humming note etc The Rescue (1965) and The Ark (1966), while music from both this and the 8. City Music 3 later serial The Daleks’ Master Plan also underscored Patrick Troughton’s Cue 6 - City 3 16. What’s Inside a Dalek first outing as the second Doctor, The Power of the Daleks, in 1966. These Cues 13, 13A and 13B (three takes, untitled) are the only occasions that music specially commissioned for a Doctor Who 9. Dalek City Corridor story was ever reused in later episodes. 10. The Daleks EPISODE 4 - THE AMBUSH Tristram died in Adelaide, South Australia on 24th April 2008, aged 82. Cue 7 - The Daleks 17. The Fight Tristram Cary’s music for The Daleks was composed “to script” as a number Cue 15 - The Fight of atmospheric pieces for specific scenes and situations. These were then played “live” into the studio recording, alongside effects tracks. Each track on 18. The Ambush this album combines a number of these original cues (with Tristram’s guide Cues 16, 17 and 18 (untitled) titles) as follows: Cue 19 - Funeral chords 19. Fluid Link Cue 20 - Tolling pedal thing EPISODE 5 - THE EXPEDITION EPISODE 7 - THE RESCUE 20. Rising Tension 29. The Cave II Cue 20/21A Rising Tension (impact start) Atmos track (no cue number) 21. Demented Dalek 30. Capsule Oscillation Cue 22 - Demented Dalek (Dalek Destructor Fuse / Bomb Countdown) 22. The Swamp 31. Explosion / TARDIS Stops Cues 23-27 - Swamp 1 to Swamp 5 Cue 27A - High note into crashing BONUS TRACKS EPISODE 6 - THE ORDEAL 32. Five Explosions 5 x implosions, last one with extra sound at end 23. The Cave I Cue 28 - Cave, impact start (N.B. only the 33. The Ambush (Loop) very start of this cue is used in the episode) As used in “The Power of the Daleks” 24. Barbara Loses the Rope 34. Funeral Chords Cue 29 - Barbara This is cue “Cue 19 - Funeral chords” on its own 25. High Sound and Heartbeats 35.