The BBC's veteran time-traveling sci-fi hero returns via a smart 21st-century update, one whose adventurous plot lines and super-charged visuals inspired this equally ambitious musical score anthology (covering seasons one... more » and two, as well as two extended specials) by Murray Gold. The composer's sinewy, synth-charged update of Ron Grainer's original '60s series theme is a study in spooky dramatics that's also treated to a more expansive, album-closing arrangement, while "Westminster Bridge" and "Slitheen" revel in muscular evocations of spy music past that recall Michael Giacchino's similar tongue-in-cheek romps for The Incredibles. From there, Gold's music steadily expands in scale and scope, often achieving big-screen dimensions via the cinematic sweep of "Boom Town Suite"/"I'm Coming to Get You," the minimalist-tinged rhythms of "Clockwork Tardis," or the overt piano-and-orchestra melancholy of "Rosie's Theme." Completing the saga's musical makeover are a pair of ballads sung by the Divine Comedy's Neil Hannon--the effusive pop charmer "Song For Ten" and the more retro-R&B-quirky "Love Don't Roam." --Jerry McCulley« less
The BBC's veteran time-traveling sci-fi hero returns via a smart 21st-century update, one whose adventurous plot lines and super-charged visuals inspired this equally ambitious musical score anthology (covering seasons one and two, as well as two extended specials) by Murray Gold. The composer's sinewy, synth-charged update of Ron Grainer's original '60s series theme is a study in spooky dramatics that's also treated to a more expansive, album-closing arrangement, while "Westminster Bridge" and "Slitheen" revel in muscular evocations of spy music past that recall Michael Giacchino's similar tongue-in-cheek romps for The Incredibles. From there, Gold's music steadily expands in scale and scope, often achieving big-screen dimensions via the cinematic sweep of "Boom Town Suite"/"I'm Coming to Get You," the minimalist-tinged rhythms of "Clockwork Tardis," or the overt piano-and-orchestra melancholy of "Rosie's Theme." Completing the saga's musical makeover are a pair of ballads sung by the Divine Comedy's Neil Hannon--the effusive pop charmer "Song For Ten" and the more retro-R&B-quirky "Love Don't Roam." --Jerry McCulley
"Whether you're a fan of the new Doctor Who TV series or not, if you enjoy soundtracks this album is an excellent buy. Murray Gold's cinematic-style orchestral arrangments range from dramatic to eerie to wistful. I like to have this album playing while I type, read, or work on other creative projects since it's inspirational without the distractions of lyrics. Also included are two "apocryphal" radio pop songs, "Love Don't Roam" and "Song for Ten," written specifically for the program. Both stand on their own merits quite well, and provide fans with in-jokes from the series itself -- the only downside is that "Song for Ten" is a re-recorded version, rather than the one that originally played on the TV series (and which I rather prefer). Personal faves: the haunting "Doctor's Theme," the meditative "Impossible Planet," and the dramatic "Dalek" theme, complete with with an alien-language chorus."
This is how you use an orchestra!
S. E. Kim | New York, NY | 02/15/2007
(5 out of 5 stars)
"Talk about knowing how to use an orchestra to its full advantage. I really enjoy a good orchestral score and it's difficult to find that in television. However, Murray Gold has composed some of the most haunting, electrifying, emotional and just plain lively music to accompany one of the best shows on television. His music is a distinctive but integral part of each show - just try to imagine watching Doomsday or The Girl in the Fireplace without the music. I particularly like his use of motifs throughout the series, especially for Rose, the Daleks and the Cyberman - it's a way of subconsciously identifying the character before you even see them (my favorites are Rose's Theme and The Face of Boe). The CD is long - 75 minutes - and you certainly get your money's worth. I didn't particularly like the two songs performed by Neil Hannon but only because it didn't seem to fit - orchestral music and then a song in the middle of the CD? It just felt odd. The accompanying music notes written by Murray Gold is also enlightening. I collect a lot of film scores and this is certainly going to be one of my favorites...
** Update 18 February 2007: I've been watching the episodes again on DVD and I've realized "Song for Ten" is a goodbye song. I have a thing - I can't hear the lyrics of a song unless I really concentrate which I usually don't. But I concentrated and this song is really sad despite its catchy tune. This is the song you first hear at the end of The Christmas Invasion and here it's almost a premonition of Doomsday. And I just watched School Reunion again and the melody was playing at the end when Sarah Jane and the Doctor are saying goodbye. The more I hear this song, the more I like it..."
Very Satisfying
Dasha A. Clancey | Sunnyvale, CA United States | 02/21/2007
(5 out of 5 stars)
"With so many tracks, spanning both the first and second seasons of the NEW Doctor Who series, this American listener found this soundtrack very satisfying, because it captures all those highlights and moods I loved so much from the show. All those little songs moments that you wished you could hear more of. I highly recommend it for anyone that enjoyed the show."
Music with a heart of Gold
L. R. Lapasha | Durham, NC, USA | 02/18/2007
(5 out of 5 stars)
"Murray Gold's music for the new series of Doctor Who is an integral layer of the show. In arrangements stretching from synthesized and choral work to live full orchestras, Gold has carried a syncretic but diverse vision for the series' music through the show's revival.
There are powerfully melodic cues, from heartbreakingly lyrical character pieces such as "Rose's Theme" to haunting solos within tunes such as "The Impossible Planet." The series' epic scale is reflected in motifs such as "Rose Defeats the Daleks" and "Tooth and Claw;" the latter cue also blends cinema-musical genres nicely between the vocal and percussion traditions of martial arts scoring and a more symphonic-sounding adventure-movie music style. Playful tracks such as the "Monster Bossa" reflect the show's sense of humor, and thumping good action tunes such as "Westminster Bridge" and "UNIT" round out the soundtrack's variety.
Beyond typical incidental music, the CD also includes Gold's pop compositions for the series. "Doomsday" is an angsty tune with a beating rock heart--and an inspired instrumentation. Neil Hannon of The Divine Comedy adds his vocals to an extended version of "Song for Ten," and (with a jazz sax and swing choir) "Love Don't Roam" played in the second Christmas special episode ("The Runaway Bride").
The 31 tracks on this CD offer over 75 minutes of music. They are in fact just a start towards representing the scope of Gold's vision and creative stamina for the series' music. It's not the same as the old Doctor Who music, and it is wonderful."