SERIES 8ORIGINAL TELEVISION SOUNDTRACK MUSIC BY MURRAY GOLD

VOLUME ONE

0 1 D O C T O R W H O T H E M E ( S E R I E S 8 )0 2 A G O O D M A N ? ( T W E L V E ’ S T H E M E )

0 3 - 1 0 D E E P B R E A T H1 1 - 1 5 I N T O T H E D A L E K

1 6 - 2 1 R O B O T O F S H E R W O O D2 2 - 2 4 L I S T E N

VOLUME T WO

0 1 - 0 4 T I M E H E I S T0 5 T H E C A R E T A K E R

0 6 - 0 8 K I L L T H E M O O N0 9 - 1 4 M U M M Y O N T H E O R I E N T E X P R E S S

1 5 - 1 6 F L A T L I N E1 7 - 1 9 I N T H E F O R E S T O F T H E N I G H T

2 0 - 3 1 D A R K W A T E R / D E A T H I N H E A V E N

VOLUME T HREE

0 1 - 1 4 L A S T C H R I S T M A ST HE BBC N AT ION A L ORCHE S T R A OF W A L E S CONDUC T ED BY BEN FOS T ER A ND J A ME S SHE A RM A N

Okay. Here we are again.

The fact you are reading this means David Stoner at Silva Screen and Jake Jackson my engineer and general chief-of-staff have been standing over me with an electric cattle prod making me write my notes. So let me tell you right away, they didn’t need the prod. Because I love this album. Am I allowed to love it? After all this time? Or would it be better to assume a detached air and stare into space with a serious look on my face. I know enthusiasm can be frowned upon in some quarters. As usual I hope you like this album too because if you don’t, I have deluded myself. You might notice there’s three silver discs in this release. And it’s all new. It’s all brand new with the brand new Doctor, Peter Capaldi - the only Doctor to EVER come to Wales and see his music being recorded - he sat there with a huge grin on his face then the orchestra crowded him out and asked for his autograph. And I thought they were going to play it cool. Thank you, thank you for buying the CD. It means a lot to all of us in the music department and on the show that you still do.

01 Doctor Who Theme

There was metal and images that looked like an iron foundry and a weird sense of steam punk hovering around Ben Wheatley’s first two episodes. Jake and I mixed the theme first at Air. There’s a bit of hysteria about it. And bells. And squiggles. That’s okay, you can call them squiggles. And a middle eight. You like the middle eight don’t you? I’m honestly not sure if they’ve put the middle eight in the episodes. Because I don’t format the episodes. But now you have it so there you are.

02 A Good Man? (Twelve’s Theme)

Ben Wheatley was brilliant. He sent the first two episodes with no music on them at all/temp score totally absent. We had a bit of a chat about the sort of thing he was hoping for. Synthesizers were more prominent. I kept telling him I tick. I do tick. I always have things in my music that ticks so it is restless and never sits down. Capaldi was on the front foot from the start. He had forward momentum. Sometimes it was frowny momentum but he was pushing, ticking like a bomb. I messed around with this theme for ages. Same as I did for I am the Doctor. It was the exact point the horns come in, and the beat comes in that made me think I had it. Maybe it’s more of a grower than I am the Doctor. The four notes of the horn line were embedded in every episode of Series 8.

VOLUMEONE

D E E P B R E AT H

03 Something It Ate04 Concussed05 It’s Still Him06 Pudding Brains07 Breath08 Hello Hello09 A Drink First

The music for Episode 1 of Series 8, Deep Breath, was an attempt to bring together all the early thoughts for Peter Capaldi’s music in a feature length episode. So, the sad strings, the triplets, the ticking, the nostalgic synthesizers and Capaldi’s endlessly recurring four note horn theme. Without ever forgetting the essential mischief, mystery and fun of the character of The Doctor.

10 Missy’s Theme

The wonderful Halia Meguid sings Missy’s Theme. It’s not backwards - in that, if you reverse it, it doesn’t become the right way round. But it sounds backwards. I wrote a song for Missy before I really understood who she was. We just needed to seed it in the earlier episodes.

I N T O T H E D A L E K

11 Aristotle, We Have Been Hit12 We’re Still Going To Kill You13 Tell Me, Am I A Good Man?14 What Difference A Good Dalek?15 The Truth About The Daleks

Into the Dalek was one of my favourite episodes of Doctor Who to score. It was directed so calmly and with such a steady gaze, and again, it arrived with no temp score on the playout. I wanted to make it as lost and detached as possible. Okay, I wanted it to sound like the incredible Radiophonic Workshop. Say nothing. I would love to play this episode out with picture and the music turned up so you can hear the whole thing. In surround sound. In a midnight screening. And get freaked. But I can’t.

R O B O T O F S H E R W O O D

16 Old Fashioned Hero17 This Is My Spoon18 Robert, Earl of Loxley19 The Legend of Robin Hood20 Robin of Sherwood21 The Golden Arrow

Robot of Sherwood was another Gatiss-penned classic of the past decade of Doctor Who. Which means to say an episode with tonnes of fun, knowing wit, romance and adventure. And robots. And a star turn from Tom Riley as Robin Hood.

L I S T E N

22 Listen23 Rupert Pink24 Fear

People seemed to like Listen a lot. That was my impression. I never really know. If a friend says they liked an episode, I think it must have been popular. I don’t have any statistics. But Listen definitely seemed popular. Not surprising. It was concise and clever and claustrophobic. And the end was one of Clara’s best moments - a beautiful scene about the petrol that powers Doctor Who, fear.

T I M E H E I S T

01 The Architect02 Rob The Bank03 Account Closed04 Open Up

The episode Time Heist gave everyone the chance to dress up in best bank robber suits while the music funked out a bit with added darkness in guitars. I was at school in Portsmouth with the Radio 1 DJ Rob da Bank so Track 02 really needs to be dedicated to him. My brother was best man at his wedding. That’s the end of my secret history.

VOLUMETWO

T H E C A R E TA K E R

05 The Caretaker

The inimitable Gareth Robert’s episodes (people have tried to imitable him but they’ve never succeeded) are always an exuberant joy. And always funny. According to me. (That’s my IMHO. Do people still have to write IMHO or is it taken when they write something that it’s their opinion?). So The Caretaker allowed for some ska-ish, klezmer-ish school mischief. This is a suite from the episode.

K I L L T H E M O O N

06 Are You Going To Shoot Me?07 When I Say Run08 That Is The Moon

I remember spiders in Doctor Who. And I mean before The Runaway Bride. They were telepathic and killed Jon Pertwee ushering in my favourite Doctor ever - Tom Baker (not including 9-12). Kill the Moon had a wriggly arachnid in a cave. Fear.

M U M M Y O N T H E O R I E N T E X P R E S S

09 Start The Clock10 Don’t Stop Me Now [Instrumental]11 There’s That Smile12 The Sarcophagus Opens13 The Artefact14 Study Our Own Demise

The episode ‘Mummy on the Orient Express’ suddenly made the bandaged undead frightening again by giving its victims 66 seconds of fear before they definitely died. We recorded this episode in Air with a small ensemble of jazz players. I conducted. Dave Foster, who up till now has described himself as ‘general dog’s body’ on the Doctor Who music (he actually prints all the scores and drives them to Cardiff. He’s the last line of defence against anything going wrong) anyway, he stepped up and orchestrated on this episode. Well, everything except Don’t Stop Me Now. I sat down and wrote out a version of this amazing Freddie Mercury tune to satisfy the request from our producers to have a 20th Century jazz standard on the train. By Queen. Foxes was amazing and lovely and had no airs and graces despite having just won a Grammy. *

* The Foxes recording of ‘Don’t Stop Me Now’ was not available for inclusion on this release.

F L AT L I N E

15 Not Knowing16 Siege Mode

Jamie Mathieson’s episode Flatline started dark and then went small. Very small. Small and tense. I brought more small ticking things back. And pizzicato strings for enhanced smallness.

I N T H E F O R E S T O F T H E N I G H T

17 In The Woods18 We Weren’t Asleep That Long19 Forgetting

Okay so the voice in ‘In the Woods’ is a synthesizer. Well, a synthesizer of sorts. It was once real and now it isn’t. Or something. It was trapped and separated and loaded into my computer. She existed but…it’s no use. I can’t explain modern music technology. I just about know how to use it. You all know what I mean though because you were born later than me. Anyway, In the Forest of the Night was huge fun and sensitive and spoke of loss and love. And fear. And no lesser mortal than Mr Steven Moffat declared it his favourite episode of the season. So there.

D A R K W AT E R / D E AT H I N H E AV E N

20 The Song of Danny and Clara21 Throw Away The Key22 Browsing23 They Walk Among Us24 There is No Clara Oswald25 Missy And Her Boys26 A Good Man, An Incredible Liar27 Freefall28 I Need To Know29 Missy’s Theme - Extended30 Missy’s Gift31 (The Majestic Tale of) An Idiot With a Box

And so to Rachel Talalay’s EPIC two part finale. I’d worked with Rachel before on a couple of things. I have even walked up twenty five flights of stairs with her because one of us doesn’t like elevators. Anyway, she produced John Waters’ movie Hairspray and directed one of the Nightmare on Elm Street films and teaches movies in Vancouver, so yes, she’s brilliant... All right, so I might as well tell you - Steven really missed hearing I am the Doctor. He felt it was written when he started and he connects it with Doctor Who. Whereas I connect it specifically to Matt. So I tried to connect Peter’s theme with the feeling of I am the Doctor so everyone would be happy (or at least me and Steven). then I made it rock out even more. Because fundamentally I love rock music. You may have noticed. I heard someone online make a version of this which was faster. It was good. I’m going to do that next season. Anyway, that’s why you’re catching that vibe. There were also numerous versions of Missy’s theme littered about this double pair.

L A S T C H R I S T M A S

01 3 Perfectly Ordinary Roof People02 Do You Really Believe In Santa?03 Unsealing The Infirmary04 Ghosts05 What Seems To Be The Problem?06 We Don’t Know What’s Real07 Thinking About It08 Clara’s Dream Christmas09 The Doctor’s Dream Christmas10 Dreams Within Dreams11 Believe In Santa12 Sleigh Ride13 A Reunion14 Every Christmas Is Last Christmas

VOLUMETHREE

I don’t think it’s giving anything away if I say that we had a very specific problem on Last Christmas. There were important voices that felt it might be too scary. It’s impossible to tell until you’ve sat and watched it with kids, and even then it’s impossible to tell. But part of the problem seemed to be the dark temp score that had been used before my music had gone on. Since Gravity won an Oscar, there had been a trend to put drones (long, usually tone-less soundscapes without much musical character or personality) over huge sections of drama. It can be really effective because the drones don’t stand still. They go up and down, louder and softer, more intense and relaxed - and when they’re in the right place, they conduct the drama on the screen. But they don’t add any humanity. They have no charm or gentleness. They’re just like a big bad mood all over the screen. Like I said, they work really well when things aren’t going well for the characters. Which in the Christmas episode they mostly were not. But in some way, the temp score and the drones obscured the fact that the episode was really about a group of people who were dying, but remembering their happiest Christmas. Such a big, sad, human idea. Anyhow, the orchestra can be frightening, but they always bring warmth and humanity. It is definitely one of my favourite scores, if only for the Clara Danny scenes and the chalkboard scares and the endlessly falling strings I marked into the score. So hopefully it was just-right scary in the end.

Well, thank you so much for listening again. I really hope you enjoy this one and that it takes you on a kind of musical odyssey.

Murray Gold - Los Angeles, March 2015

All music and lyrics by Murray Gold

Computer instruments, guitars and synths by Murray Gold

Volume 1 and 2: Orchestrations by Ben Foster, Jeremy Holland-Smith. Additional Orchestrations by Anthony Weeden and Murray Gold

Volume 3 orchestrated by Murray Gold

Except episode ‘Mummy on the Orient Express’ orchestrated by Dave Foster, conducted by Murray Gold

All tracks published by BBC Worldwide [Universal Music Publishing] except

Doctor Who Theme - by Ron GrainerPublished by Chappell Music

BBC National Orchestra of Wales conducted by Ben Foster and James Shearman

Album mixed and compiled by Jake Jackson

Orchestra recorded by Gerry O RiordanComposer’s assistant Jack Sugden

Air Recording sessions recorded by Jake JacksonMastered by Ray Staff

Missy’s Theme performed by Halia Meguid

Don’t Stop Me Now [Instrumental]Written by Freddie MercuryArranged and conducted by Murray GoldQueen Music Ltd [EMI Music Publishing]

Thank you to Brian Minchin, Steven Moffat, Gemma Clough, Paul Bullock, Becky and Catherine at Hothouse, all at Air Studios, Darrell Alexander and Chris Gutch at Cool, Universal Music, Frank Skinner, Peter Capaldi

This compilation Ⓟ & © 2015 BBC Worldwide Limited under exclusive licence to Silva Screen Records Limited

BBC, DOCTOR WHO (word marks, logos and devices), TARDIS, DALEKS, CYBERMAN and K-9 (word marks and devices) are trade marks of the British Broadcasting Corporation and are used under licence BBC logo © BBC 1996. Doctor Who logo © BBC 2009 Dalek image © BBC/ Terry Nation 1963. Cyberman image © BBC/Kit Pedler/Gerry Davis 1966. K-9 image © BBC/Bob Baker/Dave Martin 1977 All images © BBC 2014

A BBC Music/BBC Worldwide Production

Thanks to Dominic Walker, Suzi Scott, Matt Nicholls, Georgie Britton, James Dudley and Edward Russell

Published by BBC Worldwide / Universal Music Publishing

Executive Producers for Silva Screen Records Ltd: Reynold D’Silva and David StonerRelease co-ordination: Pete ComptonArtwork and Design: Stuart Ford

C R E D I T S :

SILCD1460

This compilation Ⓟ & © 2015 BBC Worldwide Limited under exclusive licence to Silva Screen Records Limited. BBC & Doctor Who, word marks and logos are trademarks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996. Doctor Who logo © BBC 2009. Dalek image © BBC/ Terry Nation 1963. Cyberman image © BBC/Kit Pedler/Gerry Davis 1966. K-9 image © BBC/Bob Baker/Dave Martin 1977. Licensed by BBC Worldwide Limited.