Halo 3 (Xbox 360)
Kingston Technology 2GB SD Secure Digital Card
Braun Oral-B EB17-8 Refill Pack
|
|
|
|
Doctor Who Original Music from Series Three | 
 enlarge
| Artists: Murray Gold, Ben Foster, Melanie Pappenheim, Yamit Mamo
Label: Silva Screen Records
Category: Music
List Price: £13.99
Buy New: £6.99
You Save: £7.00 (50%)
New (36) Used (1) from £6.99
Rating:  15 reviews
Sales Rank: 1635
Format: Soundtrack
Media: Audio CD
Discs: 1
Running Time: 74 Minutes
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 1250
UPC: 738572125028
EAN: 0738572125028
ASIN: B000WGAQIS
Release Date: November 5, 2007
Availability: Usually dispatched within 1-2 business days
Shipping: International shipping available
Condition: Brand new - factory sealed
| |
| Tracks:
| • | All The Strange, Strange Creatures (The Trailer Music) | | • | Martha's Theme | | • | Drowning Dry | | • | The Carrionites Swarm | | • | Gridlocked Cassinis | | • | Boe | | • | Evolution Of The Daleks | | • | My Angel Put The Devil In Me | | • | Mr Smith And Joan | | • | Only Martha Knows | | • | Smith's Choice | | • | Just Scarecrows To War | | • | Miss Joan Redfern | | • | The Dream Of A Normal Death | | • | The Doctor Forever | | • | Blink | | • | The Runaway Bride | | • | After The Chase | | • | The Futurekind | | • | The Master Vainglorious | | • | Martha's Quest | | • | YANA (Excerpt) | | • | This Is Gallifrey: Our Childhood, Our Home | | • | Martha Triumphant | | • | Donna's Theme | | • | The Stowaway | | • | The Master Tape | | • | Abide With Me |
|
| Similar Items:
|
| Customer Reviews: Read 10 more reviews...
 Murray's All Gold November 10, 2007
F. Collins (Manchester, UK)
22 out of 22 found this review helpful
How did our little show with its solid history in the use of sound and music become this big television event, scored in such a wonderful way? It's really an achievement.
This is a lush soundtrack with Gold certainly remaining inventive even whilst fully embracing the use of orchestra and choir. It's certainly worth getting this CD if, like me, you do want to hear the full range of the music which when married to the overall soundtrack often gets suffocated in the mix. You only get the tip of the iceberg on telly and I feel this is an opportunity to get closer to the music.
The early highlights for me are certainly 'All The Strange Strange Creatures' and 'Martha's Theme'. The former a surging, building theme that underlines the nature of the journey and the battle between good and evil and the latter is so wonderful with those vocals from Melanie Pappenheim.
'Boe' is so lovely. Again, the choral motif really sells this along with the acoustic guitar and the string sections. It captures something about the wisdom and ancient foreknowledge of the character.
I'm not so keep on the music for 'Evolution Of The Daleks'. I just feel we've been here before with all the choral chanting, which is obviously a motif for those denizens of Skaro. I like the songs and feel they add a fresh dimension to the series and look forward to hearing more in the fourth series. Certainly, they work as period pieces like 'Devil In Me' used for 'Daleks In Manhattan'. Although, I think I prefer the Miranda Raison vocal for some reason. 'The Stowaway' isn't bad either and it'll be intriguing to see how this fits into the Xmas Special.
The centrepieces of the CD are for me the music for 'Human Nature/Family Of Blood' and 'Utopia', 'Sound Of Drums' and 'Last Of The Time Lords'. For the former, Gold goes for an English pastoral feel with a romantic core, quite apt in the use of a smaller chamber orchestra. Very 'Beatles' influenced too if you listen hard enough. I'm all for the whistling - again this reminds me of the music for 'Georgy Girl' - very English psychedelia. 'Only Martha Knows' is brilliant as it goes from tenderness and Martha's nonchalance to a restless, surging and dark undercurrent with those fantastic string sections and the percussion. An utter delight.
The restlessness is further underpinned in the following two tracks, great use of driving percussion and strings, very reminiscent of Bernard Hermann and with some great brass flourishes too. The military feel of 'Just Scarecrows To War' with the drums and woodwinds is superb and really connects to themes in the story which is what a good composer should be doing.
Gold gets the real tragedy into 'Miss Joan Redfern' with that treated piano. You can feel the longing of the character especially when the woodwind and strings come in. Lovely and very moving. 'The Dream Of A Normal Death' is again exquisite in its exploration of the themes of the story - unfulfilled longing, love and 'what might have been' - with distant choral sections and strings and that treated piano again.
'The Doctor Forever' opens a further series of tracks that stand out on ths CD. A reprise of themes, including Martha's, with a great Irish jig motif, using some great brass, that captures the Doctor's energy and optimism. This takes us through a real range of musical emotions and concludes with a great fanfare.
'Blink' is subtle and tender. Worth it just for the use of bassoon to represent the disturbing setting of the story. It then powers up with strident strings in the middle and then plunges us back into the threatening suffocation of the angels.
'The Runaway Bride' is plain Hollywood pizzazz, with nods to Hermann and Waxman with its brass and strings. There's even a bit of Bondian Barry in there with the little trumpet motifs. And that incredible lift and soaring section when the TARDIS appears and the Doctor rescues Donna. It underlines that 'punch the air' moment. 'After The Chase' again has some subtle Barry like motifs and has his tenderness.
'The Futurekind' is fuzzy guitar, mad drums and pell-mell brass that forms the build up motif to the conclusion of 'Utopia' and I remember being impressed by this whilst watching the episode as it has the effect of building expectation into the audience. This is then echoed in 'Yana' with the return of the 'All The Strange Creatures' motif and some great wild vocals. 'The Master Vainglorious' is full of wild interpretations and devices, swirling strings, electronics and an almost 'Looney Tunes' simplicity with the underlying themes brought to a crescendo of brass, strings and those Oz like themes and rhythms.
I love the graduating brass in 'Martha's Quest' and the twinkling bits of percussion and the sweeping strings that fall and rise and then restart. There some nice woodwind and brass sections that give us that epic scope to the character's journey.
For me 'This Is Gallifrey' is stunning. The acoustic through line, the growing strings and strident percussion and brass that again fall back and repeat. Lovely woodwinds that develop the theme too with stirring strings that are full of lost pride and melancholy. We are truly listening to a lost and noble civilisation and the final corruption of the Master with the unfettered schism of the time vortex making its presence felt through punchy brass. Outstanding piece of music.
'Martha Triumphant' concludes the character's journey with a reprise of her theme but this time very cleverly giving us a finer, more mature sounding version that sums up the lessons she's learned. 'Donna's Theme' is great Gershwinesque brass and percussive playfulness, summing up the scatterbrained nature of the character and I hope some of this survives into the next series.
A pity that more of 'The Master Tape' didn't find its way into the episodes. Great chugging strings and percussion that increase in speed over several sections. Brass punches and tinkly percussion, various stabs and accents that accumulate into stuttering conclusion. Is it me or does much of the music for the last three episodes have a mad, Wizard Of Oz, almost Looney Tunes quality to it? It sums up the Master's pathology very nicely.
And finally, 'Abide With Me'. Lovely.
Overall, a further testament to Murray Gold's fantastic work on the series, treat yourself to this CD, and to all the naysayers out there who have had doubts about his suitability for the job, well you can stick to Peter Howell playing the theme with paper and comb if you like, but this is epic, tender and soulful and you really are missing out on an essential element that makes the current series the success it truly is.
Excellent! November 23, 2007
mardy (Hong Kong)
6 out of 6 found this review helpful
Is it me, or this even better than his work for series 2? How can you not fall in love with "Boe", "Martha's Quest", "Only Martha Knows" and the most beautiful track on here: "This is Gallifrey: Our Childhood, Our Home"? You can hear the motion picture quality in tracks like "The Master Vainglorious" - and where would series three have been without these momentous melodies? The infamous "Yana" music, "Martha's Theme", ever-present and now forever tied in with "The Doctor's Theme" from previous series to give us "The Doctor Forever", the "Blink" suite, the complete snapshot that is "All The Strange Creatures". Just 'wow'.
What a way to remember the entire series - the highs, the lows, the pure unadulterated joy of the fun and excitement that was series three.
I agree with the other reviewers here - where's the "Casanova" series CD? More of Mr Gold, I say, and quickly!
Outdoes the series 1/2 soundtrack by far. Great stuff. January 12, 2008
Joseph M Siegler (Garland, TX USA)
4 out of 4 found this review helpful
Unlike some others here, I'll avoid the temptation to make a "Gold" joke about this. :)
The revived Doctor Who's third series (the 2007 one) is represented by this soundtrack. It contains a little beyond the third season, it has a song from the Dec 25, 2006 Christmas episode, as well as the Dec 25, 2007 Christmas episode (which at the time it came out was before the story had aired). This soundtrack, like the other one was done by composer Murray Gold, who has handled all the music for the new Doctor Who.
It's turned out to be fabulous. It's orchestral unlike the old series. That could be down to budget, but the old show's music never sounded like this, and I'm convinced it's a large part of the overall feel of the series now. There's all kinds of things on here. There's a few actual songs (with lyrics), but most is soundtrack stuff - and it's really good. As with the series itself, the third series (29th overall) soundtrack is better than the stuff that preceded it.
If you were a fan of the 2007 series of Doctor Who, then you should be all means check it out. I know lot a lot of people like listening to soundtracks (mostly because of there being no lyrics), but this is fantastic! Even my two year old loves listening to this, and she's never seen the show! When track 2 comes on, "Hey, it's Martha's song!"
One minor nit, though.. The show tune number from the Dalek episode "Daleks in Manattan" is here (My Angel put the Devil in Me). Unfortunately, it's not the original version. The woman who sang the song from the Christmas 2007 episode sings it here (Yamit Mamo), and while it's a good version, it's not the original. I really wish the original version was on here instead.
THE OTHER GOLD STANDARD January 3, 2008
Kelvin J. Dickinson (Leeds, England)
3 out of 3 found this review helpful
Another brilliant DOCTOR WHO soundtrack from MURRAY GOLD. And if this composer has a single unmelodic bone in his body, well, I've yet to hear it on disc.
The music for Series Three demonstrates once again just how key it is to the ongoing success of DOCTOR WHO. Going right back to THE PARTING OF THE WAYS, could you imagine CHRISTOPHER ECCLESTONE's Doctor, having just absorbed the time vortex from ROSE TYLER via a life-saving kiss then blowing the energy back into the heart of the TARDIS, without that achingly beautiful piece to accompany the visuals? No? Me neither. It hits the spot every time.
So, too, in Series Three's finest single episode, THE FAMILY OF BLOOD. The music that accompanies the dissolve from the WW1 battlefield to the Veterans' Memorial Service (THE DOCTOR FOREVER) combines to deliver such an emotional impact that it's virtually impossible not to be brought to tears. Of course, the point here is 'combines'. There's no doubt that Gold's music is a complete success in it's own right, but ultimately the benefits of being able to 'picture' events as conjoured up by every crescendo, con brio and affettuoso is the lifeblood of all great motion picture soundtracks. Even JAWS.
Action and adventure forms a major part of the proceedings here and Gold is so bursting with ideas that on occasion you're left feeling a bit Oliver Twist-y, wanting more, wishing certain phrases were repeated because they're so exciting and addictive. ALL THE STRANGE, STRANGE CREATURES immmediately brings a smile to the face for being both strident and cheeky, and its placement in pole position is perfectly judged, ideal for our second trip into the Wonderland that is the province of the BBC National Orchestra of Wales.
Standout tracks? Well, don't be too surprised when I say that pretty much every track is a standout. For me at least, it really is a case of listening from start to finish, because around every corner there's always some kind of sonic surprise awaiting. However...if absolutely pushed on the matter, then I would have to place GALLIFREY: OUR CHILDREN, OUR HOME right at the top of pile...amongst those gleaming citadel spires, within the mountains of solace and solitude, along the continent of wild endeavour. Sorry. But you'll know exactly what I mean when you hear it.
I suppose there's really only one thing missing from this album - and it is indeed conspicuous for being absent: yes, the new ramped-up opening titles theme. Guitars and a heavy drumbeat combine to...well, between you, me and the Helmic bloody Regulator let's just say it rocks. Didn't see that one coming, Murray, but where is it when you need it? Next Christmas? Fair enough.
Mr Gold is even master of the sleeve note. If the amusing "whistling" incident is anything to go by, he's more than aware of his importance in the WHO universe and certainly not afraid to say what he thinks. And as Britain's best and most important contemporary film composer - right up there with the Horners, Elfmans and Goldsmiths of this world (sadly, in Jerry's case, the NEXT world) - he is unquestionably great news for the continuing success of DOCTOR WHO...and even better news for us.
The other Gold Standard. Buy it now.
UNRESERVEDLY RECOMMENDED
Goldsmith would have liked Gold June 23, 2008
G. A. Kester (UK)
2 out of 2 found this review helpful
I edited a film music magazine for several years, and at the risk of name dropping was honoured to be invited to London several times to attend the recording sessions of several Jerry Goldsmith scores and Varese Sarabande projects. Goldsmith was always very reticent to talk about music - he felt it should really speak for itself - but he was always open about other composers, especially those he admired. A word he would often use was "musicality". Always intended to be the greatest compliment and a reference to both a high level of skill and understanding, "musicality" was a word he associated with Franz Waxman, Alex North and Bruce Broughton, and no doubt many others who never cropped up directly in any of my conversations.
Murray Gold has musicality in spades and, like Bruce Broughton, I'm fairly certain Jerry Goldsmith would have considered him a "very talented young man".
The first collection of cues on the Seasons 1 and 2 CD were good, as Gold found his footing within the framework of the new show, but this CD shows a confidence and assuredness of touch that surely marks him as a major force within the British TV industry (and don't forget, this has a legacy of composers such as Ron Grainer, Christopher Gunning and Laurie Johnson etc, who managed to make the transition to films fairly successfully - a fate that surely must await Murray Gold at some stage).
A lot of modern British TV scores tend to be underwhelming and bland, almost as if the composer is frightened to draw attention to themselves for fear of upsetting the writer or director by being as noticable as the words and pictures. Of course, good scoring doesn't do that - rather, the opposite, it enhances the emotional and narrative context and subtext. Gold's use of proper themes and, when warranted, the full power of the orchestra at his disposal is therefore refreshing, almost a harking back to the days of Denis King and the great Barry Gray.
There is nothing to criticise about the lack of Ron Grainer's iconic theme here, as it was featured prominently on the first CD, and besides, this is Gold's time to shine if you'll pardon the pun. And shine he does. While some of the action cues may seem a little overworked on occasion (the swollen choral chant for the Daleks in New York is perhaps the most notable example), Gold's ability to write and explore themes and motifs is simply stunning. Martha's theme is a delicate, slightly lonely and haunting affair, as she remains just outside of the Doctor's sphere of affection - although interestingly, such is her influence that it is her theme that provides the basis for the swashbuckling "Doctor Forever" theme, a grand and vibrant piece that wouldn't be out of place in a Korngold or Bernstein pirate score (oh, and the way the harp is used at one point is absolutely brilliant).
Other highlights are the chilling, atmospheric "Blink", evocative of Joe Hisashi's Mononoke Hime forest music and dripping with mystery, the percussive and bold "The Carrionites Swarm", and "The Master Vainglorious", a pounding and inventive take on the rhythm of the Grainer theme, with synthesisers adding musical madness to an already barking performance by John Sims.
And anyone who went to a UK cinema in the early part of 2008 will no doubt recognise the opening track, "All the Strange, Strange Creatures", a thunderous powerhouse based on a recurring action motif associated with the Doctor, here extended into what can only be described as one of the most exciting individual cues I've ever come across. On my iPod, this gets as many plays as the likes of Capricorn One and The Wind and The Lion - and if you know those scores, you'll know that no higher praise can be forthcoming.
|
|
|
| |
