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Planet Earth III

Planet Earth III
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Main Theme by Hans Zimmer, Jacob Shea & Sara Barone
Original Music by Jacob Shea & Sara Barone for Bleeding Fingers Music


An awe-inspiring score for the third, and final instalment of the BBC’s innovative, highly acclaimed nature series narrated by David Attenborough.

The 8-part nature series is scored by Hans Zimmer, together with Jacob Shea (Seven Worlds One Planet, Blue Planet II) and Sara Barone (Grimcutty) of Bleeding Fingers Music. Bastille’s Dan Smith has collaborated on the score and his vocals are featured on the show’s opening title theme song, as well as within all episodes of the series.

There is lyricism and magic in the score, from gorgeous strings and fragile glass-like percussion to powerful brass and full orchestra ostinatos. In the opening theme, ‘Planet Earth III Suite’, the gentle vocals usher a soaring 4-note brass theme, with the brass gradually disintegrating, joining the strings, to be brought back in a commanding statement. The score proves to be as alive as the planet, depicting pain, rage, and urgency, broken with moments of beauty and tranquillity. There is an ongoing clock-like pulse, sometimes juddering and stopping, depicted by a breathing, living sound of the orchestra. This is Hans Zimmer and Bleeding Fingers Music at their best, creating a timeless TV soundtrack for the ages.

Filmed over five years, Planet Earth III uses pioneering filmmaking technology to reveal the greatest wonders of life on earth. Lightweight drones, high-speed cameras and remotely operated deep-sea submersibles transport viewers to spectacular unseen landscapes, from remote jungles and scorching deserts to the darkest caves and depths of the ocean.

Planet Earth III’s first episode was aired on BBC One and iPlayer on Sunday 22nd October. The final series in the Trilogy, the series has already received glowing reviews. The Guardian describes it as an “awe-inspiring series” and goes on to say that “It is possible to watch and enjoy it purely for the astonishing footage – but it will horrify you too”. The Times comments that it “is magnificent, but it’s a fast track to becoming really quite sad”, whilst The I calls it “spectacular, eye-opening, awe-inspiring – and terrifying”. There is a theme of sadness and terror emerging here. The knowledge about climate change has not initiated enough action and reform as it was hoped for, and once again, David Attenborough rallies a call – “The natural world continues to surprise us, but since Darwin’s time it has changed beyond recognition, being transformed by a powerful force – us… At this crucial time in our history, we must now look at the world through a new lens.”

With over 150 soundtracks to his credit, Hans Zimmer has been honoured with many accolades, an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination. The Planet Earth III score is completed by Jacob Shea and Sara Barone, from Emmy and BAFTA nominated Bleeding Fingers Music, a joint venture between Extreme Music and Hans Zimmer’s RCI Global created to build a world-class Zimmer approved TV-focused roster. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Being The Queen, Apple TV’s Prehistoric Planet, NBC’s hit Little Big Shots, Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire, History Channel’s Mountain Men.

Planet Earth III is a BBC Studios Natural History Production co-produced with BBC AMERICA, ZDF and France Televisions in partnership with The Open University for BBC. The executive producer is Mike Gunton, and the series producer is Matt Brandon. BBC Studios is handling global distribution.


1. Planet Earth III Suite

2. Southern Right Whale
3. Sea Angel – Sea Devil
4. Seal vs Shark
5. Garter Snake
6. Raine Island Turtles
7. Hurricanes
8. Archer Fish
9. Flamingos

10. Hang Son Doong
11. The Undergound
12. Monarch Butterflies
13. Arctic Wolves
14. Divide and Conquer
15. Seeds and Bulbs
16. Fire
17. Snow Leopard

18. Forests
19. Treehopper
20. Green Desert
21. Getting Old
22. Dhole
23. Uganda Chimps

24. The Okavango Delta
25. Holding Onto Love
26. Frog Eggs
27. Mugger Crocs
28. Goby Fish
29. Wild Dogs
30. Freshwater Canals
31. Indus River Dolphin

32. Sad Santiago
33. Frog Hunters
34. Looking for a Partner
35. Operation Eagle
36. Finding Meaning
37. Northern Bald Ibis
38. Climate Change
39. Fighting with Paper

40. Urban Rhino
41. Monocled Cobra
42. Locust Surges

43. Ocean Deep
44. Pearl Octopus
45. Mother Octopus
46. Horn Shark
47. Loggerhead
48. Hungry Sealions
49. Trapped Sealions

50. Deserts and Grasslands
51. Ostriches in the Namib
52. Bowerbirds
53. Sandstorms
54. Brave and Adaptable
55. Searching for Water
56. King of the Steppe
57. Zakouma Elephants
58. Maned Wolf


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Music by Richard Harvey


Gerry Anderson and Christopher Burr’s Terrahawks turned 40 this autumn. On Saturday 8 October 1983, Terrahawks was broadcast for the very first time on ITV. The cult show was Anderson’s first in over a decade to use puppets for its characters, and also his last. Set in the year 2020, the series followed the adventures of the Terrahawks, a taskforce responsible for protecting Earth from invasion by a group of extraterrestrial androids and aliens led by Zelda. Like Anderson’s previous puppet series, futuristic vehicles and technology featured prominently in each episode.

This soundtrack features the memorable opening theme, original musical cues from the show, hit singles released at the time of airing (sung by the character Kate Kestrel) and for the first time, a newly remastered version of the Terrahawks Suite performed by a full orchestra at the Stand By For Action! concert, recorded at Birmingham Symphony Hall in April 2022.

BAFTA award winning British composer Richard Harvey has over 70 film and television scores to his credit which include Shroud For A Nightingale, Steaming, Tales Of The Unexpected, G.B.H. and The Little Prince. A multi-instrumentalist alongside composing duties he has worked with a dazzling array of names that include Sir Paul McCartney, Elvis Costello, Hans Zimmer and Francis Ford Coppola.


Disc: 1
1. Terrahawks Main Titles
2. The Invaders of Mars
3. Hiding in Plain Sight
4. War and Peace
5. Guks Bearing Gifts
6. Sram’s Roar
7. Thunder and Frightening
8. The World Song Contest
9. Zelda Rap
10. S.O.S – Performed by Kate Kestrel / [Moya Griffiths]
11. Special Delivery
12. Darrell in Hawknest
13. It’s So Easy – Performed by Kate Kestrel / [Moya Griffiths]
14. Tethered Goats
15. Chamber of Death
16. Attack of the Space Bear
17. Kate in Trouble
18. Terrahawks – End Titles


Disc: 2
1. Terrahawks Theme – Extended Version
2. Terrahawks – Variations on a Theme
3. Anderson Burr Ident’
4. Terrahawks – Demo Titles 1
5. Master of Infinite Disguise
6. Terrahawks – Demo Titles 2
7. Yuri
8. The Telekinetic Menace
9. Terrahawks – Demo Titles 3
10. Close Encounters of the Stew Kind
11. Master of Ice
12. Be my Star Tonight – Performed by Kate Kestrel / [Moya Griffiths]
13. I Believe in Love This Christmas – Performed by Kate Kestrel / [Moya Griffiths]
14. US End Titles – Performed by Kate Kestrel / [Moya Griffiths]
15. The Theme from Terrahawks – Performed by The Royal Philharmonic Orchestra
16. I Am the Invisible Man
17. Terrahawks Break Stings
18. A Strange Presence
19. Terrahawks Suite – Stand By For Action Live Concert Version (Remastered)

Doctor Who – Revenge Of The Cybermen

Doctor Who Revenge Of The Cybermen
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Music by Carey Blyton with Peter Howell and the BBC Radiophonic Workshop


Doctor Who – Revenge Of The Cybermen was the season 12 finale first broadcast on April 19th 1975.

As with so much television music of the 1960s, ’70s and ’80s, the original master tapes of Carey Blyton’s score for Revenge of the Cybermen were not retained. The only surviving copy is a set of four 7″, 7.5ips “composer’s copy”domestic 1/4-inch tape. It is from those digital transfers that this release is taken. Sadly, and to Carey’s obvious and understandable disappointment, the completed music did not meet with the complete approval of the production team, and much of it was not used. Peter Howell of the BBC Radiophonic Workshop added some electronic embellishments and arranged some additional cues for parts two and three but some of that was also left on the proverbial cutting room floor.

For this presentation, Carey’s original score is presented (and heard here for the first time) as written. This is followed by the additional, alternative, and “enhanced” cues, all of which were also on Carey Blyton’s tapes

“This is undoubtedly one of the most distinctive, mysterious, misunderstood, and even controversial scores in Doctor Who history, and it delights me to finally bring it, complete, to your ears!” – Mark Ayres (compiler and producer)


01 Doctor Who – Opening Title Theme 0.45
02 Return to Nerva Beacon 2.02
03 Can Anyone Hear Me? 0.36
04 Cybermat / Unspool / Plague 1.53
05 Cybership I 0.23
06 Searching Kellman’s Room 1.05
07 Sarah vs Cybermat Part 1 0.31

08 Sarah vs Cybermat Part 2 0.18
09 Sabotage 0.42
10 It’s Happening All Over Again 0.11
11 The Skystriker 0.26
12 On Voga 0.40
13 Sarah and Harry Captured Part 1 0.47
14 Sarah and Harry Captured Part 2 0.10
15 Cybership II 0.19
16 Enter Vorus 0.08
17 Remote Control Threat 0.33
18 Tyrum and Vorus 0.37
19 One More Pull 0.17
20 Caves Chase 0.50
21 Caves Chase Continued 0.29
22 Surrounded 0.35
23 Boarding Party 0.59

24 The Beacon is Ours 0.41
25 Tyrum Fanfare 0.15
26 Prisoners 0.13
27 Fresh Orders 0.19
28 It Cannot Be Stopped 0.21
29 Loose Thinking / The Bomb 1.27
30 The Countdown Has Commenced 1.01
31 Cybermarch 1.27
32 Radarscope 0.23
33 Adventures on Voga 1.19
34 Rockfall 1.15

35 Surface Party and Detonation 1.47
36 Nine Minutes 0.26
37 Cybermat vs Cybermen 0.44
38 The Biggest Bang in History? 0.45
39 Waltz – All’s Well That Ends Well 0.17
40 Doctor Who – Closing Title Theme (53” Version) 0.54

41 Sarah vs Cybermat (end of part 1 alternative) 0.20
42 Sarah vs Cybermat (start of part 2) 0.56
43 It’s Happening All Over Again (random organ) 0.06
44 Sarah and Harry Captured (alternative) 0.46
45 Put That Gun Down (synth cue) 0.20
46 Cybership II (alternative) 0.24
47 Remote Control Threat (alternative) 0.35
48 One More Pull (alternative) and Vogan Gunfight 0.58
49 Cybership III (synth cue) 0.17
50 Caves Chase (alternative) 1.20
51 Cybership IV (synth cue) 0.23
52 Caves Chase Continued (alternative) 0.36
53 Surrounded (alternative) 0.38
54 Boarding Party (end of Part 2 alternative) 0.25

55 Jelly Babies (synth cue) 0.10
56 Tyrum Fanfare (edited cue as used) 0.10
57 It Cannot Be Stopped (alternative) 0.37
58 Loose Thinking (alternative) 0.31
59 The Bomb (alternative) 0.19
60 The Countdown Has Commenced (alternative) 0.06
61 Looped Cybermarch 0.29
62 Looped Cybermarch with Synth 0.47
63 Adventures on Voga (synth cues) 1.07
64 The Red Zone (Random Organ) 0.06
65 Heartbeat Countdown I (synth cue) 1.25
66 Heartbeat Countdown II (synth cue) 1.09
67 Rockfall (alternative) 1.17

68 Session Tapes – Random Organ, Specimen Gong, Timps 3.08
69 Session Tapes – m42a & 42b (improvs) 1.58

Total Duration – 51m 54s

Doctor Who – Time And The Rani

Doctor Who Time And The Rani
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Music by Keff McCulloch


‘Doctor Who – Time And The Rani’ was the opening serial of season 24, first broadcast on September 7th, 1987. It marked the debut of Sylvester McCoy and featured CGI, very much in a basic form as the technology was still in development. It also debuted a new computer animated opening title sequence with a new synthesiser version of the theme created by Keff McCulloch.

The composer was invited to create incidental music for the series and became a regular member of the team also writing music for Delta And The Bannerman, Paradise Towers, Remembrance Of The Daleks, Silver Nemesis, Battlefield, Dimensions In Time and Shada.

Keff, Dominic Glynn and Mark Ayres were the composers for the last three years of Doctor Who on its original run that ended in 1989, the latter compiling and producing this release.


01 The Rani Takes the TARDIS (Sound Effects) 0.22
02 Leave the Girl, It’s the Man I Want 0.23
03 Doctor Who (Opening Theme) 0.54
04 Einstein 0.21
05 A Nice Nap 0.34
06 Urak and Ikona 1.12
07 The Death of Sarn 1.05
08 Bull in a Barbershop 0.24
09 Not Your Enemy 1.52
10 The Tetrap Eyrie (1) 0.46
11 Landscape 0.25
12 New Wardrobe 1.27
13 Mel and the Bubble Trap 1.04

14 Mel and the Bubble Trap (continued) 1.33
15 The Tetrap Eyrie (2) 0.44
16 Wait Here 0.56
17 Memory Like An Elephant 1.18
18 Faroon, Ikona and the Mourning 1.34
19 Urak Nets The Rani 1.39
20 Pulses 0.26
21 The Rani’s TARDIS 1.03
22 You’re a Time Lord 0.39
23 She’s Coming 0.29
24 Cliffhanger in the Eyrie 1.30

25 Doctor on the Loose (Part 1) 0.55
26 Doctor on the Loose (Parts 2-4) 1.28
27 Doctor on the Loose (Part 5 – The Bubble Trap) 0.33
28 Faroon Forlorn / Doctor on the Loose (Part 6) 0.46
29 Future Pleasure 4.58
30 Beez 0.47
31 Hologram Mel 1.29
32 Just the Expert 0.24
33 As Sentimental as He Is 0.17
34 Fixed Trajectory 0.48
35 Second Bluff 0.47
36 All as Planned 0.20
37 The Brain 2.08

38 The Brain (reprise) 1.19
39 Dissidents to Heel 0.40
40 March of the Tetraps / Anklet Death 1.48
41 The Rani Explains 1.48
42 Urak Overhears 0.27
43 Loyhargil (1) 0.48
44 As You Snore So Shall You Sleep 0.38
45 Loyhargil (2) 0.14
46 Where there’s a Will 0.27
47 Loyhargil (3) 0.24
48 The Rani Leaves 0.20
49 Undoing The Rani 2.08
50 Fingers Crossed 0.21
51 Not Forgotten 0.54
52 Time and Tide Melts the Snowman 0.15
53 Doctor Who (Closing Theme) 1.13

54 Doctor Who 1987 2.40
55 The Death of Sarn (part, alternative version without rattle) 0.22
56 Two “stings” (1m10 and 1m12) 0.18
57 New Wardrobe (original mono mix without overdubs) 0.57
58 New Wardrobe (overdubs) 0.57
59 New Wardrobe (original mono TV mix as used) 0.58
60 She’s Coming (unused version 1) 0.43
61 Cliffhanger in the Eyrie (unused version 1) 1.30
62 Cliffhanger in the Eyrie (Part Two Reprise edit) 1.18
63 Future Pleasure (original master) 4.32
64 The Brain (25th Anniversary Album edit) 3.03
65 Doctor Who Theme 1987 (original demo) 2.54
66 Doctor Who Opening Title 1987 (original demo) 0.43
67 Doctor Who Closing Title 1987 (original demo) 1.16

Total Duration – 76m 05s


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Music by Lindsay Wright


Lindsay Wright’s score for Archie, ITV’s serialised biopic of Cary Grant, based on Dyan Cannon’s biography ‘Dear Cary’ and Jennifer Grant’s memoir ‘Good Stuff’. Archie is a uniquely sad profile of the Hollywood star, taking the viewer through his tumultuous life and focusing on later years. It is penned by Oscar-nominated screenwriter Jeff Pope (Philomena) and directed by Bafta-winning Paul Andrew Williams (Murdered for Being Different) and stars Jason Isaacs as Grant and Laura Aikman as Cannon.

Lindsay Wright’s soundtrack perfectly portrays Cary Grant’s emotional turmoil. It opens with a strained piano theme over pulsating strings, the two-chord harmonic movement remaining unresolved. Much of the score underlines the emotional anguish, apart from a jazzy number ‘Here We Go’, placing Cary’s childhood in 20s Bristol and the upbeat, fast moving track ‘Rehearsing’. ‘Child Birth’, followed by ‘Jennifer’ sweetly depicts the brief time of happy domesticity in Grant’s life.

Lindsay Wright is an award-winning composer combining traditional practices with experimental techniques. She is known for HBO/BBC feature documentary The Mystery of D.B. Cooper, BBC documentary series Inside Monaco and the four-part BBC series 21 Again. Recent highlights from her range of projects include the five-part ITV drama series The Walk-In starring Stephen Graham and four-part documentary series The Man Who Played With Fire for Sky and Discovery. She regularly collaborates with artist & composer Tawiah on projects such as the Left Bank Pictures thriller series Without Sin, comedy/drama series Black Ops for BBC 1 (nominated for a RTS Award for Original Music), Sky Atlantic’s comedy/drama series The Lovers, and upcoming six-part BBC supernatural drama series, Domino Day.


1. Archie

2. Here We Go

3. John’s Death

4. Rehearsing

5. I Made Him Up

6. Rejection

7. Fishponds

8. Better Place

9. Tough Crowd

10. Bliss

11. Father

12. Where Is She

13. Hello Mother

14. I Said No

15. Childbirth

16. Jennifer

17. Divorce Papers

18. Elsie Maria Leach

19. I Belong Somewhere

20. Archibald Alexander Leach

The Long Shadow

The Long Shadow
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Music by Sarah Warne


The Long Shadow, composer Sarah Warne’s powerful soundtrack to New Pictures Productions’ true crime drama. Written by award-winning screenwriter, George Kay (Hijack, Criminal: UK) and directed by BAFTA-winning director Lewis Arnold (Sherwood, Time, Des), the 7-part drama is currently broadcasting on ITV with all 7 episodes available to stream on ITVx.

Depicting the desperate five-year hunt for serial killer Peter Sutcliffe, the series features a stellar ensemble cast including Toby Jones, David Morrissey, Katherine Kelly, Lee Ingleby, Jill Halfpenny, Jasmine Lee-Jones, Liz White and Daniel Mays. The Long Shadow focuses on the lives of the victims who crossed Peter Sutcliffe’s path and those of the officers at the heart of the police investigation. With the victims, their families and the survivors at the heart of this series, The Long Shadow brings a new perspective to a well-documented story.

Composer Sarah Warne explains her process – “There’s an isolation and vulnerability that threads through the score – mournful brass, fragile strings and textured vocals, but also a strangeness too; not just the elusive shadowiness of Sutcliffe himself but also of the scrambling officers that missed crucial developments in the case through arrogance, misogyny and institutional red tape. Driving percussive elements spur on the case, but poignant and haunting melodies always refocus us on the importance of the lives of the people in this story, and not on plot. One such melody can be found in ‘Tormenting George’ and ‘Under Scrutiny’, which feature a minor key adaptation of the hymn ‘Faith of Our Fathers’ (St Catherine Tune). This theme came to represent the sense of broken community and the failures of our institutions to protect the lives of women in this harrowing impossible-to-be-forgotten period of British history.”

Sarah Warne trained as a classical harpist, pianist and composer. In her composition work, she specialises in blending acoustic instruments with unique electronic signatures. Sarah is best known for her work on Channel 4’s critically acclaimed television drama series Humans, and her recent scores for BBC’s Time and ITV’s Des. Sarah has also scored various primetime documentaries including several films for the BAFTA nominated series Catching a Killer (Channel 4), and her recent series about Putin and Russian corruption in London, Once Upon a Time in Londongrad, which is a 6-part documentary for Sky Atlantic directed by Oscar nominated director Jed Rothstein for Rise Films.

Sarah Warne’s scores for Steeltown Murders, Humans, Des, Time and Dark Money are available on Silva Screen Records.



1. Turmoil in Britain
2. She Didn’t Come Home
3. The Hunt Begins
4. Five Pounds
5. Some News
6. The Very Best Person for the Job
7. A Pattern Emerging
8. Marcella Unheard
9. Don’t Say Hobson
10. The Scale of Loss
11. Strikes Again
12. Need a Volunteer
13. I’m Going
14. They All Work for You
15. I Will Catch This Animal
16. This One Survived
17. Arresting Terrence
18. We’re Going to Match You
19. Terence Released
20. Six Victims
21. Preston 75
22. And Then I Saw Him
23. Tormenting George
24. I’m Jack
25. Rallying Together
26. Walking Home at Night
27. Under Scrutiny
28. They Could Have Saved Her
29. The Next Lass
30. We’ve Got Him
31. Needle in a Haystack
32. Momentous
33. Let Down
34. The Voice
35. The Long Shadow

The Long Good Friday

The Long Good Friday
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Music by Francis Monkman


One of the truly great British gangster thrillers, The Long Good Friday rated as the 21st best British film of the 20th century in a BFI 1999 survey. Viewed today, 35 years after its release the film remains like all classic films completely timeless. With its two outstanding leads, Bob Hoskins and Helen Mirren both stepping up to the cinematic big time, compelling direction by John Mackenzie and filmed against a background of London about to undergo massive change, this is a cinematic milestone. The other major factor that makes the film still so loved after all these years is Francis Monkman’s dazzlingly crafted score. After graduating from the Royal Academy Of Music the accomplished composer and multi-instrumentalist formed Curved Air in 1970, one of the defining British progressive rock bands. In 1979 he joined the ‘super session-men group’ Sky, a line-up of outstanding musicians that included John Williams on guitar, Herbie Flowers on bass, Tristan Fry on drums and Kevin Peek on guitar. The first two albums from this virtuoso stellar line-up delivered a number nine and number one album respectively. These musicians remained an important element for this soundtrack, all bar John Williams featuring on the December 1979 recording sessions. This welcome reissue of the long deleted soundtrack includes classic dialogue moments from the film in a 2CD set that features a newly remastered stereo version and the original mono.



1 The Long Good Friday (Main Title / Mono Master) 1:53

2 Overture (Mono Master) 6:21

3 You need a million dollar computer to understand this (Dialogue excerpt) Bob Hoskins 0:11

4 The Scene is Set (Mono Master) 2:25

5 Harold, to keep it all incognito (Dialogue excerpt) Bob Hoskins 0:10

6 At the Pool (Mono Master) 2:30

7 Nothing unusual he says (Dialogue excerpt) Bob Hoskins 0:09

8 Discovery (Mono Master) 3:20

9 Come on downstairs (Dialogue excerpt) Bob Hoskins 0:11

10 The Ice House (Mono Master) 4:51

11 After what happened this morning (Dialogue excerpt) Bob Hoskins 0:17

12 Talking to the Police (Mono Master) Francis Monkman & Bob Hoskins 4:09

13 For more than ten years (Dialogue excerpt) Bob Hoskins 0:46

14 Guitar Interludes (Sarabande in B Minor Guitar Flamenco) (Mono Master) 6:01

15 Realization (Mono Master) 2:30

16 Fury (Mono Master) 6:16

17 I’ll tell you something (Dialogue excerpt) Bob Hoskins 1:19

18 Taken (Mono Master) 2:50

19 Ladies and gentlemen I’m not a politician (Dialogue excerpt) Bob Hoskins 2:00

20 The Long Good Friday (Main Title / Stereo Remaster) 1:53

21 Overture (Stereo Remaster) 6:21

22 The Scene is Set (Stereo Remaster) 2:24

23 At the Pool (Stereo Remaster) 2:31

24 Discovery (Stereo Remaster) 3:20

25 The Ice House (Stereo Remaster) 4:51

26 Talking to the Police (Stereo Remaster) Francis Monkman & Bob Hoskins 4:09

27 Guitar Interludes (Sarabande in B Minor Guitar Flamenco) (Stereo Remaster) 6:01

28 Realization (Stereo Remaster) 2:30

29 Fury (Stereo Remaster) 6:16

30 Taken (Stereo Remaster) 2:51

31 The Long Good Friday (End Title / Stereo Remaster)

The Following Events Are Based On A Pack Of Lies

The Following Events Are Based On A Pack Of Lies
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Music by Arthur Sharpe


Arthur Sharpe’s soundtrack for The Following Events Are Based on a Pack of Lies.

The dark, comic and unpredictable five-episode thriller series is written by siblings Penelope Skinner (Fresh Meat, Linda, Briony Hatch – a graphic novel) and Ginny Skinner (Briony Hatch – a graphic novel). Starring stars Marianne Jean-Baptiste, Alistair Petrie, Rebekah Staton, Romola Garai, and Derek Jacobi, the series follows Alistair Petrie’s sleazebag serial scammer, Robert, engaging in a game of cat and mouse with Alice (Rebekah Staton), the abandoned ex-wife who thought he was dead, and Cheryl (Marianne Jean-Baptiste) the successful fantasy author who he is currently attempting to extort money from.

Penelope and Ginny Skinner observe – “In a world where convicted conmen become overnight cultural icons, bypassing blame on their way to fame, we have been inspired to fight back against the glorification of the predator. We want to tell a story about the real heroes of any scam: those who risk everything to call out the perpetrators.”

Den of Geek describes the series stylistic form – “The BBC scammer drama isn’t a biopic, but it comes with shades of reality” while The Guardian describes Alice’s quest for revenge as a “total thrill”. The intricacies of composing a soundtrack for such a form is explained by composer Arthur Sharpe – “To create a sound world within which the music spans the bright colours of the visuals to the dark insidiousness of a conman, I employed a wide variety of sounds.”

The score is an amalgam of harpsichords, harps, strings and marimbas driven along by the beats of the Bangers & Crash percussion group, with added sprinklings of detuned echos, scaffolding, broken floor tiles and a metal toy box; all combinations augmenting and supporting the storyline peppered with deceit and paranoia. It reflects Alice’s attempts to out the ex-husband who destroyed her life as he attempts to woo and steal from his new victim, the unsuspecting fantasy author and recently widowed Cheryl.” Delightful and surprising, Arthur’s soundtrack proves a perfect fit for the series.

Arthur Sharpe is a BAFTA, Ivor Novello and RTS Award-winning film and TV composer. He is known for his HBO & Sky Atlantic series Landscapers (2021), a genre-distorting true crime drama starring Olivia Colman and David Thewlis, for which he won multiple awards including the 2022 BAFTA for Best Original Music and the Ivor Novello Award for Best Television Soundtrack; and the feature film The Electrical Life of Louis Wain (2021), a Victorian-era artist’s biopic starring Benedict Cumberbatch and Claire Foy. Other notable works include BBC1 comedy Ghosts (2019 – present), Women On The Verge (2018) created by Lorna Martin and Sharon Horgan, Neil Forsyth’s BBC Scotland & BBC2 drama Guilt (2019 – 2023) and C4’s black comedy drama Flowers (2016-2018) starring Sophia Di Martino, Olivia Colman and Julian Barrett.



1 Couplets 1:46

2 Air of Loftiness 1:56

3 Arathdoon 1:37

4 Building Mania 2:47

5 Tunnel Hearing 2:56

6 Impatience is a Virtue 2:49

7 Bounce & Melt 2:31

8 Malevolent Calm 1:40

9 MQPT 3:40

10 Pulsing Ahead 2:19

11 Secrets & Intrigue 1:36

12 Couplets Hypertension 2:09

13 The Ruins of Seduction 1:10

14 What Once Was There 3:47

15 The Dragon Queen of Thweme 2:06

16 The Swindlertrot 1:09

17 Unpersuading 4:48

18 MQPT Collapse 2:32

19 Rally & Recover 5:15

20 Unchartered Ambiguity 1:02

21 Truths Unearthed 2:17

22 Court Hearing 2:41

23 March of the Mountebank 2:32

24 All Trust Lost 1:35

25 Rage Uncontained 4:40

26 A Brief History of Bad Men (Getting Away with It) 3:56

27 Scheming 1:13

28 Hope in Resolve 4:02

Good Omens 2

Good Omens 2
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Music by David Arnold


David Arnold’s ‘end of the world’ complex and multi-genre soundtrack.

From the Award-winning composer of Sherlock and Casino Royale comes a follow up to the hugely successful, Emmy nominated Good Omens soundtrack.

Good Omens series 2 premiered on Prime Video on 28th July. The series follows the odd couple, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) in their quest to sabotage the end of the World. The six-episode sequel to the popular adaptation of the novel by Neil Gaiman and Terry Pratchett, concerns the Archangel Gabriel (Jon Hamm) arriving without his memories to Aziraphale’s bookshop. Aziraphale and Crowley attempt to find out what happened to Gabriel, whilst hiding him from Heaven and Hell, both eager to find him.

David Arnold’s soundtrack to Good Omens was first released in 2019 to favourable reviews, with BBC Music Magazine calling it “a rollicking trip to hell and back”. Blueprint Magazine described it as “a great listen” and Sci Fi Bulletin commented on “plenty of memorable themes” to conclude that “This is another work of art from Arnold”.

At times nostalgic and eerie but always varied, beautiful and full of excitement, the Good Omens 2 soundtrack showcases Arnold’s every skill from his composer arsenal. Featured here are orchestral arrangements with sprinkling of Sugar Plum Fairy pizzicato and percussion, jaunty strings and mighty choral sweeps from Crouch End Festival Chorus. Added to the mix are rock guitar riffs, and psychedelic 70s sounds and all together they create a haunting otherworldly feel, complementing the fantasy and the quirky humour of the show. The spirited Waltz of the opening theme is also present in the second series and it wonderfully sets the scene for fantastical mayhem. In series 2, this robust, evocative, and funny music entity, becomes yet again another character in the story.

Award-winning composer David Arnold is well known for his blockbuster scores, including Stargate, The Chronicles of Narnia: the Voyage of the Dawn Treader, Hot Fuzz, Paul, Independence Day, 2 Fast 2 Furious and Casino Royale as well as for his TV work such as Sherlock and Dracula.

Also available: The original soundtrack to the first series of Good Omens >


– Disc 1 –
Chapter 1: The Arrival
1. Before the Beginning
2. Good Omens 2 Opening Title
3. Into Soho
4. Something Terrible
5. To The Bookshop
6. Maggie and Nina
7. He’s Smoking
8. Tiny Miracle
9. Heavenly Alarm Bells

Chapter 2: The Clue
10. Avaunt!
11. The Song is the Clue
12. It’s What God Wants
13. A Mighty Wind
14. Whales
15. Gabriel Returns
16. His New Children
17. Am I Awful Now?
18. Fallen Angel

Chapter 3: I Know Where I’m Going
19. Police Arrive
20. Scotland
21. We’re Going to Hell
22. People Get a Choice
23. My Car is Not Yellow
24. Beelzebub in Hell
25. The Book
26. The Fly
27. Mr. Dalrymple
28. We Need to Cut
29. I’m Going to Save Her
30. Crowley Goes Large
31. Not Kind
32. Beelzebub Isn’t Happy

– Disc 2 –
Chapter 4: The Hitchhiker
33. Hell-O
34. Nazi Zombies
35. March of the Nazi Zombies
36. Crowley Pep Talk
37. The Magic Shop
38. Catch The Bullet
39. Zombies in the Dressing Room

Chapter 5: The Ball
40. I’ll Let You Have It
41. We’re Storming a Book Shop
42. Monsieur Azirophale
43. The Candelabra
44. Here Comes Hell
45. Gabriel Gives Himself Up
46. Shax
47. The Circle

Chapter 6: Every Day
48. Bin Through the Window
49. Gabriel Leaving Heaven
50. The Halo
51. Gabriel Revealed
52. Gabriel’s Love Story
53. Leaving The Bookshop
54. Gabriel and Beelzebub
55. Crowley and Muriel
56. I Forgive You
57. Don’t Bother
58. The Biggest Decision
59. The End?

The Devil Rides Out

The Devil Rides Out
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Music by James Bernard


James Bernard’s soundtrack to Hammer’s classic 1968 film The Devil Rides Out. Hammer built on previous success in the horror genre by seeking literary adaptations, and this film is based on the Denis Wheatley novel of the same name. The script was written by Richard Matheson, himself a successful author of the novel, I Am Legend (1954), and with gothic horror maestro Terence Fisher directing, the resulting film remains one of Hammer’s most popular.

The story follows Nicholas, The Duc de Richleau (Christopher Lee) in his fight against a devil-worshipping cult. The Duc rescues his young friends and destroys the cult, with good triumphing over evil in a rare heroic role for Lee. The supernatural suspense is further realised by Bernard’s tense soundtrack, and his music has since become synonymous with Hammer’s horror oeuvre. James Bernard had already scored releases for Hammer including The Curse of Frankenstein (1957) and Dracula (1958), and his distinctive clashing strings and driving percussion instantly conjure this iconic Hammer film.


1. Opening Credits
2. Concerned Friends / Investigating The Observatory / Hidden Sacrifice
3. Protecting Simon
4. Balance Of Power
5. The Duc And Rex Follow Simon
6. Uninvited Guests
7. The Spirit In The Observatory
8. The Eve Of Mayday / Mocata’s Presence
9. Pursuing Tanith
10. The Baptism Begins
11. Orgy Of Evil
12. “The Goat Of Mendes – The Devil Himself!”
13. Rescuing Simon And Tanith
14. Mocata Visits The Eatons
15. Tanith Controls Rex / Inside The Circle
16. Visions Of Terror
17. The Angel Of Death
18. The Battle Is Lost / The Power Of Mocata
19. An Unstained Child
20. Finale And End Credits