7 - Logopolis

Composer: Paddy Kingsland
Director: Peter Grimwade

What's the score?
Paddy Kingsland plays out the Fourth Doctor in a story written by script editor Christopher H Bidmead; Kingsland would end up scoring all three of Bidmead's DW stories. The electric guitar is all over this one, alongside harpsichord and solemn synth tones. It's a sombre score for a sombre story.

Musical notes

• Tegan doesn't have a theme. There are a couple of strong contenders - the flighty cue that plays twice in Part One with Aunt Vanessa, the brittle music-box piece that plays twice in Part Two while Tegan explores the TARDIS - but none are taken up by any of the Radiophonic Workshop composers during the three years of Tegan's tenure as a regular character. Incidentally, this week's first "oo-wee-oo" moment comes at the end of the repeated cue in Part One, when we cut back from Tegan to the TARDIS. Our second "oo-wee-oo" comes later in Part One, when the Doctor first sees the Watcher.
• There's a little reprise from Full Circle when the Doctor stumbles across Romana's old room. It's the cue that played while Romana was sulking about being called back to Gallifrey, just before the TARDIS fell into E-Space.
• There's a peculiar bit of action music in Part Two when Adric falls over a bicycle in order to help the Doctor escape from a couple of police officers. It's got the same "wakka-wakka" guitar sound that you might hear on gritty cop shows like The Sweeney or The Professionals - Kingsland seems to be inviting us to laugh at these not-so-gritty cops.
• There's a theme for Logopolis that plays several times, with slight variations, throughout Parts Two and Three. It's a sombre, monastic piece, which makes it a good fit for the sombre, monastic Logopolitans. It's anticipated a couple of times in Part One when Logopolis is mentioned in conversation. A snare drum creeps in at the start of Part Three as the Logopolitans struggle with the effects of the Master's sabotage. The last variant plays near the end of Part Three with an unsettling key change in the middle, as Logopolis begins to die.
• Much of Part Four is taken up with a funky harpsichord/bass/woodwind chase theme, as various parties try to make their way across the grounds of the Pharos Project without being caught by the security guards. Like the escape theme in Part Two, it's got a bit of that cop show feel to it.
• In the moments before the Doctor's fall from the Pharos radio telescope, Kingsland builds up the tension in an ascending series of chords; there's what might best be described as an anguished cry over the fall itself. (Or perhaps it's that seagull from Bergerac again?)
• The final cue deserves a close listen. It follows the camera down with a descending scale of quiet chimes, landing on a low pulsing sound. The montage of former companions is accompanied by a pensive flute melody, followed by a brief pause for the Doctor's last line; there's then a more confident rising phrase in pipe and woodwind sounds as the Doctor regenerates. Naturally, there's one last "oo-wee-oo" to finish with. It's a gentle farewell to the Fourth Doctor and an optimistic welcome to the Fifth. In fact, it's the most sensitive musical send-off any Doctor has had, in your humble blogger's opinion. We won't hear its like again in a regeneration story - from here on out, the Doctors will be sent off in a blaze of sound and fury, to match the explosive visuals of future regenerations.

Vox pop
This score, and in particular the closing few minutes, is a thing of beauty. The one objection I might raise is that the chase music in Part Four gets awfully repetitive - an issue that will itself be repeated in subsequent Paddy Kingsland scores. But this really is a fine send-off for Tom Baker, and the icing on the cake is that Kingsland will be around to smooth the way for Peter Davison's first story too.

Availability

• The BBC DVD release includes the full isolated score as an audio option.

6 - The Keeper of Traken

Composer: Roger Limb
Director: John Black

What's the score?
Roger Limb's first score for DW - the first of many. In this season he's the odd man out, but over the next two seasons he contributes more than a third of the incidental music. From this point until the 20th anniversary, you're never more than two stories away from a Roger Limb score.
Some people regard this story as little more than a run-up to Tom Baker's big finale, and Limb's music seems to contribute to that impression. He tends to convey a general mood rather than emphasise or offer comment on particular moments, and he spends most of this story building up an air of anxiety, which is left hanging at the end of Part Four. He favours low buzzing synths coupled with high and mid range droning sounds.
It's also worth noting that, in stark contrast to the frequent short cues favoured elsewhere in this season in Howell's and Kingsland's scores, The Keeper of Traken features lengthier cues of a minute or two in duration with much longer silences in between. Presumably this was at the request of director John Black, but it may also reflect Limb's preference - his other DW scores tend towards longer cues. He's particularly cautious about intruding on moments of plot exposition, and on the latter parts of the story in general.

Musical notes

• Nyssa has a theme, but like Adric's, it isn't hers to begin with. It plays in full over the scene in Part One in which the young Kassia brings flowers to Melkur. The light sounds of harp and flute, conventionally considered to be feminine instruments, suggest youthful innocence, with a certain otherworldliness in the melody. A minor key variant is heard when Kassia visits Melkur after her wedding and hears him speak. Variants of the theme turn up in Part Two when Nyssa tends to Melkur, and at the end of Part Four when Nyssa leaves Tremas on his own in the council chamber.
• Another notable musical feature of Part One is the diegetic music heard after the wedding of Kassia and Tremas. It's a fast, jolly tune comprised of pipe, xylophone and tambourine sounds.
• Limb is a practitioner of the recap switcheroo, although given his compositional style it's not always easy to spot. In Part Four he extends and merges the last two cues from Part Three, and in doing so he strikingly alters the timbre and balance of the constituent parts. This leads to one of the stronger features of the composition being obscured: the three note phrase that practically defines the re-recorded cue included on the Doctor Who - The Music album is audible in the penultimate cue of Part Three, but is almost completely buried in Part Four.
• In interview, Limb cites Debussy as an influence on his work as an incidental music composer. I'm not familiar enough with Debussy's work to be able to spot any definite references in this score - perhaps there are DW-watching Debussy fans out there who can do better? In any case, Limb's atmospheric but very loosely structured score doesn't generally lend itself to this kind of analysis. It doesn't give commentators like myself very much at all to get hold of, in fact. But the style is an appropriate match for the art nouveau visual design of the story, since Debussy was composing at the height of the art nouveau vogue around the turn of the 20th century.

Vox pop
I prefer music with more form to it, so for me Roger Limb's score doesn't work so well in isolation. As an accompaniment to the TV episodes (which was, after all, its intended purpose), it's fine - as noted above, it's an appropriate choice for the story, and it's pretty enough. It also adds some welcome variety to a season that's otherwise musically dominated by Howell and Kingsland.

Availability

• The BBC DVD release includes the full isolated score as an audio option.
• Doctor Who - The Music included three tracks from this story: "Nyssa's Theme", actually the cue that introduces Kassia in Part One; "Kassia's Wedding Music", also from Part One; and "The Threat of Melkur", a combination of Dick Mills' sound effects and the penultimate cue from Part Three.

5 - Warriors' Gate

Composer: Peter Howell
Composer: Paul Joyce

What's the score?
As the Doctor returns from E-Space through the pocket universe of the Gateway, so we return from Paddy Kingsland to Peter Howell. His score is generally melodic, but inclined towards the weird. String sounds and breathy atmospheres take centre stage here.

Musical notes

• Once again, Howell is presented with a long tracking shot at the start of Part One that could be taken as an invitation to the composer. This time, however, he stays silent while the camera pans slowly around the slavers' cargo hold full of comatose Tharils, only fading in as we approach the action on the ship's bridge.
• The signature sound for the Tharils is something like a dulcimer or a zither, sometimes jangling and sometimes echoing. (It could be a cimbalom, or at least the synth equivalent.) It's the kind of thing you might hear in a Cold War spy film; it might be meant to suggest antiquity, exoticism or mystery, all of which would be appropriate to this story. It's also heard in Part Two when Romana is strapped into the slavers' navigator chair as a surrogate Tharil.
• A shimmering synth sound is heard when Tharils walk through the Gateway mirror. It's a bit like a Flexatone pitched down several octaves, or like those plastic "booming" tubes you sometimes see in dollar shops.
• The Gundan robots have an off-kilter marching theme, solid on the beat and with a servo-like whine in between. A halting, jerking version plays when the decrepit Gundan comes to life in Part Two; a faster, more confident version plays over the Part Three cliffhanger when the newly minted Gundans storm the Tharils' banqueting hall.
• This week's "oo-wee-oo" sound comes near the start of Part Three, when the Doctor discovers that his hand has been healed after passing through the mirror.
• Scenes in the Tharils' gardens are accompanied by whimsical noodlings on the synth. Is there just a hint of the leading phrase from Debussy's "Prelude a l'apres-midi d'un faune" in there?
• Part Three features what I think is the first bit of diegetic music (i.e. music that we're supposed to believe the characters can hear - remember that word!) in 80s DW: the Tharil banqueting music. It's a stately piece in the medieval style, combining ethereal pipe sounds with the sort of pulsing rhythm you'd get from a hurdy-gurdy. Antiquity is clearly the intended effect here.
• Abrupt jumps between time zones in the hall are signalled by a sort of backwards washing sound. Howell fades this down fairly quickly in the Part Four reprise, but keeps it going into the credits at the end of Part Three.
• This week's pop pick: the eerie cue that plays while Lazlo wakes the other Tharils in the cargo hold in Part Four. It's a lovely minor key tune in a high-pitched synth over a refrain using low string sounds.

Vox pop
Another great score from Peter Howell, with a more experimental edge than his previous two. It's interesting to hear him trying out unconventional material in a mostly melodic score - not just the washing and shimmering effects, but some striking stuttering sounds too in the derelict hall in Part One. The roots of Howell's next two scores - for the two Mara stories - can be found here. This is one I come back to again and again.

Availability

• The BBC DVD release includes the full isolated score as an audio option.
• Doctor Who - The Music included a minute-and-a-half track titled "Banqueting Music", which combined material from the Tharil banqueting scenes in Part Three with Dick Mills' "time winds" sound.

4 - State of Decay

Composer: Paddy Kingsland
Director: Peter Moffatt

What's the score?
The first story in production order to be scored by Paddy Kingsland, although not his first transmitted work for DW. Once again he uses woodwind sounds, lyricism and repeated motifs. The woodwind sounds are pitched lower this time, more like the oboe or bassoon than Full Circle's flute.

Musical notes

• Remember the "TARDIS flying through space" cue from Full Circle? There's a very similar cue in Part One over the very similar shot of the TARDIS flying through E-Space. A side-by-side comparison illustrates nicely the different timbre and texture of the two scores.
• There's a bit of a Hitchhiker's Guide moment in Part One when the Doctor accesses the Hydrax's databanks. I'm prepared to guess that this is one computer sound effect that Kingsland provided himself.
• The end of Part One features the sound that I like to call the "singing owl". It's that theremin-like sound that's routinely used in film and TV as shorthand for "spooky". The owl sings while the Doctor and Romana fight their way through the woods pursued by a swarm of vampire bats. However, it doesn't feature in the reprise in Part Two...
• It's not uncommon for DW composers to rework their music from the end of one episode at the start of the next, either to extend cues to bridge gaps in the soundtrack or in response to re-edited visuals. This kind of recap switcheroo tends to happen at the start of the final episode of a story, when a strong musical entrance is needed. Here, Kingsland performs pretty much the same composition in Part Two that he used in Part One, but he changes the sound palette: the singing owl is gone, replaced with rumbling bass tones. The owl sings again at the end of Part Three when Zargo shows off his vampire strength by hurling a man across a room.
• My favourite cue from this story is the sombre theme from Part Three that plays as the Doctor returns to the TARDIS to check his records on vampires. It's heroic in a grim, determined sort of way, which I feel gives us a plausible impression of the Doctor's state of mind at this point.
• The latter half of Part Four is dominated by one simple musical phrase, repeated in descending tones. It plays at some length over the shots of the vampires aging and crumbling to dust. The repetition of a motif in the latter part of a story is something I associate with Kingsland's scores, and although on this occasion it's not exactly overpowering, it's indicative of stronger examples to come.

Vox pop
Although this is another pleasant score from Paddy Kingsland, I can't help feeling that it's the Full Circle score's poor relation. It's less vibrant - Kingsland always sounds more alive when he's working at the treble end of the sonic spectrum. (Perhaps there's a comment to be made here about the aptness of a less lively score for a story about the undead.) His electric guitar is pretty notable by its absence too. It's a good score, but not one I'd consider essential.

Availability

• The BBC DVD release includes the full isolated score as an audio option.

3 - Full Circle

Composer: Paddy Kingsland
Director: Peter Grimwade

What's the score?
Full Circle is the first story to be transmitted with an incidental score provided solely by Paddy Kingsland - State of Decay was produced earlier, but transmitted after this one. This, and his work on the following story, gives Kingsland the chief responsibility for designing the musical feel of E-Space, as well as musically introducing the new companion, Adric.
Kingsland's score is lyrical and makes strong use of repeated motifs. He tends to favour woodwind-like sound - particularly high, fluting sounds in this score - and prominent bass drum accents. His electric guitar also gets its first proper workout here.

Musical notes

• A jolly "riding into action" cue plays over the shot of the TARDIS flying through space at the start of Part One. Hold onto that cue, it'll come in handy next week. It turns up again in Part Three when the Doctor pilots the TARDIS back to the Outlers' cave to rescue a comatose Romana.
• Adric has a theme, except that it's not exactly his theme yet. It starts out more as a theme for the Outlers, and ends up standing for the Alzarians in general. Variants of it play throughout the story. It crops up again from time to time in future stories in reference specifically to Adric. Perhaps surprisingly, Kingsland won't use it to reintroduce Adric when he turns up in the next story.
• K9 has a theme too, and it's heavy on the guitar! It's actually a close cousin of the Alzarian theme. It plays in Parts One and Two over scenes of K9 following the Marshmen through the woods. Unlike Adric's theme, K9's theme doesn't reappear in later stories; but then K9's only in two more stories, and he doesn't get a lot to do in either.
• A repeated seven note phrase plays over scenes that relate to Mistfall or that feature revelations about the Alzarian life cycle. The end of Part One, as the Marshmen emerge from the water, is a notable example. The notes rise and fall cyclically within the phrase, and the phrase itself rises across repetitions, as if emphasising the upward climb of Alzarius' super-evolving lifeforms. "The Ascent of Marshman", we might call it.
• The other major theme is a sombre piece that represents the Deciders. There's a special extra-sepulchral version that plays when we first see the cathedral-like space of the Starliner's bridge, where the Deciders hold court.
• There's an ironic little fanfare when K9 is beheaded in Part Two. It's almost as if the composer were making fun of this solemn, dramatic moment - surely not?
• This week's quote from the DW theme tune comes in Part Three, after the Doctor has rescued Romana. We get an overt "oo-wee-oo" over the Doctor working the TARDIS controls, followed by a more subtle bass "oo-wee-oo" as we track through to Romana's room.
• There's an unexpectedly rockin' moment at the start of Part Four when the possessed Romana lets the Marshmen into the Starliner. When I hear this cue, it puts me in mind of the "Piltdown Man" section of Mike Oldfield's Tubular Bells - no particular musical similarity, just the combination of rock guitar and primitive hominids. Is it just me?

Vox pop
This is a charming score, eerie and lively in equal measure. The liberal use of the electric guitar adds a lot of fun to the mix, too. It works well with the TV episodes, and Kingsland's development of themes within the score makes it a great listen in its own right.

Availability

• The BBC DVD release includes the full isolated score as an audio option.
• The score was released on the Doctor Who at the BBC Radiophonic Workshop, Volume 4 CD in 2002, alongside the Kingsland/Howell score for Meglos. Volume 3 included some of Dick Mills' sound effects from the story.

2 - Meglos

Composer: Paddy Kingsland (Part One), Peter Howell (Parts Two to Four)
Director: Terence Dudley

What's the score?
As Paddy Kingsland explains in the DVD commentary, Peter Howell was assigned this story to score but fell ill; Kingsland stepped in to score Part One while Howell recuperated, using notes that Howell had made in discussion with the director.
It would be wrong to say that we hear Kingsland giving an impression of Howell in Part One, or Howell of Kingsland in Part Two. Part One is unmistakably Kingsland's handiwork, elements of which recur in later episodes, either wholesale or modified to fit Howell's style. The music is bouncier than in the previous story, even jittery in places. But it doesn't take long for Howell's own voice to make itself heard - quite literally, in fact.

Musical notes

• In scenes that feature Deon ceremonies, the chanting of the Deons becomes a part of the incidental score thanks to the electronic magic of the vocoder. This device takes vocal input, processes the sound through a number of electronic channels and returns it as a buzzy, robotic sound that can be played on a keyboard. There's some irony here given the Deons' opposition to the science-fundamentalist Savants. In most cases the chanting is performed by Peter Howell himself, but for a couple of musical cues the studio dialogue provides the input. I think this might be the only time in DW's incidental musical history that the vocoder is used in this way - although Howell's arrangement of the theme tune also includes some vocoder elements, as can be seen in the "Synthesizing Starfields" extra on the Leisure Hive DVD.
• The vocoder was designed as a military tool for scrambling communications during World War Two, laid the groundwork for the technology that made mobile phone communications possible, and became the hot musical toy of the 1970s for artists like Kraftwerk and Wendy Carlos. How to Wreck a Nice Beach by Dave Tompkins offers plenty of further information about the vocoder for interested readers. Speaking of Wendy Carlos, the cue that introduces Lexa, the Deon high priestess, in Parts One and Two sounds rather like the opening theme from A Clockwork Orange. Or perhaps I should say, they both sound like the march from Purcell's "Music for the Funeral of Queen Mary". There's no obvious relevance to the funereal aspect of the piece, but it's possible the cue was intended to liken Lexa to Mary II, another capable and devout political leader.
• Meglos is represented by the rattling sound of the vibraslap. In scenes where he's impersonating the Doctor, the vibraslap plays a subtle part in the music, reflecting his subterfuge; when the cactus breaks through, the sound is louder and electronically enhanced to give it a more prickly quality. If you could hear a cactus shouting (other than when it's being played by Tom Baker), I imagine this is what it might sound like. Readers at home who own the Doctor Who - The Music album or any of its reissues can hear the enhanced noise right at the start of the "Meglos" track. Oh listen, there's a quote from the DW theme tune at the end of that cue.
• The "reset" sound for the chronic hysteresis in Parts One and Two is a peculiar "twinkle" that wouldn't sound out of place on the end of a pantomime fairy godmother's wand. Perhaps it was meant to point up the magical nature of this bit of pseudo-science? Again, an interesting choice for a science-vs-faith story.
• On the DVD commentary, Howell recalls a prank he played on producer John Nathan-Turner during a screening of Part Three. For the scene in which Meglos takes Caris by the hands and leads her off into the shadows of the bunker, Howell replaced the transmitted cue with the sound of a tango; Nathan-Turner didn't notice.
• Meglos' lighthouse/elevator/weapon thing gets its own signature sound once it's fired up in Part Four. It might best be described as "like that seagull noise at the start of the Bergerac theme".
• Famously, the closing theme music at the end of Part Four was played at a lower pitch than normal - closer to the Derbyshire arrangement's key of E minor - albeit at the correct speed, and to this day nobody knows why.

Vox pop
This score could easily have ended up sounding like a retread of the previous one - there are several cues in the latter half that would fit comfortably into the Leisure Hive score - but the use of the vocoder and the vibraslap keep it fresh. The inclusion of Paddy Kingsland's peppy style in the mix also helps. Perhaps the Radiophonic composers should have collaborated more often? Not one that I listen to regularly, but entertaining.

Availability

• The BBC DVD release includes the full isolated score as an audio option.
• The entire score was released on the Doctor Who at the BBC Radiophonic Workshop, Volume 4 CD in 2002, alongside Paddy Kingsland's score for Full Circle. A selection of Dick Mills' sound effects from both stories were included in Volume 3 the same year.
• Doctor Who - The Music included a single musical cue from Meglos, lasting about a minute and a half - it's the one from Part Two, when Meglos is hiding from the Tigellan guards inside the bunker.

1 - The Leisure Hive

Composer: Peter Howell
Director: Lovett Bickford

What's the score?
The incidental music for The Leisure Hive, the first story of the Nathan-Turner era of DW, was composed by Peter Howell, who had also provided the new arrangement of the DW theme tune. This gave the new-style score and new theme a consistent musical texture, a canny move that would be repeated with the introduction of the Dominic Glynn arrangement of the theme tune for The Trial of a Time Lord and the Keff McCulloch arrangement for Time and the Rani.
As Howell and director Lovett Bickford explain in interview on the Leisure Hive DVD, Bickford included several lengthy transitions and scene-setting shots for Howell to provide "epic" music for. It's suggested that this was down to Bickford's filmic vision as a director; scurrilous bloggers like myself might wonder if it was also a creative way of filling out a short-running script. The epic music is very welcome in any case.

Musical notes

• As this is the first story to feature the Howell arrangement of the theme tune, let's talk about it. It's a very dynamic arrangement, sure to excite the viewer's anticipation of the episode that lies ahead. An echoing treble line, not all that dissimilar from the sound of the original theme arrangement, is driven along by a growling bass line - the rock 'n' roll years of DW have arrived. Parts, notably those that were created using a vocoder, have almost the quality of an electric guitar about them. The formation of the DOCTOR WHO logo is heralded by a very quiet washing sound - that'll change in 1985. The closing theme includes the middle eight section of the tune, which I like to think of as the "mouse chorus" - a high pitched vibrato synth sound. It tails off almost disappointedly as the singing mice are ushered out of the room and the main body of the theme returns. Rather than fade out, the closing theme ends with a rushing sound and goes out with a bang.
• Delia Derbyshire's theme arrangement was in the key of E minor, but the new arrangement is in the key of F sharp minor. As Howell recalls on the DVD commentary for the next story, Meglos, the practical consideration of the keyboard layout of his synthesizer led him to use the key of F; he then felt it was running too slowly, and sped it up to leave the final version another semitone higher.
• Part One famously opens with a long tracking shot along Brighton beach on a grey day, and Howell matches this with a wistful, desolate opening cue. It's probably best if we pass quickly over the little refrain of "I Do Like to Be Beside the Seaside" that announces the Doctor's appearance. There's a hint of seagulls in the mournful cue that plays after K9's explosive attempt at bathing.
• The military-sounding cues in Parts One and Four show signs of classical influence. Mena's shuttle, returning to Argolis from Earth, is heralded by a cue with some similarities to Ravel's "Boléro", while the cues that play in Part Four while Pangol is creating an army of tachyonic copies of himself owe something to this and something to "Mars, the Bringer of War" from Holst's "The Planets" suite. Both pieces - with their associations of the romance of the industrial age and mechanised warfare respectively - are appropriate referents for the Argolin, whose fate depends on a machine.
• Howell plays along very nicely with the Part One cliffhanger and Part Two reveal, in which the Doctor appears to be dismembered by the Tachyon Recreation Generator. He sets this up with a sort of horrified synthesizer yelp and an urgent, downbeat cue during the earlier scene in Part One in which a tourist really is killed in the TRG; he then repeats this at the start of Part Two, after we've seen the Doctor's image suffer the same fate. When it becomes clear that the Doctor's unharmed, the urgent-sounding cue evaporates into an audible sigh of relief.
• The TRG has a little motif of its own, a repeated four-beat bass phrase that pops up at various points during the story. There's a panicky version of it when the TRG seems to be about to dismember the Doctor.
• I'm very fond of the cue leading up to the end of Part Two, in which Hardin's time experiment fails and the Doctor is aged 500 years. It conveys that something's gone wrong in an understated, melodic way, before subsiding into an angsty, wavering treble sound as the elderly Doctor is revealed. It's as if the music is as stumped as the characters as to what's happened and is taking a while to react. Then, once everybody's settled down at the start of Part Three, there's another nice melodic cue with a couple of minor key "tumbling" phrases to underline the downward spiral of the situation of Argolis.
• There's an unexpected burst of sequenced sound in Part Three that would have made Tangerine Dream proud. It comes just after Romana's removed a component from the TRG. For some reason, it plays over a shot of Pangol walking down a corridor.
• Once all the martial music in Part Four has died down and Mena and Pangol have re-emerged from the TRG, there's an odd upbeat fanfare that sounds almost like the flourish after an illusionist's trick. Which I suppose in a sense it is, but still. It's mood whiplash in musical form.
• There's a little taste of the bass line from the Howell arrangement of the theme tune in the cue early in Part Four when Mena collapses, and more confidently at the end of Part Four during the Doctor's "back to work" exit speech. Thus begins a long tradition of electronic composers working bits of the DW theme into their scores.

Vox pop
The director gave him the opportunity to show what the Radiophonic Workshop could do, and Peter Howell seized it with both hands. This score is lush, varied, and really feels like an all-out showcase for the new sound of DW. It sounds every bit as good on its own as it does over the episodes, and rewards repeated listening. I love it to bits.

Availability

• The BBC DVD release includes the full isolated score as an audio option.
• The entire score (without the episode breaks) was released on CD as Doctor Who at the BBC Radiophonic Workshop, Volume 3 in 2002, along with some of Dick Mills' sound effects from this story, Meglos and Full Circle.
• The 1983 album Doctor Who - The Music included a five-and-a-half minute suite of music from The Leisure Hive, topped off with the TARDIS dematerialisation sound and Dick Mills' atmospheric wind sound as used for Argolis exterior scenes.