Doctor Who: Original Television Soundtrack

My review of each track (from November/December 2007 and June 2008), with first usages noted (given as episode names as supplied by the Wikipedia).  In general, I provide impressions outside of the context of the show, though not always, and I admit to being colored by the contexts in which I first encountered the music.

01 - Doctor Who Theme [TV Version]
All post-2005 episodes
There is little sense in providing a commentary on this track.

02 - Westminster Bridge
First used in: “Rose”
Beginning with a short ascent and crescendo, this track soon becomes reminiscent of monster surf rock (probably as a result of the guitar strumming).  With the background orchestra and horn instruments, this track gives the feeling of energy, excitement, and adventure.  You can just about see the Doctor and Rose running through the streets of London.

03 - The Doctor’s Theme
First used in: “Rose”
Like the Doctor, this track invokes a sense of the mysterious and the ethereal, while at the same time seeming just a tad bit sad.  The vocals are provided by Melanie Pappenheim.

04 - Cassandra’s Waltz
First used in: “The End of the World”
With the theramin (or is it a singing saw?), there is a sense of a performance going on.  Being relatively subdued, however, adds an element of untrustworthiness (on the part of the imagined performer, not the musicians), though there are hints of true danger involved.  If I was to liken it to something, I would have to say a high-wire act, which has the proper balance of performance and danger.

05 - Slitheen
First used in: “Aliens of London”
Another energetic track, again invoking the sense of immediate excitement and danger.  The fast pace, of course, would easily befit a chase sequence.

06 - Father’s Day
First used in: “Father’s Day”
Mainly a piano piece, the slow, melodic nature of the first half of this track is melancholy.  The latter part of the track, however, invokes more of a sense of impending action, albeit not necessarily energetic action.  Within the context of the first half of the piece (and from the episode itself), the action is likely to be a great sacrifice of some sort.

07 - Rose In Peril
First used in: “Bad Wolf”
The short, sharp beginning instrumentation leading into an orchestral crescendo creates a sense of danger, which rapidly gives way to the potential for sacrifice (on behalf of the rescuers).

08 - Boom Town Suite
First used in: “Boom Town”
Though happy and carefree at first, a sharp contrast to the previous track, the song soon gives way to a more somber tone, which becomes increasingly sorrowful, bordering on regretful.???

09 - I’m Coming To Get You
First used in: “Bad Wolf”
Right off the bat, this track says nothing more than determination.  With the arrival of the crescendo, the listener immediately knows that there was a successful [rescue] action on-screen.

10 - Hologram
First used in: “The Parting of the Ways”
The beginning quarter of this song carries only the hint of regret, though that regret is mixed with an equally subtle sense of mystery, but ultimately imparts a sense of finality. The middle half of the track gives the sense of potential hope, which flows into a sense of determined finality in the last quarter.

11 - Rose Defeats The Daleks
First used in: “The Parting of the Ways”
As with all tracks with vocals in this album, the sense of mystery is immediately apparent.  Though the mystery remains, the main emotions invoked in the listener are that of determination and success in a difficult struggle, though there are tints of regret present.

12 - Clockwork TARDIS
First used in: “The End of the World”
This track can be described by the following three words: Anticipation, growing anticipation. The Bolero-like addition of other instruments leads the mind through increasing levels of anticipation, as if a a place of wonder awaits.

13 - Harriet Jones, Prime Minister
First used in: “World War Three”
With a beginning that is somewhat sad and regretful, the track blossoms into a slightly more upbeat one.  The aspect of fate never goes away, however.

14 - Rose’s Theme
First used in: “The End of the World”
A simple piece that starts with a single piano and grows to include strings and woodwinds.  The final minute or so imbues a sense of accomplishment.

15 - Song for Ten
First used in: “The Christmas Invasion”
Though originally sung by Tim Phillips in the Christmas Special, it is performed here by Neil Hannon.  Notably, this is the first of two tracks which feature English vocals.  While Christmas is mentioned, the song is not a Christmas song, per se.  Listening closely, you can understand the lyrics in terms of opening gifts on Christmas morning or as a love song.

16 - The Face of Boe
First used in: “New Earth”
Powerful yet subdued, one immediately knows that the Face of Boe is older and more mysterious than the legends surrounding him say he is.  Spoilers: One wonders when Jack’s theme(s) will reflect his future identity as the Face of Boe, though I have not heard any of the Torchwood soundtracks. 

17 - UNIT
First used in: “The Christmas Invasion”
As befits a secret government organization, the constant driving beat of the percussion and string instruments makes it seem as if the world is at stake and every moment counts.  While I like this track, I can’t help but think that it cuts off rather suddenly.

18 - Seeking The Doctor
First used in: “Rose”
The second of three tracks featuring Melanie Pappenheim’s mysterious vocals.

19 - Madame de Pompadour
First used in: “The Girl in the Fireplace”
Another track laced with regret and sadness through the use of a single piano.  Notwithstanding any foreground differences, the background instruments are always somewhat saddening.  The final half a minute is of almost child-like innocence.

20 - Tooth and Claw
First used in: “Tooth and Claw”
This track seems out of place to me, though that could be a reflection of the almost martial male vocals in the first minute.  Overall the track is action-packed, though it seems to blend in with the other tracks when it shifts back to a blend of instruments.

21 - The Lone Dalek
First used in: “Dalek”
Possibly as a result of the current hype over the fourth Indiana Jones movie, the opening bars of this track seem to fit the scene with the golden idol in Indian Jones and the Raiders of the Lost Ark.  After that moment passes, the gentle background choir vocalization and flowing instrumentation provide a feeling of redemption or loneliness.

22 - New Adventures
First used in: “Boom Town”
This track seems to be vaguely Middle Eastern and would not be out of place in an Indiana Jones movie.  As you may imagine, this track is fast-paced and highly energetic.

23 - Finding Jackie
First used in: “The Parting of the Ways”
Mainly a string piece at first, the rapid succession and escalation of sounds seems reminiscent of a countdown.

24 - Monster Bossa
First used in: “Boom Town”

25 - The Daleks
First used in: “Dalek”
The initial (non-vocal) part of the song seem vaguely evil or malevolent to my ears.  Once the ascending vocals begin, however, the track takes a turn in which you can readily imagine it as a theme for a powerful enemy.  Apparently some of the vocals say “Oh, mah koreh?” which in Hebrew translates to “Oh, what is happening?”

26 - The Cybermen
First used in: “The Age of Steel”
Perhaps it is just me, but after the introductory refrain (16 seconds onward), it seems as if the lyrics to Moulin Rouge would fit. Try it yourself: “The greatest thing you’ll ever learn...” The next line doesn’t fit, of course, since the phrase repeats, but it does always come to mind.  The track is slow, ominous, and foreboding for the first minute or so and then switches to a faster pace.  The faster parts fit chase/pursuit or action scenes (which they do, of course).  

27 - Doomsday
First used in: “Rose”
The last of the tracks featuring vocals from Melanie Pappenheim.  Personally this is my favorite track and as a result, I have listened to it ad naseum and cannot give an accurate review.

28 - The Impossible Planet
First used in: “The Impossible Planet”
This is the creepiest track on the disc.  Overall it is somewhat forlorn and somewhat sad, with a touch of a sense of renewal towards the end.

29 - Sycorax Encounter
First used in: “The Christmas Invasion”
This track is somewhat menacing, with trumpets signaling the on-screen appearance of a villian.

30 - Love Don’t Roam
First used in: “The Runaway Bride”
Performed by Neil Hannon, this song features an additional verse and chorus not heard in the second Christmas Special.  Otherwise it is a nice pop song with bouncy lyrics, albeit a closer listen reveals why the Doctor almost came to tears when hearing this song at Donna’s wedding.

31 - Doctor Who Theme [Album Version]
Similar to the extended version of the credits music used from The Christmas Invasion onwards.