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Product Details

  • Audio CD (Nov. 5 2013)
  • Number of Discs: 2
  • Label: eOne Music
  • ASIN: B00E7NIM2E
  • Amazon Bestsellers Rank: #23,027 in Music (See Top 100 in Music)
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Most Helpful Customer Reviews on (beta) 27 reviews
9 of 10 people found the following review helpful
An excellent entry from Gold, but with a problematic album layout Nov. 6 2013
By Matthew Gertz - Published on
Verified Purchase
Murray Gold continues to impress with his latest entry into the roster of Doctor Who soundtracks. While his soundtrack for series 6 already demonstrated a willingness to depart from the "typical" Doctor Who sound, Series 7 represents a far more complete transition. This is easily his most mature and experimental soundtrack yet -- for the most part, every one of the tracks is exactly the sort of thing you'd expect to hear backing a major feature-film. In part, this is certainly due to the disconnected nature of the series 7 episodes themselves, which enabled Gold to give each episode a distinct musical flavor without overreliance on the leitmotifs which were used abundantly in the earlier series' -- their usage in series 7 usually arise from actual recycling of earlier music (e.g., during the Doctor's encounter with River in the final spisode), and so do not appear on this album.

The album is divided up into two disks corresponding to the two half-seasons. Thematically, however, there are three distinct "flavors" in the album:

Tracks 1-11 on disk 1 cover "Asylum of the Daleks" and "Dinosaurs on a Spaceship," and most tracks here could best be described as "darkly whimsical." Such tracks have a similar feel to many of those on the "Snowmen/Doctor, Widow, Wardrobe" album, but would also not feel out of place in (for example) the later Harry Potter musicals. Although a few of the tracks are hard to listen to when taken out of context (like, for example, "Khan's Pets" on Horner's "Wrath of Khan" soundtrack), there's no denying the skill involved in composing them. Gold brings a lot of finesse to these tracks, and uses a similar approach to tracks 18-29 on disk 2 ("Nightmare in Silver").

Tracks 12-11 on disk 1 cover "A Town Called Mercy" and "The Power of Three." These are the most experimental of the tracks. The "Mercy" tracks take the traditional vibe from spaghetti westerns and overlays it with a dollop of technosound, creating music which is both nostalgic and somehow alien. "The Power of Three" is slightly more "traditional" Who, but uses electronic overlays which add the wi-fi context of the Spoonhead villains, creating a sound that is more evocative of old-series Who (and frankly somewhat jarring to listen to out of context).

The remainder of the album (excluding the "Nightmare in Silver" tracks mentioned above") are far more traditional "Who" in tone, filled with drama, bombast, and a tonal beauty, although the music is original and does not overuse old themes. Indeed, the Doctor's theme, although teased in earlier tracks, doesn't make a true appearance until track 25 on disk 1, and rarely appears afterward -- Clara's (very charming) theme is in fact the most reused leitmotif on the album, but even that is kept to a minimum. Although there's good listening to be found in all of the episodic music involving this "flavor," "The Rings of Akhaten" (tracks 1-10 on disk 2) stands out. Because this episode involves actual music performances in-episode, Gold clearly spent a lot of his time here. Although all of the tracks are easy on the ears, folks who are fans of his "big" pieces like "Vale Decem" and "Rose Defeats the Daleks" will find particular payoff here with "God of Akhaten" and "The Long Song." The lyrics are not challenging (nor need to be, given the episode context) -- the beauty of "Akhaten" comes from the combination of a tenor descant over the female treble melody, resulting in a theme which is both "high church" and yet very accessible, and "The Long Song" moves this to a more choral plane. The only downside here is the abrupt ending of "The Long Song," which makes sense in the episode but is a bit jarring when listening for pleasure.

The problem of episodic context vs. pleasure listening creates the biggest problem for the Series 7 soundtrack, and are the reason why I give it a "4" instead of a "5." This is an album which has neither a defined beginning nor and end, without even the "Doctor Who" theme to bracket it. The listener is dropped unceremoniously into the chilling tones of "The Asylum of the Daleks" tracks and is left to linger in the disquiet for many minutes (with some brief relief brought by Clara's leitmotif on track 4, disk 1), and while these tracks are clever and clearly well-suited for their episode, they are simply very hard to get through when pleasure-listening. Similarly, the end tracks, which come from "The Name of the Doctor," do not deliver a proper final pay-off for the listener -- much of the more dramatic music in the actual episode was recycled from series 6 ("Melody Pond"/"Tell Me Your Name") and so aren't even on this album. Since the episode itself led to a frenetic cliffhanger, this again makes sense in episodic context, but "Remember Me" (the final track on the standard album) is not a conclusive piece by any means -- and "Whisper Men", the final track on the extended album, is even more problematic in that regard. I want to stress that these are not bad tracks -- they're actually quite good -- but when listening for pleasure, the listener is apt to be let down by the album's conclusion. The "Akhaten" pieces would have actually made better introductions/conclusions for the album, but that would of course place them out of sequence.

Those problems aside, this is a fine album which is sure to please Gold's fans. He continues to refine and get more experimental with his craft, pointing to even greater things to come musically for Capaldi's version of the Doctor. I highly recommend this album.
2 of 3 people found the following review helpful
Some Of The Best Writing Gold Has Done For The Series So Far Feb. 20 2014
By Kaya Savas - Published on
Format: Audio CD
Doctor Who remains as one of the pinnacle examples of what TV music can be. Murray Gold has continually done stupendous work and Series 7 continues with some of the brilliance that has found its way into this series. To completely examine how intricate and detailed his work is from season to season is too grand for a tiny review like this. But believe me that some of his best writing takes place here in Series 7.

Bold themes, flourishing melodies, engaging builds and all done with a lush orchestral approach. One would think that each episode of Doctor Who is composed with a budget the size John Williams has for Star Wars or Hans Zimmer for The Dark Knight Rises. Beyond the sound of the score there is also a big living and breathing center. For every series I’ve felt that this music is born from pure inspiration with a life of its own. The music that Murray Gold continually gives this series is something of wonder, majesty, fun, deep emotion, curiosity, mystery and the desire of exploration. This is adventure scoring done in the best way possible. You are on this journey and with these characters. You feel every bump, stretch and build as the dramatic flow carries you. The music is filled with little moments that shine through as to keep points of uniqueness scattered throughout. Murray Gold still finds a way to take you on a journey that is continually thrilling.

Doctor Who: Series 7 is some of the best writing in the series so far. I found myself completely immersed in the two discs of Gold’s thrilling score. He still finds new ways to excite and engage after all these years, and Silva Screen does another fantastic job of presenting us with the score. With nearly 2.5 hours of music you will definitely be enjoying Doctor Who: Series 7 for quite some time.
8 of 12 people found the following review helpful
Uneven and often-uninspired addition to the DOCTOR WHO soundtrack collection Nov. 5 2013
By Jeffrey Gouse - Published on
Verified Purchase
Staying true to the season from which the music was taken, the score is decidedly uneven in several ways. First, the amount of music from each episode is wildly unbalanced. We get TEN tracks from RINGS OF AKHATEN (including the two vocal tracks which, let's face it, weren't that great in the episode itself), but HIDE and JOURNEY TO THE CENTRE OF THE TARDIS each get a single track??!! Also, it really sounds like Gold phoned in a great deal of the music this season. There are a few grand overtures, but there is a definite shortage of epic tracks like "The Greatest Story Never Told", "The Dark and Endless Dalek Night", "Doomsday", "Words Win Wars", or "The Majestic Tale of a Madman in a Box". Lastly, many of the tracks are less than two minutes each! Hardly enough time to be anything more than filler tracks.

On the plus side, the techno-Western motifs from A TOWN CALLED MERCY make for some interesting listening. Clara's theme (found on "Clara?" from THE BELLS OF ST. JOHN portion) is one of the most beautiful, melodic themes I've heard in recent history.

All in all, DOCTOR WHO soundtrack fans may find this album sorely lacking when compared against previous entries. Unless you are a completist, you may be better off sampling the album and just purchasing the tracks you like.
Made of Awesome! April 15 2014
By Kyrillandra - Published on
Format: Audio CD Verified Purchase
I am a huge fan of soundtracks in any case, and my love of The Doctor doubly so!

Murray Gold's score is amazing and let's me relive the episodes wherever I happen to be!
Murray Gold Makes the BEST Doctor Who Music! April 7 2014
By TimeLord Alex - Published on
Format: Audio CD Verified Purchase
Doctor Who Music is Classic and Unique no matter which series you're watching! Classic Who, NuWho, it's got great music to bring you back to the time you watched any particular episode. The one track I'm sick of is the one from "The Rings of Akhaten," but otherwise the soundtrack is exquisite!

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