Podcasts about Dudley Simpson

Science and magic, cultism and archaeology, digital Gothic, illusions of fidelity, horror, Holmes, and Hinchcliffe...what makes Pyramids of Mars persist, over fifty years later? We dive into this Tom Baker classic, along with its many revisitations. (00:00:00) First experiences with the story (00:05:42) Season 13 (00:08:30) Nice moments (00:10:59) Design of the mummies (00:14:34) Daytime shoots and tone (00:16:44) Reinventing the historical format (00:21:20) Egyptology and Orientalism in the story (00:27:15) Ibrahim (00:30:45) Episode Four's tonal shift (00:40:03) Resonance of the ending + emotional moments (00:47:30) Laurence's rationality (00:53:00) Terrance Dicks' characterisation of the Fourth Doctor (01:02:46) Alternate future scene (01:09:32) Holistic storytelling of the Holmes and Hinchcliffe era (01:18:05) Portrayal of Sarah Jane (01:23:38) Gabriel Woolf's performance as Sutekh (01:29:38) Visuals of Sutekh (01:33:16) Greifer's grain: the unusual writing situation (01:45:16) Holmes' writing (01:51:35) Novelisation differences: ancient aliens (01:57:25) Novelisation differences: prologue and epilogue (02:09:33) 2024 Tales of the TARDIS: editing and music changes (02:21:50) 2024 Tales of the TARDIS: VFX and story changes (02:26:13) 2024 Tales of the TARDIS: Fifteenth Doctor wraparound scenes (02:33:31) Dudley Simpson's score (02:38:43) Rationalism and anti-imperialism (02:44:08) 2025 AI Pyramids blu-ray release (02:52:32) Archaeology and AI restoration (02:56:45) Inverting science vs magic (03:03:16) Digital Gothic (03:07:23) Break points of restoration and editorialisation … Continue reading →

Hey, Who fans! Something a little different is landing in your feed today. This is the very first episode of Federation Strike: A Journey Through Blake's 7, a Blake's 7 podcast hosted by us.The show follows lifelong superfan, Adam, and newcomer, Garry, as we work through every episode of the classic BBC sci-fi series together. If you've ever been curious about Blake's 7 but never made the jump, this is a great place to get acquainted with the show.Think of it as the Big Blue Box format applied to a show that shares a lot of DNA with classic Doctor Who — same era, same BBC corridors, same Dudley Simpson on the music — but with a darker edge and its own distinct identity. This first episode covers The Way Back, the 1978 series opener written by Terry Nation.The podcast is well underway, and at the time of this episode going out, we're currently halfway through reviewing Series 2, with plenty more still to come.Thank you for checking out our other podcast, and we'd love you to come along on our journey through Blake's 7. Click the links below to hop over to your fav podcast app or search "Federation Strike" to find and follow the show.Federation Strike Podcast Links

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Episode 171 Chapter 30, EMS Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 30, EMS Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH EMS ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Delia Derbyshire, “Dance From ‘Noah' " (1970). Composed for a television program. Used the EMS VCS3. 00:55 01:44 2.     Selections from the demonstration disc, EMS Synthi And The Composer (1971). Excerpts from Harrison Birtwistle, “Medusa,” Peter Zinovieff, “January Tensions,” and Tristram Cary, “Continuum.” 06:15 02:34 3.     Peter Zinovieff and Harrison Birtwistle, “Chronometer” (1971–2). Featured both the EMS Synthi VCS3 and modified sound recordings of the ticking of Big Ben and the chimes of Wells Cathedral clock. 24:23 08:48 4.     Mike Hankinson, “Toccata And Fugue In D Minor” (Bach) (1972) from The Classical Synthesizer. South African record realized using the Putney (EMS) VCS3. 07:04 33:06 5.     Electrophon, “Arrival of the Queen of Sheba” (1973) from In a Covent Garden (1973).  Electrophon Music was described as the studio where the electronics were recorded and produced in the UK by Radiophonic musicians Brian Hodgson, Dudley Simpson. A variety of synthesizers were used including the obscure EMS Synthi Range, a multi-effect instrument. 03:04 40:10 6.     The Eden Electronic Ensemble, “Elite Syncopations” (Joplin) (1974) from The Eden Electronic Ensemble Plays Joplin. Realized using the EMS VCS3 and Minimoog synthesizers. 04:53 43:12 7.     Peter Zinovieff, “A Lollipop For Papa” (1974).  Realized with the EMS Synthi AKS. 06:26 48:04 8.     Peter Zinovieff and Hans Werner Henze, “Tristan” (Long Section) (1975). Tape accompaniment realized with the EMS Synthi AKS. 07:40 54:40 9.     J.D. Robb, “Poem of Summer” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS. 02:04 01:02:18 10.   J.D. Robb, “Synthi Waltz” (1976) from Rhythmania And Other Electronic Musical Compositions. Realized using the EMS Synthi AKS and Synthi Sequencer 256 (digital sequencer). 01:52 01:04:24 11.   Bruno Spoerri, “Hymn Of Taurus (Taurus Is Calling You!)” (1978) from Voice Of Taurus. Realized using a host of equipment, including a few EMS instruments: EMS Synthi 100, EMS VCS3, EMS AKS, EMS Vocoder 2000, Alto Saxophone with EMS Pitch-to-voltage Converter & Random Generator, plus the Lyricon, Prophet-5 Polyphonic Synthesizer, ARP Omni & Odyssey, Minimoog, Moog Taurus Bass Pedal, RMI Keyboard Computer, Ondes Martenot , Vako Polyphonic Orchestron, Bode Frequency Shifter, AMS Tape Phase Simulator, Echoplex, Roland Echo, Roland Rhythm Box, Bruno Spoerri. 02:48 01:06:16 12.   Henry Sweitzer, “Open Windows” (1979) from Te Deum.  Realized with the EMS Synthi AKS. 11:11 01:09:02 13.   Eduard Artemyev, Yuri Bogdanov, Vladimir Martynov, “Le Vent Dans La Plaine,” “Io Mi Son Giovinetta,” and “Why Ask You?” (1980) from Metamorphoses. Composed and realized using the EMS Synthi 100, a large synthesizer unit combining several EMS3 models and connecting circuitry. 08:38 01:20:14 14.   Jean-Michel Jarre, “Les Chants Magnétiques,” (side 1) (1981) from Les Chants Magnétiques. Portions realized with the EMS Synthi AKS, EMS Synthi VCS3, and EMS Vocoder 1000. 17:58 01:28:52 15.   Alessandro Cortini and Merzbow, “AAMC” (2017) from Alessandro Cortini And Merzbow. Recent recording with all sounds realized using a vintage EMS Synthi AKS. 04:49 01:46:40   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Episode 162 Chapter 23, Radiophonic Music in the United Kingdom. Works Recommended from my book, Electronic and Experimental Music  This episode of the podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 23, Radiophonic Music in the United Kingdom from my book Electronic and Experimental music.   Playlist: RADIOPHONIC MUSIC IN THE UNITED KINGDOM   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     Daphne Oram, “Introduction to Oramics” (1960). Introduction to her Oramics studio and processes for making electronic music. Voice and musical examples by Daphne Oram, recorded in her home studio Tower Folly, Kent. 04:37 01:38 2.     Daphne Oram, “Four Aspects” (1960). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 08:07 06:14 3.     Delia Derbyshire, “Doctor Who Theme” (Closing Credits) (1962). The most famous version of this theme for the popular television program, composed by Ron Grainer and realized by Derbyshire at the BBC studios. 02:23 14:20 4.     Ray Cathode (George Martin), “Time Beat” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 02:11 16:40 5.     Ray Cathode (George Martin), “Waltz in Orbit” (1962). Produced at the BBC Radiophonic Workshop. Written and produced by George Martin, around the time when he was starting his production work with The Beatles. 01:52 18:52 6.     Daphne Oram, “Costain Suite” (1964). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 13:17 20:44 7.     Delia Derbyshire, “Running” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:08 34:02 8.     Delia Derbyshire, “Falling” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 08:45 42:08 9.     Delia Derbyshire, “Land” (1964). One of the seven parts from the “radio inventions” called "The Dreams," first broadcast on the BBC Third Programme, Sunday 5th January 1964. 07:02 50:54 10.   Daphne Oram, “Pulse Persephone” (1965). Tape composition by Daphne Oram recorded in her home studio Tower Folly, Kent. 04:03 58:06 11.   Tristram Cary, “Sputnik Code” (1968). Cary was a British composer and pioneer of electronic music. He composed this work for a movie soundtrack. 01:50 01:02:08 12.   Lily Greenham, “ABC in Sound” (1968). Early tape work by this pioneer of electronic music in the UK. Greenham was an Austrian-born Danish visual artist, performer, composer and leading proponent of sound poetry and concrete poetry. She settled in London. 02:39 01:04:02 13.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “The Black Mass: An Electric Storm In Hell (The White Noise)” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 07:20 01:06:40 14.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Your Hidden Dreams” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 04:55 01:13:58 15.   White Noise (Delia Derbyshire, David Vorhaus, Brian Hodgson), “Love Without Sound” (1969). Experimental electronic music project established in London in 1968, originally as a group project between David Vorhaus and BBC Radiophonic Workshop members Delia Derbyshire and Brian Hodgson. Vocals by Annie Bird, John Whitman, Val Shaw. 03:07 01:18:52 16.   Electrophon (Brian Hodgson, Dudley Simpson), “Arrival of the Queen of Sheba” (Händel) (1973). Electronic interpretations of classical music for various synthesizers. 03:04 01:22:00 17.   Paddy Kingsland, “Fourth Dimension” (1973). Produced by Kingsland for the BBC Radiophonic Workshop. “The synthesisers used on this disc are both British, and both made by E.M.S. of London. They are the VCS3, an amazingly versatile miniature synthesiser, and its big brother, the Synthi '100', known within the Radiophonic Workshop as 'The Delaware', after the address of the Workshop.” 02:19 01:25:02 18.   Lily Greenham, “Traffic” (1975). Realized at the Electronic Music Studio, Goldsmiths' College, University of London. Technical Assistance, Hugh Davies. 10:33 01:27:18 19.   White Noise (David Vorhaus), “Concerto Movement 1” (1975). Used what Vorhaus called the Kaleidophon Synthesizer that included two EMS VCS 3's connected via a console of electronic modules he designed. 11:33 01:37:50 20.   Delia Derbyshire, “Dreaming” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:13 01:49:18 21.   Glynis Jones, “Crystal City” (1976). Produced for the BBC Radiophonic Workshop as a work to accompany a television program. 01:01 01:50:30 22.   Glynis Jones, “Magic Carpet” (1976). Includes three shorts works, Magic Carpet Take-Off, Magic Carpet Flight and Magic Carpet Land. Produced for the BBC Radiophonic Workshop as sound effects. 00:50 01:51:30 23.   Brian Hodgson, “Tardis Land” (1976). Produced for the BBC Radiophonic Workshop as a sound effect. 00:23 01:52:22   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Doctor Who fans can be so creative - look at the way the Blu-ray collection is meticulously restored. But Jess Jurkovic is doing something entirely different - this accomplished jazz pianist is painstakingly recreating Dudley Simpson's Doctor Who scores, for the piano. He joins us today to talk about his work, and the episode concludes with his highlights from Fury from the Deep. Find out more about Jess's work by visiting his YouTube channel at https://www.youtube.com/c/JessJurkovic

It's Doctor Who-does-Vampires as we encounter everyone's favourite bloodsuckers in E-Space (well, everyone except Diana, who apparently thoroughly dislikes vampires!) Throw in some absolutely unnecessary Time Lord lore, and we have State of Decay.   Join us as we discuss whether this would feel more natural with Dudley Simpson's organic music over the synth, the merits and issues of Adric, whether Wil Wheaton and Matthew Waterhouse have ever met, how an old script can somehow feel like a rush-job, the amazing beards in this story, and whether or not Time Lords have a race memory of the vampires. Of course, we try to figure out what the Wasting is – beyond being the Wasting.   If you would like to watch along with us, you can find this story available for streaming on Britbox in the USA (http://www.britbox.com) and BBC iPlayer in the UK (https://bbc.in/48GSaCB). If you're a little old fashioned and prefer physical media (like our very own Anthony), you can find the entirety of Season 18 on Blu Ray from Amazon US (https://amzn.to/4fvAcqb) and Amazon UK (https://amzn.to/4etoACE)   Other media mentioned in this episode*: Count Dracula (1977 BBC adaptation) (Amazon US: https://amzn.to/47QtjuY | Amazon UK: https://amzn.to/3vT43H8) The Vampire Lovers (Amazon US: https://amzn.to/3TCP8aN | Amazon UK: https://amzn.to/3Wg6tIC) All Creatures Great and Small: The Complete Collection (Amazon US: https://amzn.to/3DS2Uhx | Amazon UK: https://amzn.to/3aNiAGr) The Neverending Story (Amazon US: https://amzn.to/3hwLxgX | Amazon UK: https://amzn.to/3hzHyA8) Star Trek: The Next Generation – The Complete Series (Amazon US: https://amzn.to/2Z49NxL | Amazon UK: https://amzn.to/3jl68Cn) What We Do in the Shadows – Season 1 (Amazon US: https://amzn.to/3IJaE7N | Amazon UK: https://amzn.to/3LhR8AV) Mean Girls (Amazon US: https://amzn.to/3Oduhrf | Amazon UK: https://amzn.to/3PdBTeI) Lifeforce (Amazon US: https://amzn.to/3kBY1Tk | Amazon UK: https://amzn.to/36PueOV) Star Trek: The Original Series – The Complete Series (Amazon US: https://amzn.to/2XmJNg0 | Amazon UK: https://amzn.to/3pjzbdD) Buck Rogers in the 25th Century – The Complete Collection (Amazon US: https://amzn.to/3FM9XtN | Amazon UK: https://amzn.to/32zijGQ) Rick and Morty – Seasons 1-4 (Amazon US: https://amzn.to/3lAWSLv | Amazon UK: https://amzn.to/31pNymB) Buffy the Vampire Slayer: The Complete Series (Amazon US: https://amzn.to/3H1JDhn | Amazon UK: https://amzn.to/4aygoAt) The Little Mermaid (Amazon US: https://amzn.to/4hcQnJx | Amazon UK: https://amzn.to/4iS3YHJ) Scooby Doo & Scrappy Doo: The Complete Collection (Amazon US: https://amzn.to/4gemybi | Amazon UK: https://amzn.to/49zKBPn) Scooby Doo (live action) (Amazon US: https://amzn.to/4gAdmxW | Amazon UK: https://amzn.to/49W90i9) Dracula, by Bram Stoker (Amazon US: https://amzn.to/3MkFHeH | Amazon UK: https://amzn.to/3s7xZhb) Oliver Twist, by Charles Dickens (Amazon US: https://amzn.to/4efkNsR | Amazon UK: https://amzn.to/4efthjL) Carmilla, by Sheridan Le Fanu (Amazon US: https://amzn.to/3VOpO3W | Amazon UK: https://amzn.to/4eUCWxi) Wicked, by Gregory Maguire (Amazon US: https://amzn.to/3PesDsf | Amazon UK: https://amzn.to/4gve8MP) The Complete Works of Shakespeare (Amazon US: https://amzn.to/48vQjkz | Amazon UK: https://amzn.to/45RC3AL) Grimm's Law (Wikipedia: https://en.wikipedia.org/wiki/Grimm%27s_law) The Great Vowel Shift (Wikipedia: https://en.wikipedia.org/wiki/Great_Vowel_Shift) Outkast – Hey Ya (YouTube: https://youtu.be/PWgvGjAhvIw)   Finally, you can also follow us and interact with us on various forms of social media - Facebook, Instagram, and Twitter. You can also e-mail us at watchers4d@gmail.com. If you're enjoying this podcast, please subscribe to the show, and leave us a rating or review.   *Support Watchers in the Fourth Dimension! We are an Amazon affiliate and earn a small commission from purchases through Amazon links. This goes towards the running costs of the podcast.

A story that means a great deal to the host of this podcast has its praises sung by the most musical of advocates, Jess Jurkovic, the leading expert on Dudley Simpson scores. There has to be some guesswork here, as Fury is sadly missing from the archives, but these acts of the imagination are what being a Doctor Who fan is all about aren't they. So pour yourself a bubble bath and if you see weed, well, don't forget to scream. (See weed, seaweed, geddit?).

We continue on with our leisurely-paced examination of Ian Marter's time on Doctor Who by looking at Harry Sullivan's role in Genesis of the Daleks and Revenge of the Cybermen. The character starts out strong with Terry Nation's sidekick / buddy writing for Sullivan in Genesis, but by the time Bob Holmes writes Revenge, Harry is on the chopping block, and we witness a prickly, almost hostile relationship with Sarah and the scapegoat and butt of jokes for the Doctor — a total disintegration of the character due to no fault of Marter. Opening music is from the Genesis of the Daleks soundtrack composed by Dudley Simpson and closing music is "Rockfall" composed by Carey Blyton. We recorded this episode on 4 November 2024.

In this podcast we talk about Ian Marter's first two stories after his character, Harry Sullivan, joins the TARDIS crew: The Ark in Space and The Sontaran Experiment. We discuss the ease at which Marter portrays Sullivan as a decent, square-jawed Englishman. We also lament what could have been if the Doctor Who production team better utilised the character since he was an effective foil and compatriot of Tom Baker's Doctor. At the end of the podcast are two brief convention panel answers from Marter (on Harry being "naff" and "clumsy") in 1983 in Chicago celebrating 20 years of the programme. Opening music is from The Ark in Space soundtrack and closing music is from The Sontaran Experiment soundtrack, both composed by Dudley Simpson. We recorded this episode on 16 September 2024.

It's time for us to discuss what was unexpectedly the season finale of Season 17. The last contributions to the show of Graham Williams, Douglas Adams, Dudley Simpson, and Anthony Read. It also has the reputation of being one of the worst Doctor Who stories of all time. It's The Horns of Nimon. But will the Watchers find it to be as absolutely terrible as fandom would have it?   Join us as we discuss the weakness of the kids (are they actually WEAKLING SCUM!?), the OTT portrayal of Soldeed, whether or not the Nimon were effective, where all the women are, and whether the Production Team were simply taking the piss with this story. Also, don't miss out on Anthony's outstanding Soldeed impression!   If you would like to watch along with us, you can find this story available for streaming on Britbox in the USA (http://www.britbox.com) and BBC iPlayer in the UK (https://bbc.in/48GSaCB). If you're a little old fashioned and prefer physical media (like our very own Anthony), you can find the entirety of Season 17 on Blu Ray from Amazon US (https://amzn.to/4cnZioD) and Amazon UK (https://amzn.to/3yvWfg9)   Other media mentioned in this episode*: The Hitchhiker's Guide to the Galaxy (Amazon US: https://amzn.to/3G6YCoH | Amazon UK: https://amzn.to/3m0qOSc) Doctor Who and the Sensorites audiobook (Amazon US: https://amzn.to/3TV65zw | Amazon UK: https://amzn.to/3XWmwg2) Fireball XL5 (Amazon US: https://amzn.to/3ByWubt | Amazon UK: https://amzn.to/47VOaP5) The Young Ones (Amazon US: https://amzn.to/3Zl66OM | Amazon UK: https://amzn.to/3LsOiLP) The Omega Factor (Amazon US: https://amzn.to/4cnZcNN | Amazon UK: https://amzn.to/3YFKyxX) David Lynch's Dune (Amazon US: https://amzn.to/3pvxKIU | Amazon UK: https://amzn.to/3EabR6c) Flash Gordon (Amazon US: https://amzn.to/3BVj895 | Amazon UK: https://amzn.to/3AXEzoB) Rick and Morty – Seasons 1-4 (Amazon US: https://amzn.to/3lAWSLv | Amazon UK: https://amzn.to/31pNymB) Heroides, by Ovid (Amazon US: https://amzn.to/4gUdFEA | Amazon UK: https://amzn.to/3NdA9mo) The Witcher (Netflix: https://www.netflix.com) Big Finish: Seasons of Fear (BigFinish.com: https://bit.ly/3XPPY7H) Brintey Spears – Baby One More Time (YouTube: https://youtu.be/C-u5WLJ9Yk4 ) Sophie Ellis Bextor – Murder on the Dance Floor (YouTube: https://youtu.be/hAx6mYeC6pY)   Finally, you can also follow us and interact with us on various forms of social media - Facebook, Instagram, and Twitter. You can also e-mail us at watchers4d@gmail.com. If you're enjoying this podcast, please subscribe to the show, and leave us a rating or review.   *Support Watchers in the Fourth Dimension! We are an Amazon affiliate and earn a small commission from purchases through Amazon links. This goes towards the running costs of the podcast.

We continue with our Ian Marter discussion with a brief conversation about the debut of Harry Sullivan in "Robot"! But, before we get underway, we pick up where we left off with new details about Marter's time at St. Edmund Hall at Oxford University with the discovery that there is a recording on vinyl of Marter singing in You Can't Do Much Without a Screwdriver, an original musical staged by the Oxford University Experimental Theatre Club at the Oxford Playhouse in May 1965. Marter played the lead character, Guy Ffolkes, an Amnesian nationalist, and sings "Bang On" with Jack and Harry, described as two villains in the playbill. There's a photograph of Ian with Adèle Geras née Weston on stage during the production. We also uncovered a photograph of young Ian with fellow Oxford students, Tamara Ustinov, John Dodgson, Anne Bibby, and Nick Elliott rehearsing for another play. Plus a photograph of Marter with actor Richard Burton in a local pub. Opening and closing music is "Mysterious Robots," composed by Dudley Simpson. We recorded this episode on 26 August 2024.

We discuss the recent animation of the William Hartnell story, The Celestial Toymaker. Overall, we think it successfully presented a boring, at times, story that is hard to follow with moving images for episodes 1–3 missing. Ben would like to see the animators push it even further away from the original broadcast visuals. David would have preferred the guest cast's likeness to be better expressed in the animation designs for the clowns, cards, and toys. The opening music is from The Celestial Toymaker, incidental music composed by Dudley Simpson. The closing music is "Push It" by Salt-n-Pepa. We recorded this episode on 22 July 2024.

We pay our respects to William Russell, the actor who played Ian Chesterton, Doctor Who's original leading man. With Russell, Ian proved to be a solid and dependable man of action and reason. Along with Jacqueline Hill, who played Barbara Wright, the two provided the moral centre for the early show, which relied on their decency, normality, and dependability to guide the viewers in the early mid-1960s along this amazing adventure in space and time. The programme will likely never see another character like Ian again. The opening music is from "The Chase" soundtrack composed by Dudley Simpson and the closing music is from "The Aztecs" composed by Richard Rodney Bennett and performed by the BBC Concert Orchestra in 2021. We recorded this episode on 15 July 2024.

Ben is in England where he had the opportunity to visit the "Adventures in Time and Space - 60 Years of Doctor Who Art" exhibition at the Weston Museum in Weston-super-Mare, Somerset. This impressive collection spans the show's history and features original art from novelisations, VHS covers, annuals, and other visual treasures, including works from Chris Achilléos, Andrew Skilleter, Roy Knipe, and Colin Howard. Ben has shared some pictures he took of the overall exhibit and artwork on his Instagram, including Knipe's "Death to the Daleks" Target cover and Achilléos' "Loch Ness Monster", "Kklak", and "Seeds of Doom" covers. Plus the portait of Ace from 'Silver Nemesis' done in the style of Thomas Gainsborough. In addition to being agog as a fan, Ben also shares his curatorial view of the exhibit's strengths and weaknesses. Opening and closing music is by Dudley Simpson from his score to The Android Invasion. We recorded this episode on 1 April 2024.

Ben chats with Lena Barkin and Jess Jurkovic about the upcoming GallifreyOne convention this week in Los Angeles. Lena recently contributed to Adventures Across Space and Time: A Doctor Who Reader a chapter about fandom and Tumblr and will be presenting and signing autographs, plus celebrating Blake's 7. Jess wrapped up the second season of his Dudley Simpson is Doctor Who Project this past year and will be interviewing composers, including Segun Akinola and Dominic Glynn, on the main stage in Progam A. Opening music is "You Shall Not Disrupt Our Mission" and closing music is "We Have Everything We Need", both composed by Segun Akinola. We recorded this episode on 6 February 2024.

The Metebelis Two's lazy summer look at Doctor Who sets and their designers continues into the 1970s with a top five discussion. What five sets will David choose, and will that throw Ben off his carefully balanced selections spread between designers and Doctors Who? Why are multi-level sets so great? Why is, like monsters, the color of sets green more often than not? What about other colors? And, what years actually make up the 1970s? All this and more, as Ben and David pick their top 5 sets and designers of the 1970s. Opening music is from The Sun Makers soundtrack and closing music is from the Genesis of the Daleks soundtrack, both scores composed by Dudley Simpson. We recorded this episode on 9 July 2023.

In this podcast, Ben shares his experience in Bristol at the Lawless Comic Con from earlier in the month, and then answers David's question about what his idea would be for a new Doctor Who exhibition. Ben gives a brief summation of his Who exhibition experiences and pitches a Magical Who Story Tour from London, across the south England, to Cardiff visiting the filming locations of Doctor Who. The opening track is "Magical Mystery Tour" composed by Lennon and McCartney and performed by Ryohei Kanayama. The closing track is Dudley Simpson's Bessie traveling tune from "The Three Doctors" and "The Time Monster" with a dash of dialog from "The Dæmons" to knit the two together. We recorded this episode on 6 June 2023.

A very short episode of Doctor Who doesn't get very short shrift because it's got a lot of things in it that are loved by your host, Toby Hadoke. So, you know, we don't want it to get in the sea... like some poor sod has to at the end of this spooky instalment. It's a haunting moment with some eerie music, which is surely right up the street of special guest Jess Jurkovic, THE expert on Dudley Simpson's tinkles?

Ben and David continue their look at the Doctor Who Monthly readership rankings with a chat about where the Troughton, Pertwee, and Tom Baker stories stacked up. We share our theories, such as the Web Planet Effect, to why the stories ranked in the order that they did and discuss on which stories do we think are underrated, overrated, and correctly placed? We notice too that animations do not seem to make a difference with a missing story's popularity. The opening track is "Gentlemen, Good Luck" and closing track is "Mahogany", both from The Sun Maker soundtrack composed by Dudley Simpson. We recorded this episode on 22 May 2023.

Discussion of a possible UNIT spin off and then broaden our discussion to what can make a Doctor Who spin off successful and brainstorm spin-off ideas to pitch to RTD — from live action Paul McGann Doctor Who to steam punk Who to animated further adventures starring the Hartnell, Troughton, or Pertwee Doctors Who. What made the Sarah Jane Adventures successful and why was there a fourth series of Torchwood? We try to answer these questions and more in this episode. Opening music is "UNIT Rocks" composed by Murray Gold and closing music is "The UNIT Theme" composed by Dudley Simpson. We recorded this episode on 19 March 2023.

Ben is joined by writer Lena Barkin and pianist Jess Jurkovic to chat about their experiences at the 2023 Gallifrey One convention. Opening music is "Summons to Gallifrey" composed by Paddy Kingsland and closing music is "Jelly Babies" composed by Dudley Simpson. We recorded this episode on 27 February 2023.

We are joined in this podcast by writer Lena Barkin and pianist Jess Jurkovic to chat about the upcoming Gallifrey One 33 convention to be held in February in Los Angeles. Ben, Lena, and Jess will all be panelists. Lena will present "Want You or Want to Be You: Companion Relationships in New and Classic Who" as part of the Tardis Talks Academic Symposium. She'll also be a panelist on "Coats of Many Colors", "Why Not a Singing Doctor?", and hosting the Blake's 7 Meet-up. Jess Jurkovic will be a panelist on "Sixty Years of Doctor Who Music" and giving a talk and performing "Dudley Simpson's Doctor Who Theme". Last, but not least, Ben is on two panels: "Stop Me Before I Collect Again" and "Bring the Cheese! Our Love Affair with Bad Movies". All-in-all, it sounds like a fun con! The music for this podcast is arrangements from Jess' Dudley Simpson IS Doctor Who project: opening music is "In An Atlantean Market" and closing music is "Liz's Tune". We recorded this episode on 21 January 2023.

Can the show Doctor Who work without Doctor Who? In this episode, David suggests that Doctor Who is not required and that the real only constant needed for the series is the TARDIS and a crew. Ben entertains this thesis and we discuss what such a show would be like and how it could work and its limitations. We ask if the show has evolved to such a place where the Doctor may be superflous… or maybe not. Opening music is "My Beautiful Ghost Monument", composed by Segun Akinola. Closing music is the intro theme to Blake's 7, composed by Dudley Simpson. We recorded this episode on 13 November 2022.

Joe, and Si, and Frazer; and Si's favourite piece of Dudley Simpson music! Frazer explains why the Daleks are the Phantom Menace, Joe can't be arsed to talk about the titles, and we give a lot of consideration to Davros and why he is such an iconic character.

Ben is joined this episode by two very special guests, Lena Barkin and Jess Jurkovic, in the middle of the hustle and bustle of LobbyCon during the waning hours of 32nd Gallifrey One! Everyone is in a jovial mood and celebrating with friends the conclusion of another great Doctor Who convention. The video of her pitch for the 60th anniversary special can be viewed on Vimeo. Opening music is from The Claws of Axos and closing music is from "The Carnival of Monsters" composed by Dudley Simpson. We recorded this episode on 20 February 2022.

We discuss The Evil of the Daleks recently released as an animated recreation or reinterpretation of the 1967 story starring Patrick Troughton. Ben is intrigued by the decisions the production team made that diverge from the original presentation and likens the animation project to the restoration of damaged art. David wonders if Whitaker's script could be tighter with fewer characters. Along the way we, discover Rutans disguised as Christmas puddings, ponder why Maxtible has a dungeon and traps and a Turkish wrestler on staff, and the lost story of the great Dalek-Chumbley war. Opening music is Jack Trombley's "Mexican Beat" and closing music is the Dalek's entrance music composed by Dudley Simpson, both pieces are from The Evil of the Daleks soundtrack. We recorded this episode on 30 December 2021.

For a brief five or so years, the BBC broadcast an omnibus version of Doctor Who in the middle of the Christmas week holiday, usually on 27 December. We talk about how Barry Letts got this viewing tradition underway and ruminate on why by the time Graham Williams became producer that the omnibus specials had ceased to be. We then discuss the relevance of omnibus repeats for audiences in the 21st century in a television landscape dominated by streaming and in-home video. Opening music is from The Sea Devils, composed by Malcolm Clarke. Closing music is from Genesis of the Daleks, composed by Dudley Simpson and recreated by Benji Clifford. We recorded this episode on 23 December 2021.

In this episode we're on the run with a rat-pack of fugitives from the Federation, as we're joining the crew of the Liberator (sorry, Scorpio) with Blake's 7 (sorry, no Blake). This much-loved BBC sci-fi series ran from 1978-1981  and we're dropping in on series 4, episode 11 "Orbit". Along the way Paul proves to be a naughty boy, we find the right amount of crazy, and our favourite guest star, "The Bear" makes a reappearance. Music is the theme from Blake's 7 by Dudley Simpson. There's also a brief appearance of the Fingermouse theme performed by Rick Jones.    

It's a monumental week of news as Thirteenth Doctor Jodie Whittaker and current showrunner Chris Chibnall announced they will be leaving the show in 2022 after the next (truncated) series and a triplet of specials. What does this portend? Well, endless fannish debate, worry, and fevered hand-wringing to which we will contribute our small portion starting now. Heading back to the present we have a “Mystery” ARG website baffling fans via cryptic conundrums, a tsunami of Big Finish conundrums, convention news, and  an interview with Jess Jurkovic, who transcribes and performs Dudley Simpson scores via piano! Plinkity plonk! Links: Support Radio Free Skaro on Patreon! The Timelash Whittaker, Chibnall to leave Doctor Who in 2022 Babylon 5 creator offers to run Doctor Who Doctor Who “mystery” site Evil of the Daleks BFI screening Sep 12 Big Chief 1/6 scale Day of the Daleks collection Eccleston at Fan Expo Canada in October Ottawa Comic-Con postpones due to COVID concerns Big Finish Dalek Universe 3 due in December River Song: New Recruit sees River meeting the Third Doctor Big Finish Torchwood: The Great Sontaran War due October Big Finish Torchwood Soho: Ashenden due October “Based on the Popular BBC Televsion Serial” fourth edition available for a donation Interview: Jess Jurkovic

Keith (@50dw50), Colin (@colin_neal) and Mark (@QuarkMcMalus) take a look at the latest Doctor Who graphic novel from Doctor Who Magazine, a collection called Age of Chaos. Warning: Contains spoilers for Age of Chaos, Mindwarp and Peri & the Piscon Paradox. You can order the book here. The Youtube channel that Keith recommends is Jess Jurkovic's Dudley Simpson is the Doctor project.

Joe & Frazer & Si; shocking news of Si's VHS dealer! Will Joe put on the right episode? What is the best Dudley Simpson score? Can we rank the Borusa's? Huge love for Milton John's, Gallifryean decor and mad, bad Tom Baker.

We talk about the use of big monsters across the history of Doctor Who. Does enlarging the monster up its threat level, make it more scary, or just make it seem ridiculous? Does one size of monster work better than others? Does one size fit all? Opening music is Dudley Simpson's (Giant) Robot theme. Closing music is Murray Gold's "Monster Bossa". We recorded this episode on 20 June 2021.

We hold an informal meeting of the Doctor Who's writer room to pitch new story ideas with underrated monsters for the Whittaker Doctor to face in series 13. Which monsters get green lit and which ones are put back on the shelf? Opening music is "The Bell Plants" composed by Peter Howell from Meglos. Closing music begins with "The Axons Approach" composed by Dudley Simpson with the BBC Radiophonic Workshop and ends with Jodie Whittaker singing Coldplay's "Yellow" from the BBC Children in Need album, Got It Covered. We recorded this episode on 13 June 2021.

We ask why wasn't there a UNIT spinoff series on the BBC in the 1970s? Ben theorizes that Season 7 was pretty much a UNIT spinoff already, but David persists in asking if a UNIT series was actually made in the 1970s, then what would it be like? Opening and closing music is Dudley Simpson's "UNIT Theme," performed by Mark Ayers. We recorded this episode on 18 April 2021.

It’s a much missed, long sought after “epic”, yes, The Missing Episodes Podcast is back from the junking pile. This is the first of two episodes looking at the twelve-part Season 3 story, “The Daleks’ Master Plan.” In part one, Paul and Tim are joined by the brilliant Gav Rymill. Gav, a man of many talents, is well known for his work in Doctor Who related graphic design and for being one of the two men behind the phenomenally successful “Dalek 63:88.” Gav leads the team on a deep dive into the origins of the story, what might have been, what the heck was going on the with casting of companions and reveals, for perhaps the first time, whose nipples feature in DMP. There’s a veritable Volcano of facts, more to chew on than at The Feast of Steven, (sp) and despite the long recording session, we hope we avoided The Destruction of Rym-ill. So welcome, delegates and please enjoy Gav’s wonderful insights into this mostly missing classic. Gav’s latest book “The Dalek Combat Training Manual” can be found here. Gav and Jon’s wonderful “Terry Nation Army” videos can be found here. Jess Jurkovic’s “Dudley Simpson is Doctor Who” can be found here. If you enjoy this podcast, we ask that you share it on social media to help us find our audience! Tim is on Twitter @drwhopodcasters, Paul @mrpaulmorris and please do come and like our Facebook page. With thanks to Tim Jolly for his ears and to the wonderful Bea Garrido for her art, assistance and her patience. This free podcast borrows snippets of music from “Marche, Les Structures Sonores” – Lasry Baschet. We lovingly pilfer original music cues by from the BBC’s original production of The Daleks’ Master Plan. The Terry Nation Army theme is by the exceedingly talented Graeme Allan.

We discuss Fury from the Deep, the latest story in the Doctor Who animation range. Ben observes the changes the producers made would not have been his choices and David explains why he switched to the black and white version after the first scenes in colour. We discuss helicopters, Diamonds Are Forever, regulation badger haircuts for mineral extraction, hairy seaweed, static foam, Scooby-Doo, and rubber arms. Opening music is from James Brown's "Static" and closing music is "Mr. Oak and Mr. Quill" composed by Dudley Simpson. We recorded this episode on 28 February 2021.

In a special live Christmas broadcast, Ben and Mark discuss 'Thin Ice', 'Fury from the Deep', punching Richard Spencer, the obligatory 1960s BBC foam party, dodgy Doctor Who gifts and much much more. ALSO: A couple of absolutely deranged DICS, the return of both negative Ben and negative Mark, canonising the Margate waste water plant, Blinking Angels, pots of white good and music from The Modest. It's been a tough old year, but we hope that we've brought you some good cheer this Christmas and in the past twelve months. Happy times and places! You can buy us a festive pint here

Jazz man Jess from the Dudley Simpson Is Doctor Who Project joins us in this episode and we catch-up on how the project is coming along and then do a deep dive into Tom Baker's seven seasons and learn Jess's thoughts on them both in terms of music and of the stories themselves. The opening, bridge, and closing music is from the Dudley Simpson Is Doctor Who Project, transcribed and arranged by Jess Jurkovic and composed by Dudley Simpson. The pieces are "Bessie", "The Doctor's Theme I. All's Well That Ends", and "The Time Lords". We recorded this episode on 23 October 2020.

The masterly Greg joins us this podcast to reminiscence about watching Doctor Who as late night television for a kid and playing Doctor Who with a refrigerator box TARDIS and a plush-toy K9, from corridors to quaries, and the Dalek of Shakopee. We also dive into the early Doctor Who Weekly backup feature comics of Alan Moore to 1980s directors who never were involved with Doctor Who, but should have been all the while battling furnace sounds and dog barks. Opening music is from The Sun Makers score composed by Dudley Simpson and closing music is from the Logopolis score composed by Paddy Kingsland. We recorded this episode on 20 October 2020.

This episode we are joined by the Amazing Brian aka The Analog Kid, Four to Zoomsday team captain, and podcaster of the Ultimate Spin podcast. We talk about Spider-Man, getting into Doctor Who via Target novels, and watching the change of guard from Tom Baker's Doctor to the Peter Davison era. Opening music is from Dudley Simpson's score for The Robots of Death. Closing is Gary William Friedman's Spider-Man Theme Song for The Electric Company. We recorded this episode on 27 September 2020.

This episode we are joined by the wonderful Steven B of the fantastic New to Who podcast and talk about Tom Baker's time on Doctor Who and Steven's memories growing up watching him on Australian Broadcasting Corporation television to the Curator cameo in the 50th anniversary special. Opening music is from Dudley Simpson's score for The Android Invasion. Closing is from Paddy Kingsland's score for Logooplis. We recorded this episode on 19 September 2020.

City of Death is a masterpiece, but what of the other stories of Season 17. Find out what works for us and what didn't from Disco Thalls to more Who monsters being incorporated into David's Dungeons & Dragons games to Ben's lack of love for Cambridge University and Shada; all this and more. Opening music is Soldeed's flurry from the Horns of Nimon and closing music is from the 2013 BBC Prom's orchestral version of City of Death theme, both composed by Dudley Simpson. This episode was recorded 16 September 2020.

We discuss season 16, the Key to Time, where for David, Doctor Who mingles freely with Dungeons & Dragons. Ben explains how writing a season arc always seems easier than it is and that it's important to know how the arc will conclude before running out of money. David explains why he believes Philip Madoc was not miscast in The Power of Kroll and Ben wishes that the production team of Graham Williams and Tony Read had done a better job of crafting stories for Mary Tamm so she would have stayed for season 17. Opening music is Dick Mill's sound scape for the "White Guardian's Windbells". Closing music is from "The Stones of Blood" soundtrack composed by the Dudley Simpson. This episode was recorded 15 August 2020.

A discussion about the Leela years in Doctor Who focusing in on Tom Baker and the behind-the-scenes change in the production office and how Leela's character's arc imploded in season 15, where ambition hit the hard wall of lack of money. Ben theorizes that K9 is the talking cabbage that Tom always wanted as a companion and may explain why he stayed on for season 16. While David wonders why Boucher and Holmes dropped Leela's "Pygmalion" storyline in their season 15 scripts. Opening and closing music is from "The Invasion of Time" soundtrack composed by the incredible Dudley Simpson. This episode was recorded 5 August 2020.

Through the millennia, the Podcasters of Metebelis Two led a life of peace and ordered calm, protected from all threats from other podcasts by their great obscurity. But this was to change. Suddenly and terribly, the Podcasters faced the most dangerous crisis in their long history... Opening music is Alice Cooper's "Welcome to My Nightmare" from the same-titled 1975 album. Closing music is from "The Deadly Assassin" soundtrack composed by Dudley Simpson. This episode was recorded 27 July 2020.

Continuing on with our look at Tom Baker's Season 13 with a discussion of Pyramids of Mars and The Android Invasion. Ben dismisses fan-suggested back story that Sarah learned to fire a rifle on her aunt's farm and rather champions Sarah as just being a totally competent and kick ass woman who rises to the occasion. David gushes over Dudley's Simpson's score for Pyramids and praises Paddy Russell's direction and ability to bring out great performances from her leading man. Ben defends ginger beer (pop) and thinks Sarah's one weakness, aside from her ankles, is her dislike of stuff and David finds Devesham, a.k.a, East Hagbourne as a lovely Oxforshire village with beautiful hollyhock flowers. Opening music is from "Clement and the Mummies" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. Closing music is also composed by Simpson and taken from the score to The Android Invasion. This episode was recorded 28 June 2020

We begin a look at season 13 with a discussion about Terror of the Zygons and Planet of Evil. Ben loves the Zygon's spaceship and fondly remembers building his own model as a kid from Lego bricks. David explains why he thinks the Zygons in their original soft and blobby form is creepier than their later toothy and muscular design. Ben touches upon the shift of received mysticism of Pertwee's Doctor to where Tom Baker's Doctor is mysticism itself. David appreciates Prentis Hancock's portrayal as Salamar and Ben remembers how he also built an oculoid tracker from his Lego bricks. We bemoan what we see as the only flaw in this season; the poor exit for Harry, the Brigadier, and UNIT. Opening music is "The Destruction of Charlie Rig" composed by Geoffery Burgon and closing music is "Nightfall on Zeta Minor" composed by Dudley Simpson and arranged and performed by Heathcliff Blair. This episode was recorded 20 June 2020.

This episode was recorded 14 June 2020 and the actual Doctor Who discussion begins 11:54 into the podcast where we talk about Tom Baker the Doctor who caught alight in the United States and opening up to his tenure in the programme. But first, leading off the podcast, Ben celebrates his team's, the Four-to-Zoomsday's, triumph in the Quiz of Rassilon. David then asks a simple question about a sporting metaphor and the two get mired the two get mired in cricket talk for a good five minutes. After that, the two discuss Churchill in light of statues coming down across the UK and the US; this part of the podcast was shunted off to the end of the podcast and begins after a musical interlude from Heathcliff Blair and begins at 34:34. (Think of it as studio floor Blu-ray extra footage.) Once that discussion runs it course, we talk about Tom Baker's tenure as the Doctor beginning 11:54 running through to the aforementioned musical interlude. All rather confusing isn't it. Oh, and we briefly mention the December 1981 interview of Tom with Mavis Nicholson which is definitely worth a watch. Anywho... we're back to season 13 next episode. Opening "Davros' Megalomania" and closing "The Doctor's Theme" music was composed by Dudley Simpson for season 12 stories and arranged and performed by Heathcliff Blair on the "Pyramids of Mars" disc.

Ben and David reminisce about growing up watching Season 12 of Doctor Who. David talks about how Who met his sci-fi fix and seemed like a natural progression from the 1977 movie: Star Wars. Ben recalls playing in motorway construction sites and school hallways battling Daleks and explains how Sontarans were a lot like teachers. Opening music is "Sarah Pursued" composed by Dudley Simpson and the later realized by Heathcliff Blair. Closing music is from Carey Blyton's score for The Revenge of the Cybermen. We recorded this episode on 6 June 2020.