Favourite Audio Score?

After seeing @Speechless terrific post in the television category, I thought it would be nice to expand the question into… well, the expanded universe.

BigFinish have had their fair share of composers, so I wanted to know if any of their scores have taken your fancy


Some personal picks:

Fox and Yason:
Perhaps most well known for their work on the ‘Companion Chronicles’ this duo also provided some of the most gorgeous and delicate pieces for the old ‘Monthlies’.

Their absolute highlight: ‘Alien Heart / Dalek Soul’


FoolCircle:
This composing duo seems to have all-but vanished from BigFinish nowadays, which is an incredible shame. Not only could they capture the Davison era music perfectly, they could also do some fantastic original pieces.

Their absolute highlight: Mr Sin - ‘The Butcher of Brisbane’


Steve Foxon:
Speaking as someone who first got into BigFinish in 2016 - when the warehouse clearance sales were happening for the 51-100 era of the old Monthlies - I became VERY familiar with Steve Foxon’s work. Most of his scores are committed to memory.

I genuinely don’t think I can pick one single highlight of his work, because it’s so tinged with nostalgia; like his emotional debut in ‘Arrangements for War’, the but-rock of ‘Enemy of the Daleks’, the calm and cool electronica of ‘Cobwebs’.

Here’s a selection of my favourite Foxon scores;

8 Likes

I’ve always loved the score for The Chimes of Midnight (surprising no-one)

7 Likes

I think I must be far too focused on the story to really pay notice to the soundtracks other than the intro theme music. I couldn’t pick out a single piece of music that has been made for Big Finish audios.
Except part three of Doctor Who and the Pirates naturally :wink::pirate_flag: and probably Fanfare for the Common Men (but only because I heard it recently and the music of the Common Men is so distinctive).

8 Likes

Probably Nerves or Tube Strike.

Tube Strike because the music (as they said in the interviews) was based on real audio clips of trains rushing past in Metro stations and underground tunnels, and I ADORE it sm.

Nerves is very haunting, especially when it’s switching between the perspectives and car drivers. While having no alien threat at all, it kinda makes it so beautifully eerie to listen to. As in even with no threat, the whole scenario is still a nightmare situation.

As for the music that plays at the end of audios, I never really carry on listening to them once the story is over. I just skip along to the next story.

5 Likes

This applies to me as well. I very rarely notice the music in a BF play, unless it’s distractingly bad or genuinely good and even then, I couldn’t distinguish between different scores.

6 Likes

Kind of hard to think of soundtracks off the top of my head - I can’t remember a lot of them - but I recall The Harvest had a brilliant score to it.

Just listened to Poker Face, that had quite a few nice beats in it. I should probably pay more attention to the tracks in the audios, there’s some real good stuff in there.

(Does the atmospheric buzzing from Scherzo count as its score? Obviously no, but let’s pretend it is. That’s my favourite.)

6 Likes

Oh my God! How did I forget about David Darlington scores?

I’m absolutely with you in thinking the score for ‘The Harvest’ was brilliant - though I know quite a few people aren’t keen on how techo it is.


I think another exceptional Darlington score that’s really stuck with me over the years is the disconcerting one he did for Charley Pollard’s debut alongisde the Sixth Doctor.

6 Likes

There’s much that is lovely about these releases and I wish BF had carried on the range - or at least brought it back occasionally. I imagine it was a pretty poor seller though.

5 Likes

I know for a while every release would have the music bundled in as a bonus track, but they seem to be missing from a lot of modern sets, which is a damn shame.

Then again, I rarely see anyone other than Jamie Robertson or Howard Carter being credited for the music nowadays. Don’t get me wrong, they’re fantastic, but I miss the old days when there was more variety.

Christ, I miss Russell Stone!

There’s a name you never hear anymore music wise.

7 Likes

I absolutely love Enemy Lines, and I love the new funky Gallifrey: War Room themes

3 Likes

Thinking about Russell Stone after yesterday - still wish he had stuck around longer, cause he was easily the best composer during the 1-50 range.

At least one of his scores has been uploaded in full on YouTube.

‘Primeval’ is something of a mixed bag, but this score is top tier.

3 Likes

The only soundtrack I remember absolutely loving is Victory of the Doctor, felt very 11. This track in particular

4 Likes

Not technically a score, but I think it deserves mentioning just how glorious the Vienna Series 1 theme tune was.

Honestly, one of the best things Howard Carter has composed.


Shame Nigel Fairs couldn’t keep the high standards up with the S2 theme.


Though Jamie Robertson sampled the actual score for ‘The Memory Box’ when creating the theme for Series Three…

AND OH BOY WAS IT GLORIOUS!

3 Likes

The soundtrack to Time Works springs to mind. It is glorious.

5 Likes

I totally forgot about Andy Hardwick. Brilliant composer!

My favourite from him is probably ‘The Entropy Plague’ - I think he does an excellent job at carrying the sheer sense of desperation and sadness the script emanates.

3 Likes

Relistened to another amazing score this morning, one which I had previously highlighted in my original post.

But it cannot be denied that Steve Foxon really went all out for one of the stranger Dalek stories.

2 Likes

Listening to Professor Bernice Summerfield and the Greatest Shop in the Galaxy. It’s a bonkers story and really fun, but the score is so out there, it’s actually quite good and at the very least, noticable.

6 Likes