And at 3-minutes and 8-seconds it's also one of the more fully realized numbers on the album. "Cassandra's Waltz" dips back to that sense of never was meeting never now, a strange blend of classic dance mechanics and flittering Sci-Fi bravado turned down several notches to create a whimsically harrowing little number that is as dainty as it is ominous. In stark contrast, "The Doctor's Theme" re-works the classic main theme with hauntingly detached femme fatale vocals and a rich sense of disembodied tonal ambiance. Borrowing a heavily dog eared page from the flamboyant spy thriller song book, he whips up a swaggering guitar driven little ditty that sounds part go-go futura bam-bam and part over-the-top espionage excitement. With "Westminster Bridge," Gold presents a new opening number that was used to open the 20 editions of the series. Still it contains the recognizable synth flourishes that have made it one of the all-time great television theme songs of the day. As mentioned above, the album kicks off with the ubiquitous "Doctor Who Theme," this most recent version clocking in at a mere 41-seconds and sounding a bit unfinished (amazing how it seems so much longer when coupled with the swirling, hypnotical gases that usually accompany the opening credits of the show). While composer Murray Gold is merely the latest musician to tackle the score to a chunk of the on-going Doctor Who legacy, he seems to have a wonderful knack for mining the quirky sonic theatrics of vintage Sci-Fi and then marrying them to more modern sounding elements to create his own singular aural universe that at once brings to mind the schlock laden hey days of the '50s and the as-of-yet-unexplored worlds of the future.
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