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the Music of Irwin Allen's sci fi fantasy tv shows

Chase - Posted on 04 September 2009








With the recent news of a 6 set CD packet of Irwin Allen's shows' music, I am prompted and inspired to write about the music of each series. Frankly, I feel that six CDs, even if they are two hours each, cannot do a full justice to the shows. More like 20 or 30! Each series has its own standard music which we become familiar with over the course of the shows and the various seasons; however, there are other episodes of all four series that vary these themes and surprise us with the differences in the music.

I will start off with LOST AND SPACE and LAND OF THE GIANTS since I know those better and enjoy them more. LOST IN SPACE reused music over and over--but this is not a fault--it gave the series its identity and it is very good music. John Williams wrote most of the musical cues that were used in the first season--certainly many in THE RELUCTANT STOWAWAY through to ISLAND IN THE SKY. The Smith Trapped in the Ship is a pulse pounding beat which is reused many times most remembered in WISH UPON A STAR as Smith is chased by the rubberoid monster and THE CONDEMNED OF SPACE as John is suiting up to spacewalk and when Don and John first theorize about giants just before the cyclops shows up in THERE WERE GIANTS IN THE EARTH.

The next vital piece of music is the meteor storm and the release of Don in THE RELUCTANT STOWAWAY. This bit is actually part of a much longer version of music as evidenced by the beginning of the attack of the cyclops on John and Don in THERE WERE GIANTS IN THE EARTH. The music here is much the same leading into a commercial break but as it returns to the action the music builds to the same type of theme and expands into one of the most fast paced, suspenseful bits of action music ever used. This continues as we also see Will climbing the rocks and only slows when he shoots the cyclops. The mix here is also containing parts of the excellent robot attack music from THE RELUCTANT STOWAWAY which starts off slow but builds into a full scale bouncing theme which sounds just like the picture of the Jupiter going out of control. Bits of this action theme occur all over LOST IN SPACE including but limited to: Radion's final attack in THE DREAM MONSTER, the first fight scenes in THE ANTI MATTER MAN inside the cage areas leading to Smith chasing the Robot into the area (and here is it almost heard in its entirety), as Smith, Don, and John get out of the giant Robot in TRIP THROUGH THE ROBOT, as John makes his way back toward the Jupiter from space as the Robot drifts off in THE CONDEMNED OF SPACE, during John's physical fight with Chronos and his monster in TIME MERCHANT, the beginning and middle of the attack of the killer robots in PRINCESS OF SPACE, and at the beginning of John's journey into the volcano in SPACE PRIMEVALS.     Another, less action oriented theme is heard when Don is freeing the Robinsons from their freezing tubes--it is slower but again, as most LOST IN SPACE musics do--it builds into a tension giving theme as Maureen passes out and seems almost dead--leading to a commerical break. This music is sometimes used as background music but it also fits as the foreground music and is used in LOST IN SPACE over and over including: THE DEADLY GAMES OF GAMMA SIX during parts of Myko's discussion with his alien leader, as Smith leads John, Will, and the Robot into the cave to find Don in THE FLAMING PLANET, when Lemnoc revives any of the duplicates in the PHANTOM FAMILY, when the ship explores the space station in CONDEMNED OF SPACE, and when any of the crew step into a matter beam in THE PRISONERS OF SPACE.

To get back to the action music, LOST IN SPACE used a theme sometimes combined with some of the above music. This theme can be heard almost in full in ISLAND IN THE SKY as John's loss of control over the parajets reaches a climax and he is lost AND during the sequence just after Don locks Smith in the freezing tube and the ship heads at the planet, coming to an end when Maureen reaches the lower deck. This starts out slow and builds to a full screech but a screech in a good sense. This music was shortened and used in the majority of the third season's scences from next week. It also be heard in bits and pieces in WISH UPON A STAR when Don throws the exploding power cell up into the air and falls down--and Will runs at him, during the last part of the volcano sequence when John runs back down to Will, and almost fully in HUNTER'S MOON just after Megazor makes the waterfall vanish while John is running--and as he falls into quicksand. This was also used in LAND OF THE GIANT'S THE TRAP teaser as Steve and Dan flee two giants. SPACE PRIMEVALS uses it a lot in their teaser and just after. Another edited version of this, very similar, is the music heard when Will explains about his idea about the baby princess as tape being hidden in the robot--the perfect place to hide the tape. At times, mostly during the next week scences in season three, the music was heard with some of the clicking beat missing. It is also heard in combination with much of the above mentioned action themes in the excellent missile sequence from the end of THE GHOST PLANET and the beginning of FORBIDDEN WORLD and in part of DEADLIEST OF THE SPECIES as Will is chased from the cave by the two robots. A tense use of it is in TRIP THROUGH THE ROBOT when John realizes Will is still in the giant robot and he cannot get back in to get his son out and he and Don use a tree to hold open the door---and it then turns into different music.

The music it turns into is also one of LOST IN SPACE'S most used themes. Another action piece, it is heard in most notably for one of the first times in THE HUNGRY SEA when the earthquake hits leading to the series opening credits and opening theme song. This is a pulse pounder also and can be heard building to some sort of climax in many LOST IN SPACEs. Most noted: an extra long version as John fights all the cyborgs in THE SPACE DESTRUCTORS at the end of act four; as the Jupiter crashes on the HUNTER'S MOON; during most of the Mr. Nobody attack at the end of MY FRIEND, MR. NOBODY; during the first part of the sword fight between John and the Ruler in THE CHALLENGE; after and during Will's pleas to the caveman leader and while John, Don, and Smith run from the cave in SPACE PRIMEVALS; as John first grapples with the Cosmic Monster in SPACE CIRCUS; during the second half of John's spacewalk back inside the Jupiter in CONDEMNED OF SPACE, and when John and Don fight Lemnoc to try to free Smith in THE PHANTOM FAMILY. It can also be heard in LAND OF THE GIANTS during Steve's run just before the end of Act Four in SEVEN LITTLE INDIANS.

There were dozens of more cues in the first five episodes, many comprising John's spacewalks in THE RELUCTANT STOWAWAY, THE DERELICT (both with Maureen featured also), and ISLAND IN THE SKY. These etherel sounds are mostly never heard again in LOST IN SPACE in their fullness and add to the space walk effects, giving them all granduer and weirdness. In the first, Maureen's near rescue of John builds into the theme used for almost all cliffhangers in the first season as John reaches for the rope that his wife has shot him and cannot get it---until the second episode which uses a variation of music, sounding like Richard LaSalle music used later in LAND OF THE GIANTS and earlier in many theaterical features. It ends with John getting the rope and this light hearted, beautiful piece stirs us into hope and can be heard at the end of the Don-John fight with the aliens in TWO WEEKS IN SPACE and when THE RAFT is finally finished and seen in front of the spaceship.

Then there is the music used when John's line first snaps off. It is repeated in THE DERELICT (when Penny finds Will missing) and very briefly in THE GOLDEN MAN when Judy spots a falling star which Maureen realizes is spaceship. Some of it is used when the missile is first spotted in THE GHOST PLANET.

     All of the music in THE DERELICT is very unlike a lot of LOST IN SPACE music that follows and Herman Stein is credited as the composer. Some of it is used again over and over but much of it is never heard again on LOST IN SPACE (notable exceptions include KIDNAPPED IN SPACE, the food finding sequence in THE OASIS and the first transformation into human looking figures by the aliens in their space station as well as after the fight sequence in TWO WEEKS IN SPACE). Another noticeable time it was used was when Smith and Don read the Sobram history book and when Don tried to destroy the Sobram missile cylo in THE FLAMING PLANET. Versions turned up in LAND OF THE GIANTS in THE SECRET CITY OF LIMBO just as Steve and Mark reach Betty on the tabletop in the miners' shack. THE DERELICT used some clever tracks: when John and Don hear Will yelling and run off into the ship to find him; when Maureen and John are trapped outside the ship (probably the most used music is when they fall and we hear this music again in THE TOYMAKER, THE ANTI MATTER MAN when John is seen by Will who has just been caught by the anti matter John and Don; and THE HUNGRY SEA for the ending parts of the sun passing overhead). The music during the comet getting closer sequence, mostly during the parts when Don is in the airlock and then when Will says, "Feel this heat, the comet is getting closer,"  are also heard in a few westerns from the late 50's and 60's. Probably the same composer. Just before Will makes that comment is a very brief bit which sounds a lot like the music Richard LaSalle would use extensively in LAND OF THE GIANTS'  second season (in THE UNSUSPECTED, OUR MAN O' REILLY, THE MECHANICAL MAN, and many others). The best action music in DERELICT is the second part as John is shooting the hole just after Don tells him that he isn't sure how long the forcefield will hold the aliens and then John jumps aboard, grabs Maureen and yells lift off, the music ending in an unfamilar version of a much heard LIS theme--the grand theme-this being heard as Will, John, and Don find Smith's tape message in THE OASIS, during the just after teaser and theme song credits as John meets Myko in DEADLY GAMES OF GAMMA SIX, during John and Don's futile search for Will in RETURN FROM OUTER SPACE, and after Don's proclamation that they are galactic castaways forever in THE RAFT. This music sounds large and grand and gives one a feeling of being in space, indeed it is used the first time we see the space ark in PRINCESS OF SPACE.  

One long musical sequence from DERELICT is the often heard music as the blobs chase the crew back to the ship--it is a slow, lumbering theme, fitting for the blobs that stumble after them, just having woken up. This is also fitting for the stumbling toy monster of THE TOYMAN and the cyborgs in SPACE DESTRUCTORS. It is used in other episodes. 

The music heard as the Jupiter is pulled into THE DERELICT is used again when Bart, in frustration begins his confession of the truth to Penny and Will--that he can never grow old in THE PROMISED PLANET. It is also heard just before the fight between John and The Ruler with swords in THE CHALLENGE. 

Smith's foolishness music---this can be heard as he examines Will's tongue in RELUCTANT STOWAWAY, at his first major getting out of work early on in THERE WERE GIANTS IN THE EARTH and this leads into a brilliant trumpeting of music which is heard in full only in this episode as Smith avoids work from everyone! This music is heard over and over as well and some of the Debbie the Bloop music is also silly and irreverant and is in ISLAND IN THE SKY and is used for Smith comedy in future episodes--witness the end of HUNTER'S MOON as he chases the Robot. It is also some of the only John Williams-ish music heard in BLAST OFF INTO SPACE, as John passes Debbie's cabin compartment.    

Chariot music: some of my favorite music from the show. The third, fourth, and fifth episodes used these cues to great effect as the Chariot journied across the planet. The first, used in the Charoit's first appearance is a bit slow but interesting and gives the feel of a careening land vehicle. It is just as effective for the Jupiter in space, exploring the large spaceship of KIDNAPPED IN SPACE and also as Will sneaks out of the Jupiter II to go to the cave to find Smith in SPACE DESTRUCTORS. This music leads into some great exploring music as Don looks for John after the Chariot stops. This breaks into Don finding Debbie, the cornball music offset by the tense and mysterious theme which follows--and we see John in the pit and then the music rises into a trumpeting theme toward a commercial break. Other Charoit music: the long, also slow but forbidding exploratory music used in the end of THE HUNGRY SEA just after Don warns John they may not make it and we then see the Charoit moving toward the Inland Sea and some of the music continues through the first and calmest part of the sea trip. This is also used in KIDNAPPED IN SPACE. After the sea trip there is a theme which accompanies the Robinson's stop to pray and give thanks--this is a building theme which stops and becomes mellow and restful---then rises again into a chanting version of the Charoit theme--absultuely amazing. Bits and pieces of all the Charoit music appear from time to time in the  future but not as much as in the first five shows (whenever the Charoit is used--THE LOST CIVILIZATION, ONE OF OUR DOGS IS MISSING, GHOST IN SPACE, ALL THAT GLITTERS; also as transitions--after Verda agrees to return with Zumdish and he, Verda, and the guard leave John, Don, and Penny to talk about Smith's punishment--actually just John and Don discuss it; and in other spots).

Another Charoit theme is the faster paced one which ends with the sound of a machine bleeping over and over. Rather than being annoying, this really fits with the Charoit and is used again in THE DREAM MONSTER. Later, it is used for the ship flying in outer space and it is just as effective (THE FLAMING PLANET, HUNTER'S MOON) and it is also used when the Robinsons, Don, and Smith run from the PROMISED PLANET back to the Jupiter.

More Charoit music is used in THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA as the family crosses the sea of ice, before and after. Much of it is used as transition between the Charoit faring Robinsons and Smith and the Robot back at the Jupiter Two. One version is quick paced and is heard as the camera careens across the sleeping children to the front of the Charoit. This is used when John and Don rush back to the PROMISED PLANET in the Jupiter to run out of the ship and save Penny and Will. Another section is used when Smith and the Robot follow Penny in MY FRIEND MR. NOBODY.

Another action theme which must be mentioned is the theme used when the spaceship crashes on the planet in ISLAND IN THE SKY--the build up uses many musical cues--a fast paced repetitive bit as Maureen struggles to close the viewports on the lower deck, leading into the outside shot of the ship flying at the planet and Don struggling to put himself into the freezing tube (all of this music is used often in LOST IN SPACE--the music where Don does this is used in CONDEMNED OF SPACE as John opens the hatch to find out who or what is out there--it is the Robot he finds and it is used in many "warning"  scences---usually Smith running back to the ship to warn someone of some danger to one of the others--as in ALL THAT GLITTERS when he returns to warn Judy and Maureen that Penny was grabbed by Ohan). This warning music is also used when Maureen spots Smith eating the fruit in THE OASIS and she runs out to knock it from his hand.

The whole second half of the ship crashing sequence uses bell sounding music with repititive sounds. This is used more extensively in ONE OF OUR DOGS IS MISSING as Judy fights off the dog monster along with John and Don. It is also used when Don and John are chased by the giant lizard and when the spider monster attacks the Chaorit in THE KEEPER. In addition, it is used in LOST IN SPACE probably more than any other music. It was part of the GHOST PLANET chase and missile attack (very effectively as the planet looms up at the family through the viewport), the fight in TWO WEEKS IN SPACE, Smith running from the monster in WISH UPON A STAR (minus the bell ringing sound--a nice variation), and the early fight scences with THE SPACE DESTRUCTORS, the fight with the android eating machine in REVOLT OF THE ANDROIDS,                Also the first part of the Robot attack must be mentioned--it is used to great effect in A CHANGE OF SPACE as the alien looks over all the others in the family and pulls Smith away and a bit later when Will pleads with the alien not to take Smith but the alien leaves with him anyway; and also in CONDEMNED OF SPACE as the others realize John's rope line is about to break. It can also be heard in the unaired LAND OF THE GIANTS pilot when the giant puts his hand into the drainpipe at the climax. An even better use was in FLIGHT INTO THE FUTURE as John and Don push toward Will, Smith, and the Robot while Will pushes on toward the source of all the illusions. Here, it is interspersed with some of the many LOST IN SPACE "shock"  music cues (such as the quick and surprising appearance of some monster). Some of the shock music was originally used as Jupiter flying scences--check out the teaser in ISLAND IN THE SKY as the ship flys over the planet just as John is suiting up. THE HUNGRY SEA uses light end music when Will talks to Don about his dad being wrong and all is well again between them all. This jaunty music is good to the ears and is reused a few more times--the end to THE SKY IS FALLING and HUNTER'S MOON for two. 

THE LOST CIVILIZATION used a piece of music used only once on this show but used a great deal in VOYAGE TO THE BOTTOM OF THE SEA.  On LOST, it occurs when the alien leader Major Domo is telling the others his plans and showing them his army on the scanner screen. This is from an old 20th Century Fox film but is used in Voyage's THE MUMMY, the second THE CREATURE (from VOYAGE'S third season), DEATH WATCH (as Crane battles Nelson) and a few other times. It is an exciting theme.

Also used is other strange music from the VOYAGE episode THE MUMMY and it was used in VOYAGE'S TERRIBLE TOYS and DEATH WATCH among others. This is used when Will first calls up for help from the hole he has fallen into and it is also used in another Will-lost episode--THE ASTRAL TRAVELLER when Will looks out the window and sees the ocean. The music sounds foreign, almost Egyptian and is from a 1950's spy thriller movie with James Mason, the title of which eludes me. This odd music is also best heard when Turner first unleashes Adam on Nelson in the Flying Sub at the volcano, explaining to him what Adam is. It is also sometimes on THE TIME TUNNEL (memorably in THE GHOST OF NERO, MERLIN THE MAGICIAN, and REVENGE OF ROBIN HOOD).

     All of the music used when Will escapes, builds an explosive replica of Smith's art, and returns to hide it on the arch of THE COLONISTS is music that spans all of LOST IN SPACE. It is first heard in part, I think, when Don and Judy rescue John from the pit in ISLAND IN THE SKY.

There is plenty of weird, horror filled music in LOST IN SPACE and VOYAGE. The music used when the Robinsons search the dead city ruins in THERE WERE GIANTS IN THE EARTH and HUNGRY SEA was lifted from the film THE DAY THE EARTH STOOD STILL. This was used in the unaired pilot and left in, in a newly edited version and was used a lot in the future of both VOYAGE and SPACE. However, following its lead, SPACE created new odd music. While some of the Saticon music in THE GALAXY GIFT and WRECK OF THE ROBOT is from the same film, there is new odd and original music--music which is heard when the Saticons search the Jupiter at night and then steal the robot from the spaceship. A very good mix of all the odd music can be heard in FOLLOW THE LEADER's teaser sequence when John wakes up (and we hear music that was used when Judy and Don searched the dead city in HUNGRY SEA's teaser), then moves to the interior of the cave and finds all the odd alien artifacts, and this music expands to more new LOST IN SPACE horror music, ending finally as the door shuts and John runs to it (music which is used again when Don is trying to attack Noble Niolani's device in THE COLONISTS--and she points her staff at him and stops him). An other worldly variation of some of the slower, scary music can be heard when Will and Smith find an abandoned alien ship in WISH UPON A STAR--and here it is very different, almost lighter. More scary music can be heard in KIDNAPPED IN SPACE when the aliens enter the ship and search it for the one the Robot is closest to--and then when they backtime Maureen. INVADERS FROM THE FIFTH DIMENSION used some slow and odd music for the other worldly aliens--very effective. Scary music all. Much of the scary music for the Saticons, the new stuff from LOST IN SPACE, and the scary-devilish music used for A VISIT TO HADES was used on VOYAGE--again in TERRIBLE TOYS but also in SHADOWMAN. A very brief bit from an early sequence in DOCTOR WHO'S THE STONES OF BLOOD while the Doctor checks out the prints left in the ground, sounds a lot like some of the "scare"  music commonly used in LOST IN SPACE and may have had its roots from THE DAY THE EARTH STOOD STILL.

DAY THE EARTH STOOD STILL alien-like and repetitive music figured well in the scence where Penny first loses Debbie in the lost city. It also figured extensively in TERRIBLE TOYS when Nelson visits the aliens in their own space station. The robot music in DAY THE EARTH STOOD STILL also made it into WAR OF THE ROBOTS and the robot episode of VOYAGE--THE INDESTRUCTIBLE MAN. This is by Bernard Herrman, the late, great composer of hundreds of classic films. THE DAY THE EARTH STOOD STILL is on a full CD as well as part of the FANTASY WORLDS OF BERNARD HERRMAN tape and CD.

Which brings us to the sea storm in THE HUNGRY SEA. This starts out with another theme from BENEATH THE TWELVE MILE REEF (the boat fight and finale--both on the CD-THE MARVELOUS FILM WORLD OF BERNARD HERRMANN VOL. 1). Then it briefly breaks into a small section from Herrman's JASON AND THE ARGONAUTS--the clip comes from the scence when the soldiers chase Jason just before the Hydra attacks them all (JASON is on both THE MYSTERIOUS FILM WORLD OF BERNARD HERRMAN and CLASSIC FANTASY FILM SCORES, however this short piece may not be on it). Then as the storm picks up momentum, it breaks into a long theme of action music from THE LAST WAGON, a very good western film. This music occurs in the film when a boy is nearly drowned in a raging river and there is a very short fight-punching scence between two of the older boys (one of whom is Nick Adams) which is part of the music--the part where Judy takes over the scope in THE HUNGRY SEA. This entire sequence was used extensively in VOYAGE TO THE BOTTOM OF THE SEA (the opening pirate ship fight in DEAD MAN'S DOUBLOONS, the second episode called THE CREATURE during a fight, the sea attacks on the submarine in KILLERS OF THE DEEP, and a few others) and also used in one or two THE TIME TUNNELs (PIRATES OF DEADMAN'S ISLAND and ATTACK OF THE BARBARIANS). At first when Don is ontop the Chariot, it is music from the THE LAST WAGON again but then after the full LAST WAGON piece, it becomes some other western film music, possibly from a part of THE LAST WAGON but maybe from another movie.

A few sidenotes must be added here: a lot of this music from the unaired pilot is left intact; however it is different from the first unaired pilot (yes, there are TWO) and the original sounds longer and more like the movies each track came from. BENEATH THE TWELVE MILE REEF by Herrman was featured VERY prominently in both unaired pilots and even in THERE WERE GIANTS IN THE EARTH and THE HUNGRY SEA, more than most people know (a lot of the Charoit music in the unaired pilots is from this film which is on the MARVELOUS FILM WORLD OF BERNARD HERRMANN VOLUME ONE and includes the boat fight, the sailing music used on LOST IN SPACE as the parajets and the finale music which is heard as Chariot music in both unaired pilots). As a sidenote, the music in the first, longer unaired pilot, the music used when the Charoit passes the fallen giant cyclops (dead?) comes from THE THREE WORLDS OF GULLIVER and is on the CD for that movie (also by Herrmann) as the sequence when Gulliver first meets the giant girl who picks up a rowboat--a toy he is sleeping in. Gulliver music also features on the record THE MYSTERIOUS FILM WORLD OF BERNARD HERRMAN.

The whirlpool from beginning to end--from the entrance into the whirlpool to the rescue of Don is ALL from the submarine movie THE ENEMY BELOW. This watery sounding action sequence is thrilling and serves its purpose. Many of the musical cues in the first five episodes were from the unaired pilot and were source music from other FOX productions--and most, but not all, were Bernard Herrman cues. They were left in and are fitting. In fact, the earthquake sequence in the cliffhanger of THERE WERE GIANTS IN THE EARTH contained music from JOURNEY TO THE CENTER OF THE EARTH (the clip comes from the kidnapping of Prof. Lindenbrook when he is in his stagecoach). In the tag of the next episode, the original John Williams LOST IN SPACE action music is played.

Another clip from JOURNEY TO THE CENTER OF THE EARTH is the music used when Penny sees Judy and Don kissing under the Charoit in THERE WERE GIANTS IN THE EARTH and then tells John and Maureen, who then have a talk about romance and kiss. Still another is the music played in THERE WERE GIANTS...just as Will points up to tell Maureen that John and Penny are flying at the Charoit and Maureen seems to give thanks. All of this spiritual type music is from JOURNEY'S scence when the young Alec talks to his fiance and later when the fiance thinks of Alec and his cohorts under the Earth.

Back to THE ENEMY BELOW. While this was used this one time on LOST IN SPACE, it took over the themes for the fourth and last season of VOYAGE (but some of it is first used in the NO ESCAPE FROM DEATH episode in the third season of VOYAGE--and it is the best thing about that episode which used a lot of stock footage). Fitting to the ocean, it sounds great in such episodes as THE FIRES OF DEATH (which used almost all of the ENEMY BELOW music cues combined with some new and old VOYAGE cuts); CAVE OF THE DEAD (which also featured the lizard music from JOURNEY TO THE CENTER OF THE EARTH when Nelson first comes aboard and sees the whole crew as skeletons); THE DEADLY AMPHIBIANS (to great effect as Nelson battles the fishmen in the sea); RESCUE (which was much more ocean-spy oriented); SECRET OF THE DEEP (which cleverly mixed music from many of VOYAGE'S past episodes) and a few others. Just as a note: the entire visual end sequence of THE ENEMY BELOW (which also costarred David Hedison) was lifted and used as stock footage in the sub collision at the end of KILLERS OF THE DEEP!

One more theme taken from a film includes the John flying to find Penny music in THERE WERE GIANTS IN THE EARTH and the parajet music from INVADERS FROM THE FIFTH DIMENSION as well as the music used when we see Penny on the turtle, lost. This excellent, uplifting music is taken from the sea-fisherman film BENEATH THE 12 MILE REEF (with Robert Wagner and Peter Graves, the music of which is on the CD called The Marvelous Film World of Bernard Herrmann). It is heard as their fishing boat heads out to sea. Some more music may have been used from this--when the fishermen deep sea dive but I am not sure about this. There is also a fire sequence in the movie which contains some music used in the shows.

MY FRIEND, MR. NOBODY music is the first alternative music used on the show and it fits right into the usual John Williams pieces. Much of it is used over and over. It sounds more fantasy-like and inspires a hope filled warm feeling as well as giving a lighter side to LOST IN SPACE. It is used largely in fantasy based episodes such as THE MAGIC MIRROR and THE TOYMAKER. Some of the music is lively and reminds one of the garden music and the Maureen washing clothes music, both originally from THERE WERE GIANTS IN THE EARTH. When Penny greets the flowers, the cave, and the pond as if they were alive and the flowers bow to her, the music is LOST IN SPACE at its most awe inspiring. The music used when Penny is running, trying to warn Mr. Nobody that Don and Smith are blasting, is exciting and different enough to make an impact. This is used again when Will, The Robot, Smith, and John and the TOYMAKER escape the toy machine and when Verda is first made in THE ANDROID MACHINE as well as when Penny screams and runs from the magic carpet--only to have Will fall into it in the teaser to PRINCESS OF SPACE. Some of the NOBODY music graces the dream sequences of THE SPACE CREATURE to good mood. NOBODY music was used in FLIGHT INTO THE FUTURE when Smith, Will, and The Robot go into the cave and hear things--but can't see them moving around.

The only other music from early episodes concerns the western sounding themes for Hapgood, the WELCOME STRANGER. The fight music (between Don and Hapgood) is fairly well done and is used to viewers' embarassment in the fight between Morbus and Don in A VISIT TO HADES. WELCOME STRANGER also featured some good ending music when the Robinsons bid him goodbye as he flies through space and encounters a supernova---and this music is used in the final scence in the unaired LAND OF THE GIANTS pilot and reused in HIS MAJESTY SMITH as Will thinks about the now gone Daddy Zach. The sprite music used when Hapgood sees the nova is used again in COLLISION OF PLANETS as the planet blows up and Will sees it in the viewer. It is tense but ends with an uplifting few strains which even out. There is also a theme to LOST IN SPACE takeoffs--not all, but most takeoffs of the Jupiter, alien ships, Hapgood's ships, the elevator from THE ANDROID MACHINE, etc. all use this uplifting music which fits well to being carried up and away. This is heard as the Jupiter leaves the GHOST PLANET (and John tells the voice that they will not be coming back) and is much better than the march-parade like music as the Jupiter left THE DERELICT spaceark.     Music from the RELUCTANT STOWAWAY graces the PROMISED PLANET as the gang disembark from the landing Jupiter, the whole sequence giving us a good feel for the theme---sounding like a very military operation without overpowering us. The other music from the first episode that bears mentioning is the no gravity music which is used as Penny and Will fly around the upper deck and Smith flies around on the lower. This is used for dream sequences as in THE DREAM MONSTER and THE MECHANICAL MEN. The piece leads into a tense commericial lead in which is featured during the Robot's obeying command to attack and again in KIDNAPPED IN SPACE when Will begins to use the time device to bring John back to life--again before a commerical break.

The touching family music played in THE OASIS, THE RAFT, WAR OF THE ROBOTS, and many others is used again in the next two seasons, most noted in DEADLY GAMES OF GAMMA SIX as John tries to talk to Will about his not being a superhero, when Penny tells Maureeen about the Boy in THE MAGIC MIRROR, and as Smith tries to explain his faults to John in the end of SPACE DESTRUCTORS. A version was used in very early BATTLESTAR GALACTICA episodes. It is probably first heard in THE DERELICT and later used again when Will is told by John that Smith is supposed to act like everyone else in WISH UPON A STAR and used again in that episode as John chastises everyone for relying on the wish machine.

One thing refreshing about all Irwin's four shows is that they sometimes switched veins, musically speaking. An episode would come along which sounded like no other in the past. This is what made BLAST OFF INTO SPACE (Leith Stevens) so different from the any of the previous first season shows. It had a stunning new theme throughout with no past music used--even the cliffhanger for it and for WILD ADVENTURE (Alexander Courage) were totally new. The quake music is exciting, new and graces future episodes once in a while--episodes such as: MUTINY IN SPACE (during the shaking of the Admiral's ship by a dwarf star), CONDEMNED OF SPACE (twice--once during the ending of the Jupiter's bout with the supernova; then as Smith and Phanzig release more prisoners), HUNTER'S MOON (as John effects the escape of himself, Smith, Will, and the Robot from Megazor's camp), FLIGHT INTO THE FUTURE (during Will's final fight with the real menace--an alien machine), and it was even used in the scences to next week's HUNTER'S MOON--to good effect. This music was surrounded by some of the best mood music used on LOST IN SPACE as the Robinsons prepared for liftoff, Smith drove the Chariot a few times, Smith played galactic poker with Nerium, John used the parajets to find Will and Smith, and the stone statue came to life. Colorful stuff all of it. A lot of the mood music from this was used again: KIDNAPPED IN SPACE, THE CURSE OF COUSIN SMITH (during John's trick on the machine), THE DREAM MONSTER (when Smith plays jump rope with the robots), and a few others. A lot of it is not used again, however. There is a more optimistic feeling to this music than the Williams music, with lighter tunes, more relaxing type music.

WILD ADVENTURE is similar. The music used during the sun attack is used again when Will meets the Robot Brain in THE GHOST PLANET and during the titles of FORBIDDEN WORLD. The theme during Smith's tampering with the astrogater and the resulting shaking of the ship music just before the theme song and credits is used again in FLIGHT INTO THE FUTURE during the episode credits, during the attack of the alien station on the Flying Sub and Seaview in THE TERRIBLE TOYS, and in the LAND OF THE GIANTS unaired pilot as Spindrift is hit by the space warp.        

In WILD ADVENTURE, a quick paced awesome sounding theme is used when the Jupiter flies into the cosmic dust ball. This is reused as the Space Pod music when it first lifts off in COLLISION OF PLANETS and when Smith and Will fire Zalto's supposedly harmless missiles while in the ROCKET TO EARTH which briefly repeats some of the music that was used when Maureen and Will spot the cyclops through the radio telescope in THERE WERE GIANTS IN THE EARTH.

WILD ADVENTURE also had the priviledge of some nice sounding space walk music, totally original. In addition to this, the music as the Jupiter lands on the fuel barge and Don spacewalks, not to mention the loss of fuel by Smith sequence is scored in such a way that the music can be listened to with your eyes shut and you can begin to imagine spaced out adventures in a positive way. The theme to the green girl was a bit over the top but effectively weird and reused when she appeared again in THE GIRL FROM THE GREEN DIMENSION. In fact, LOST IN SPACE began to have themes for the guest aliens: this is noticed in THE HAUNTED LIGHTHOUSE where J-5 and the Zabo had their own theme.  

BLAST OFF, WILD ADVENTURE, THE GHOST PLANET, and FORBIDDEN WORLD boasted some new music for the Jupiter in space sequences. The section of music when John and Don are checking the ship just before spotting Smith and the green girl in space is brillant and subtle. The intros and exits are all very good as we see the ship flying in space---with nice journey type music unlike any other used in the show. The ending to BLAST OFF is reused in THE QUESTING BEAST lending that episode a good moment or two. FORBIDDEN WORLD had new tunes by Robert Drasnin, who also did the new pieces of score for CURSE OF COUSIN SMITH and the full THIEF OF OUTER SPACE.

Other new themes were not as extensive or distinguished but served the series well for a new outlook and sound: these include bits and pieces from FORBIDDEN WORLD, THE CURSE OF COUSIN SMITH, THE GIRL FROM THE GREEN DIMENSION, THE QUESTING BEAST, THE SPACE VIKINGS (the music during the attack on the caves by the giant feet of the Frost Giants is the best part of this; also of note is the odd music used when the gloves come out of the sky), TREASURE OF THE LOST PLANET (best when John is facing the pirate-wolf-man who attacks him with a sword after resisting John's laser firing), REVOLT OF THE ANDROIDS, THE MECHANICAL MEN (Alexander Courage's new themes, most for the tiny robots), THE ASTRAL TRAVELLER, A VISIT TO HADES, and WEST OF MARS (a Robert Drasnin score which boasted some very good themes both on the Robinson planet and the Western Planet). CAVE OF THE WIZARDS had some new music, mostly all of it---most of it scary but none of it is as memorable as some other LOST IN SPACE themes have been. It was merely adequate.

Silly, comedic music was used in the show in Season Two and this graced the worst episodes such as A VISIT TO HADES, THE SPACE VIKINGS, THE GIRL FROM THE GREEN DIMENSION, ROCKET TO EARTH, TREASURE OF THE LOST PLANET and a host of others. Goofy "sick"  music was used when Smith thought he was going crazy in ROCKET TO EARTH AND TREAURE OF THE LOST PLANET. Not the fault of the music---it was silly--but again it fit the shows.

Seemingly totally new were the themes used in THIEF OF OUTER SPACE (Robert Drasnin), with a particularly Arabian sound to it. Of note is the sequences with the workroom as Will is shown how to work by the slave and he does all the work now and later when Penny does the work Will was suppose to. It is also very well done when Will is first taken by the Sedan Chair through space. This music is used again briefly in FLIGHT INTO THE FUTURE when Will sees the illusions of American Indians attacking him. The explosions that lead Will to the chair in the first place were accompanied by a jazzy theme that fit well to the whole series and John's fight with the Theif was a well composed theme. Some of the music was reused in the scare sequences in ROCKET TO EARTH, mostly during the encounter with the dummy in the cave by Will, Smith, and the Robot. This episode was really very inventive musically.      

Next we must discuss the other music which graced LOST IN SPACE. There were plenty of episodes which used music only once or a few times but not as much as the mainstream stuff discussed above. These include mostly third season episodes: THE HAUNTED LIGHTHOUSE, CASTLES IN SPACE (Gerald Fried), SPACE BEAUTY, THE GREAT VEGETABLE REBELLION, and JUNKYARD OF SPACE. It is true of parts of COLLISION OF PLANETS (Gerald Fried), A DAY AT THE ZOO (very effective music used during the Penny convinces Oggo scence and when Penny is first caught, also effective is the title music as Judy and Don search for Penny), THE PROMISED PLANET (I like the music used when the Robinsons fall into place behind Edgar--and Penny and Will go with Bart into the rooms--it is nice and light), PRINCESS OF SPACE (the comedic beat to the end theme is used again in other episodes of the third season--although quite campy, it is also quite catchy and came from the end of A DAY AT THE ZOO), and FUGITIVES IN SPACE.

The first set have totally original music with THE HAUNTED LIGHTHOUSE sometimes relying on past action cues but using a lot of new material, especially during the spaceship heading at the station, John's spacewalk into the station, and the last major shaking of the lighthouse until J-5 finds the newspaper in the stablizers. Of real beauty was the whole musical sequence when Penny says goodbye to J-5 while her family enters the Jupiter II and we see Penny enter and close the doors and the ship takes off from the lighthouse. This dreamy and uplifting, yet somewhat meloncoly piece is reused and changed a bit for the very end to LAND OF THE GIANTS' DEADLY PAWN'S final moments. The music from when the storm is hitting the Jupiter to the attack of the lion and later from when the Jupiter lifts off to the landing on the space lighthouse is refreshing. Smith's illusionary lady friend created by the Zabo had a nice love theme attached to her but this music was used for the female robot in DEADLIST OF THE SPECIES.  

SPACE BEAUTY was totally original with the Judy hypnotized sequence very nice and a new totally fresh varying of some of the old scare music. The entire lead up to this with the fire knights marching on the Jupiter is worthy of note--quite fresh and science fiction sounding.

CASTLES IN SPACE may have gone a bit over the top but some of the music is very good--especially when the ice princess first wakes up and walks through the area. Don's fight with Chavo is very well sounding and the sequence when Chavo tries to search Don and Judy's camp is also quite tense and alien-ish. The post teaser credit music is also very good with Smith and Will freeze framed. Some good transitions also abound in this one but the wild Mexican music really shouldn't have been used.   

COLLISION OF PLANETS used a good, new action theme which fitted the hippy motif of the episode while not going over the top too much. It was used when John was beaten up by the leader who threatened him with the alien canister of explosive and later when John lasers the aliens' motorspace cycles. The aliens had their own theme as did their alien box which turned Smith into a sort of Samson in space--and Smith-Samson had his own theme as well. They tried but a majority of this just didn't cut it.

VISIT TO A HOSTILE PLANET used many of the old John Williams greats but then a few new variations on a few of these older themes were noticed. A new version of some of the old explore-scare music is heard during the finding of the old shack by Maureen and the girls, when Penny and Judy first went to pick apples and then when Judy, Don and John left the teenager. There are probably more examples of this from this episode (for one the scence when Smith makes Will and the Robot get captured).

THE PROMISED PLANET had snippets of new music mixed in with some new tunes. Of course, the alien music-hippy style was quite new and very odd. This was reused briefly as Val, Barry, and Fitzhugh watch a giant party in progress in the teaser to LAND OF THE GIANT'S DOUBLE CROSS.

GREAT VEGETABLE REBELLION, while a tepid episode, had some lovely music which sounded paradise-like and fit the jungle-forest-serenity well. It also sounds very exciting mostly when Judy and Will fall into the mulch pit and when John and Don sabotage the underground complex.

LOST had music playing almost all the time and its music is a credit to the science fiction and fantasy genre--ALL of it deserves to be put on CD. Several brief transition cues were used in LAND OF THE GIANTS episodes (BRAINWASH, ON A CLEAR NIGHT YOU CAN SEE THE EARTH, GENIUS AT WORK).

This allows us to switch the focus to LAND OF THE GIANTS. The unaired pilot used music from LOST IN SPACE, VOYAGE, and THE TIME TUNNEL. The actual series music has a similar history to that of LOST IN SPACE. John Williams scored a great deal of fantastic and overly large sounding music which fit in perfectly to LAND OF THE GIANTS. I mean it sounds gigantic. The Spindrift in the Space Warp theme was used only a few times in the show: in THE CRASH for the space warp AND the dog attack; for both balloon rides in TERROR GO ROUND and LAND OF THE LOST; the fight between the criminal giants in DOUBLE CROSS; and again in WILD JOURNEY during the flashback to the CRASH. All the feelings LAND stirs up are embodied in this music: the strange travelling through space and time in a ship, the on rush of something coming at you from out of the darkness, gigantism with emphasis on music that sounds towering, and fast paced action cues.

In THE CRASH, this music is soon followed by more soothing music with varied tension whirs within. The scence where Steve and Dan are out exploring the area had music from LOST IN SPACE used well and then breaks into a LAND shock theme which is soon replaced by music that sounds very like Jerry Goldsmith's PLANET OF THE APES and BENEATH THE PLANET OF THE APES chase music (which also feature Richard LaSalle-like music on the soundtrack--music which is used in THE UNSUSPECTED and many other second seasoners). This APE music is used again in ON A CLEAR NIGHT when Steve jumps on the spray can to distract the giant so Dan can run off and get away. PLANET OF THE APES is on a restored CD version.

Strains from the music just after Mark sets off the gas in the giant's lab as Dan uncuts Val and Steve up on the table top also sounds like beats from the APES music. This theme is used again in the teaser to TARGET: EARTH as the dogs hunt down the three men. It is also heard when Steve and Dan without Betty and Mark go through the animal cages in SEVEN LITTLE INDIANS. Here, it ends the same as in THE CRASH--with a building stir of sound into other action music. If I recall correctly, after THE CRASH, it is not used in its entirity.

The main titles of THE CRASH use uplifting and action filled music, not often heard on GIANTS in full. It features from when the credits return from after the teaser to when the spaceship actually crashlands this second time. This is used in part as title music to THE BOUNTY HUNTER as Fitzhugh is grabbed up by the giant. It is also used in the teaser to CHAMBER OF FEAR just as Fitz tries to distract the giant for Val to get away. One of the best uses besides the ones above, is the use in TARGET: EARTH as two dogs  with SID men chase Steve and Dan to a gopher hole. A shorter version is heard in the very tag-end of ON A CLEAR NIGHT when Murtrah breaks out of the locked door and Steve runs out of the vent, setting off the explosives. While this music is very fast paced, it too uses loud and blaring momentum to carry a feel of something huge running after something small.

Backtracking a bit, one must remember the classic action Williams music from THE CRASH and THE WEIRD WORLD. One is the music first heard when Steve runs from the giant spider in the forest--this is heard only in part and not fully heard in its completeness until the giant professor chases Val, Mark, Steve, and Dan off the step in THE CRASH and then puts his net over Dan and the gang all run into the drain--followed by the giant's arm and hand. This music epitomizes LAND OF THE GIANTS more than any other music. It is tense, fast paced, and sounds totally giant as if something huge and fast were after you. It is almost scary and uplifting at the same time. It is used in many episodes such as THE TRAP (during the episode titles, THE WEIRD WORLD when Kagen saves Barry, in GHOST TOWN as the tramp chases Val, Barry, and Fitzhugh, in BRAINWASH as the trio run from the foam in the fourth act in the caves, when THE BOUNTY HUNTER has Barry in his grasp and Chipper helps the boy get away, when the dog chases Dan, Mark, and Fitz in ON A CLEAR NIGHT..., in SEVEN LITTLE INDIANS when Grotius gets Dan, TARGET: EARTH when Steve finds Dan and Mark in the device, during the title credits in SABOTAGE, and the last gunfight in THE CHASE. During the second season the same chase-action music is heard when the dog attacks storeman in EVERY DOG NEEDS A BOY, when THE CLONES and the real little people were pulled through the vent by the suction machine, and in THE DEADLY DART when Steve breaks free of the electro magnet and then shorts it out and the whole place blows up. In DEADLY DART and THE CLONES this music seems to have more of an accent on the clanging bell type sound which builds up.

The other main action music is  the Cat Attacks Fitz and Barry and then the spaceship in THE CRASH. This music sounds like a better variation of some musical bits from THE THREE WORLDS OF GULLIVER ("Pursued by Giants" on the CD of GULLIVER) and which was also used in CLOSE ENCOUNTERS OF THE THIRD KIND--although not as effectively as either the first movie or GIANTS. This music starts out with a "shock"  opening, heralding the appearance of some monster or some dangerous threat--the cat in THE CRASH, the giant girl throwing matches at Steve and the fire, the gopher's appearance in WEIRD WORLD, the start of the fight between the two crooks in DOUBLE CROSS, the giant girl chasing the truck Steve and Mark are in at the end of GHOST TOWN, the giant sticking a broom into the drain in EVERY DOG..., the dog sticking its nose into the drain in CHAMBER OF FEAR, and the first part of the electro magnet sequence (which offers a great mix of the Prof. Chase and the Cat Attack music). This music seems to have gotten a translation in RETURN OF INIDU during the second half of the ghost attack just after the teaser. The "shock"  section of the music for the regular sound is preluded by a soft build up which repeats the same strains over and over but adding a bit more of a backdrop music and then we are hit with the shock music. After this is a section of whistling sounds which sounds very uplifting and this can be heard as Barry and Fitzhugh actually run away from the cat under a tree and up to the ship in THE CRASH; it can also be heard as we acutally see Betty, Barry and Steve pulled into the cave by the magnet in THE DEADLY DART. This uplifting music is very catchy on its own and hopefully it will be included on the CD set. After this section comes a brief respite---and this is actually heard when Barry and Fitzhugh enter the ship in CRASH and while Betty yells out to Steve in THE DEADLY DART in the cave while she is attached to the magnet. This seems to end the action music but whammo--we are hit with slow building shock music which becomes more action oriented once again--the cat is at the door in CRASH and in the cave in DEADLY DART, Steve pulls off his back pack and gets free of the magnetic poles. This action music theme becomes a full fledged tempo and  climaxes in one of the best repetitional bits of music. Agian, good examples of this whole bit is the gopher attack in WEIRD WORLD and the attack on Steve and Dan by

Agian, good examples of this whole bit is the gopher attack in WEIRD WORLD and the attack on Steve and Dan by the punk boy in EVERY DOG...ending in the garbage cans in an alley.

More action music includes the Val Captured by Prof. in THE CRASH which is used again in CHAMBER OF FEAR when Val falls off the wiring and lands on the device which starts the giant wax dummy monk--threatening Mark's life as he falls. In this second seasoner it seems that the beginning of the slight whirr of music is expanded upon for a few more seconds, adding an almost haunting feel. This is also heard during the teaser build up to a commericial in THE CLONES as Val and Barry hide in the cave from smoke and Gault. The full lead in to this in THE CRASH is very nice beginning when Steve and Val undo a rope and hang it down, to when Steve and Val are caught by the two giants. It is repeated in parts of various episodes--GENIUS AT WORK (as Kobick closes in on the men), in THE MARIONETTES (as the gorilla chases the girls and Fitz, eventually cornering Valerie), TARGET: EARTH (oddly used in the Steve escapes drain and finds the device music), and others. Like most of GIANTS action music, it contains lulls and high points, mixing moods well---and also has a build up, perhaps GIANT'S best build up. It represents coming danger to the show. The most effective use: the spider attack on Dan in DEADLY LODESTONE.

Another music bit that deserves attention is the catchy tune when Dan climbs the books in CRASH, this being repeated when Dan and Mark plan to light the bulb in WEIRD WORLD. This bit is hardly heard much but it is nice and sounds almost like NIGHT STALKER music, it is so dark sounding yet fast paced and expectant like a MISSION: IMPOSSIBLE theme.

Another bit of action music, better than the Dan Rescues Val and Steve music from CRASH is the music used in CRASH and WEIRD WORLD and most effectively in SEVEN LITTLE INDIANS. It is the bit when Dan and Mark rush to help a trapped Steve---trapped under a table, blocked from the two giants by boxes--which they start to remove. This music builds to an exciting single moment---nicley handling various episodes--but very well done in SEVEN LITTLE INDIANS. It is also heard in pieces in GHOST TOWN and fully in WEIRD WORLD. This music is preluded by weird music which sounds like something small were scurrying on the large floor--and also in WEIRD WORLD as the six little people scatter in the lab as the two giants search for them using a flashlight. This is also heard going into the stirring music as Betty and Steve avoid a giant hand in the corner. All great stuff.   

The giant coming music used when the professor carries Val and Steve into the lab for the first time while they are in the cage and he doesn't know it---is very grand. It is used a lot and most effective in WEIRD WORLD when Fitzhugh is shaken by the giant walking overhead and when he also is shaken by the gopher digging. It is used in a horror vein when the monk statue walks at Val and Mark, sounding quiet and building to a louder beat. This music makes one think giant and feel giant---or vica versa---it makes one feel small and as if something big were approaching slowly.

There is also music used in GIANTS which defies description: the music when Steve fights briefly with Kagen in WEIRD WORLD which is repeated in MANHUNT and other shows; the music which leads to a commericial as Val and Steve see the Professor emerge from the jungle in CRASH (also used in the car ride in COLLECTOR'S ITEM ---also just before a commerical break), almost all of MANHUNT with its strings and harps and mood pieces (some of which is ably used in the cat escape and monkey diversion in EVERY DOG NEEDS A BOY), and so much more. Stranger music is heard when Val climbs and falls in the Viking statue and then finds a cat on the shoulder of the Viking in CHAMBER OF FEAR, this music being used in MANHUNT and later in DOOMSDAY during the killing of North's aide. Steve searching on the tabletop, hiding as Garak tilts a can of explosive in COLLECTOR'S ITEM is a slow but GIANTS sounding bit of good music (first heard in episodes such as GENIUS AT WORK when Steve goes to see Jodar at the college and also when Steve and Dan first return to Enar's studio--to be confronted with the dog in CHAMBER OF FEAR). SIX HOURS TO LIVE contains several good themes--including a variation of the moody music from WEIRD WORLD--heard during Val, Fitz, and Mark's capture of the car keys and when Mark puts out the radio of the two giants--also when Fitzhugh is hurt when a giant piece of wood falls on him in the hole. This bit has a short five second piece put into it that sounds like goofy Dr. Smith music from LOST IN SPACE, then reverts immediatley to the serious stuff. All of the music as the little people sneak into the drugstore and encounter the druggist is very well done in SIX HOURS TO LIVE, this music lifted from first season.

There is also a lot of moody, dark, forboding music in THE CRASH and THE WEIRD WORLD. The latter features some of the best of the Williams mood pieces---when Steve, Mark, Val, and Betty run across the street to when they enter the lab to when Dan and Fitz are trapped behind the grill. All of this music, including a quick but extra tense commercial lead up and in, is very well done and is used over and over in LAND OF THE GIANTS--and this is a good thing. The sequence when Mark, Dan, and Steve climb up to the table has a beat to it and this is used in SABOTAGE while Zarken plants the evidence in the warehouse. This usually but not always leads into the Sleeping Music from WEIRD WORLD--the time Mark, Fitz, and Barry are sleeping while Chipper sneaks off and Barry awakens Fitzhugh, only to have him go back to sleep--and then Barry continues on--until Kagen captures him--all leads from a slow moving, mood piece into a build up to a commericial. The slow section of music is also used in SABOTAGE when the three men hide in the shoebox of Zarken's and we view his car heading toward the warehouse.

Other music from the above sequences is used in OUR MAN O'REILLY during the raid on the jeweler's shop---and it is tense pounding music, during the freeing of Mark from the can in SABOTAGE, during the other's efforts to free Val from the gorilla in THE MARIONETTES--given a great mix here from the opening titles to the rescue of Betty by Goldbe--all sounding very fresh. There are also variations on the "We've got to figure a way to get Val away from that ape"  music used in OUR MAN O'REILLY and many other episodes. One hardly noticeable variation on the John Williams music is in RETURN OF INIDU---here given a totally new sound but if you listen--especially during the ghost attack---it is really the same composition and is also quite good. Other more musically conventional episodes use the same mood music from WEIRD WORLD and the ones that come to mind in mix are: EVERY DOG NEEDS A BOY, THE LOST ONES, GENIUS AT WORK, THE FLIGHT PLAN, UNDERGROUND, DOOMSDAY, SIX HOURS TO LIVE, ON A CLEAR NIGHT YOU CAN SEE THE EARTH, SEVEN LITTLE INDIANS, THE CHASE, COLLECTOR'S ITEM, LAND OF THE LOST (listen to the sequence when Dan and Fitzhugh are captured in the fourth act) and THE DEADLY DART (listen to when Dan reports to Steve the location of Mark's location).

The music in THE LOST ONES is particularly good: when Steve and Mark are first knocked out by the teens is used briefly when Steve frees Mark and Barry from the music tube in TERROR-GO ROUND. The rest of the music from THE LOST ONES is new and is used extensively in later episodes such as THE CHASE, CHAMBER OF FEAR (getting past the dog), SABOTAGE, and MANHUNT (to name but a few). Presumably this music was written by John Williams or Leith Stevens (the latter of the two who had their music gracing DESTINATION MOON).

John Williams, great as he is, did not write all the LAND OF THE GIANTS music for season one. MANHUNT had many scores from Leith Stevens, cleverly indicative of a chase-flight mood. This music is also used over. Stevens also did UNDERGROUND but clearly there is also music from WEIRD WORLD. He also wrote a totally new and beautiful score for the full RESCUE--a brilliant change for LAND OF THE GIANTS musically. Music from NIGHT OF THROMBELLTINBAR is also of the same caliber and much of it is not used again--the best stuff being during the fight at the climax. Very few bits of the past music is used in NIGHT OF THROMBELLTINBAR but one piece--when Fitzhugh breaks out of the bag and warns Steve about the monkey chasing him--leading to a commericial suspense buildup--is Williams. For the most part, though, NIGHT contains fully new music. Leith also had many contributions to FRAMED, another brilliant score, much of which is used again in LAND OF THE GIANTS's future tales. Again, Williams music from THE WEIRD WORLD is also featured in FRAMED. The original music in FRAMED sounds majestic and is accentuated among the quiet whisperings of the hiding little people, especially amid the camera room trays and props and in the camera. The music from when Dan and the others follow the camera in which Steve and Val are hiding until they track the giant killer, first to the police station, then to his home is very well done, mixing mood and emotion well. That grandoise music was used in GENIUS AT WORK when Fitzhugh finds the pill on the ground and Jodar searches the forest calling for Barry and Fitzhugh. Some of this music sounds like a space walk of the type used in LOST IN SPACE--the early episodes and WILD ADVENTURE. The chase-flight-constant movement mood was also sustained in Steven's pieces for a majority, if not all of, THE CHASE (the titles were very indicative of this). The new music was atmospheric, slow at times and energetic at others. This was fit gently into older Williams and Harry Geller music. The new Leith Steven's tunes from THE CHASE was reused in CHAMBER OF FEAR (during the search sequences and parts of the dog sequences), EVERY DOG NEEDS A BOY, SIX HOURS TO LIVE, and other second season episodes. I particularly like the theme to the gas attack on Mark and Steve as well as the first long piece used when Mark and Steve raid Kobick's office in the exciting climax. The lead up to the commerical just as Steve and Mark were attacked by the rat was clever and was reused in OUR MAN O'REILLY when the store protection cop grabs O'Reilly off the street.

Arguably the most diverse composer for Irwin Allen and for GIANTS is Harry Geller. His music for THE GOLDEN CAGE varied from the usual John Williams tunes, early on in the second season. He proved himself again with TARGET: EARTH although much of TARGET: EARTH includes Williams music unlike THE GOLDEN CAGE. Geller's tunes for when Val, Fitz, and Mark work with Franzen and are attacked by his wife when in the prototype are very different from GOLDEN CAGE--very mechanical sounding and appropriate. I especailly enjoy his fight music when Franzen fights Logar. The Betty Worries music when Val comes out of the ship to comfort her is also a moody piece worthy of GIANTS. I also like the music when Mark climbs off the table and listens to the giants, then runs out under the door--it sounds like a swirling mist. Ditto the music for when Steve and Dan are trapped by the smoke bomb in the cave--in fact a lot of the cave music here is Geller's brilliance. Geller outdid himself in both THE INSIDE RAIL and GIANTS AND ALL THAT JAZZ. In the first, there are many themes reminescent of Williams, some outright variations such as when Dan drops the horseshoe on the giant and then Steve jumps to the draw to alert the others that he is here--this is used in early first season episodes as a commerical break lead up (such as when Steve is grabbed by Zarken in SABOTAGE as well as when the giant professor grabs his butterfly net for the first time in THE CRASH; and also when Val is grabbed by the professor in THE CRASH). Here, INSIDE RAIL changes it to be much softer but just as effective music. The chicken being attacked by the men is really another variation of the music when the cat attacks Fitzhugh and Barry in THE CRASH. When the sergeant grabs Mark, then the girls music is very good as is most of THE INSIDE RAIL. Another variation on the Val Grabbed music is heard when Barry rescues Fitzhugh from the horse--here it is very well done and almost unnoticable as that music but it is! I also like the teaser music. GIANTS AND ALL THAT JAZZ includes good themes mostly at the beginning when there are fights and when Val and Barry are spotted and then captured. There is also a nice slow jazzy theme to the titles of the episode. This is another oringinal piece--noteworth thoughout but espeically during the snake attack, the end fight sequence, and before each commercial. The jazz theme played by Dan and later by Biff is also catchy and can be heard again on the radio in PAY THE PIPER when the Senator turns on the radio and Dan yells, "Turn it off, it's no good." 

Irving Gertz wrote the muddy and interesting score for THE CREED. It adds a new dimension to the show: errie and fast paced all at once--and very memorable. The best part of the score is when the men leave for the hospital all the way to the end of their mission and their escape with Brule from it. I like a great deal of the Giant Finds Us music which is reused in GENIUS AT WORK mostly during the teaser as the giant hunts Barry and Fitzhugh and Jodar. This music can also be heard when Dan spills the cleaner over at the giant janitor and when the giant punk-Carl finds Barry, Chipper, and Val in the draw in EVERY DOG.... This music makes one feel something dreadful has not only just happened---but also that something dreadful will still happen. When Zerphant shook that bush in GENIUS AT WORK---it was chilling. A lot of Gertz's music appears again: TARGET: EARTH (when Betty worries at Spindrift), SEVEN LITTLE INDIANS (when Val and Fitz arrive at the zoo--and the music here is otherworldly), SABOTAGE, and extensively in EVERY DOG NEEDS A BOY (when Fitz and Dan find the good dog, when the bad dog finds Val, Mark, and Steve in the mouse hole). This music makes a fantastic impact on the series.

While THE FLIGHT PLAN used a lot of older themes from the show, the new music was written by Paul Sawtell. Sawtell wrote for films in the 50's including the Tarzan series (mostly the ones with Lex Barker and Gordon Scott). He also wrote extensively for VOYAGE TO THE BOTTOM OF THE SEA. Some of the new music is used when Betty, Steve, Dan, and Mark spot Joe in the cockpit of the Spindrift--seen from outside. Other than that, it is hard to tell which music is Sawtell's--perhaps the raid on the complex and the rescue of Joe was also new and a few bits and transitional pieces. It is not bad only hard to distinguish.

The next major impact of music on GIANTS, indeed, all of Allen's shows is Joseph Mullendore. Joseph has a sound all his own and this distinguishes his episodes from others. Like Harry Geller, Leith Stevens, Paul Sawtell, Irving Gertz, Richard LaSalle, his episodes make a welcome relief from the usual themes of the more regular and mainstream tunes of each series. This makes us feel GIANTS has various moods and feelings. The same happened on LOST, TIME TUNNEL, and VOYAGE. Irwin used all these composers on all his shows. In TERROR-GO-ROUND, Mullendore creates a dark piece which later had some earlier Williams music used--during the balloon ride we hear the dog attack=space warp music from CRASH. There is also a short piece from THE LOST ONES teaser as Steve saves Mark and Barry from the musical pipe. The music in the teaser of TERROR GO ROUND is exceptionally well done and the rest of the show is 85 percent new. Mullendors's score for SHELL GAME was much more memorable. One thing about his themes: they always fit the episode precisely--here in SHELL GAME, we have a bright sounding romp, accompanying the scences on screen well. From start to end the score is exceptional and deserves a CD all its own--the teaser and title music are very well done, action filled and tense without the cruel sounding darker themes. This is saved for the weasel attack on Dan and Mark. A truly great score to just listen to! RETURN OF INIDU had an original score which sounds magical at times, traditionally GIANTS at other times, and wholly interesting. One of the best parts is when the little people try to scare Enog out of the house before he finds Inidu's wand. The tempo build up and the scare music is welcome and the above mentioned variations during the ghost attack and the outside storm, not to mention the wild music heard during the hawk-owl attack, is welcome and fun. A joy from start to finish and I like the bits when Val leaves the mouse hole to when the police come. Also the ending light carnival sounding music is a nice change. Mullendore continued his great style in DEADLY PAWN and PANIC in the second season. Totally original and refreshing, interspersed with episodes of the other musicians. Some of the music used during the titles is used again as the music to Bertha Frye's theme song in DEADLY DART. The music when Mark is caught in the animal snare is noteworthy. The very end sounds exactly like the very end to LOST IN SPACE'S THE HAUNTED LIGHTHOUSE. While DEADLY PAWN music was very good, PANIC's music was even better. It is especially tense during the climax as the others try to free Dan and Betty from the freeze box. The dog chase, while not as exciting as Williams's actioner pieces, is okay.

Robert Prince wrote for VOYAGE and LOST more than GIANTS, I believe. His one score for GIANTS---NIGHTMARE is a good one. At times, it takes over the proceedings and this is supposed to happen as the nightmare relies on this effect. It also sounds garish and overblown in the appropriate places (such as when Barry and Chipper vanish from the lizard's area and when Steve fights Mark in slow motion while Mark moves in fast motion). When Val is captured by Kobick it is decidely less so---and sounds like a standard GIANTS piece--buut it is original and fitting. The same thing can be related about the Berger attack on the spaceship--exciting music. I also like the whole piece of music before, during, and after the Barry in the Ship Rescue. Nicely done.

Alexander Courage wrote some of the music for COMEBACK which also used Richard La Salle music.

Rich La Salle is something of a mystery. His music absolutuely fills the screen in many TV shows and also many movies across the years. I have heard his music in many Westerns from the 50's and 60's (including a movie with ARROW in its title and this movie also features the LOST IN SPACE- THE DERELICT music extensively), DEAD RINGER (a 1964 mystery movie starring Bette Davis where she has an evil twin), some of the last segments of the fourth season THE FUGITIVE episodes (most impressively THE SAVAGE STREET with Mike Ansara, DEATH IS A VERY SMALL KILLER, DOSSIER ON A DIPLOMAT, nad THE WALLS OF NIGHT among a few others) a B movie about piranha in the Brazilian jungles starring William Smith, a 1970's Vietname movie with Chris Mitchum, a 70's B-blood drinker movie called THE THIRSTY DEAD, THE PLANET OF THE APES TV series, Allen's CITY BENEATH THE SEA PILOT, Allen's THE RETURN OF CAPTAIN NEMO, a mid 70's documentary narrated by Rod Serling about the dangers of the sea including sharks, and the full series of both SWISS FAMILY ROBINSON and CODE RED, several BUCK ROGERS IN THE 25TH CENTURY episodes from 1979 and 1980 (most notably and completely UNCHAINED WOMAN AKA ESCAPE FROM ZETA with Jamie Lee Curtis, COSMIC WHIZ KID, SPACE VAMPIRE, ESCAPE FROM WEDDED BLISS and others), several of the latter WONDER WOMAN episodes from the early 80's (most notably during the two part THE BOY WHO KNEW HER SECRET, THE MAN WHO WOULDN'T DIE, and GAULT'S BRAIN), and Allen's TV disaster films--FLOOD! (actually a very good theme throughout and also containing the DERELICT, SECRET CITY OF LIMBO, TWO WEEKS IN SPACE, THE RAFT bright hopeful music---in the sequence when the pregnant Carol Lynley is saved from her flooded house), FIRE!, CAVE IN (classic LaSalle music here--sounding a great deal like THE MECHANICAL MAN, THE UNSUSPECTED, A PLACE CALLED EARTH, and THE DERELICT), THE NIGHT THE BRIDGE FELL DOWN, etc. His music always carries his trademark sound--and it is nice to hear--but always sounds slightly different. In addition, some of the music from PLANET OF THE APES sounds exactly like the music used in THE UNSUSPECTED and other second season LaSalle composed soundtracks (on the PLANET OF THE APES soundtrack "New Identity"  IS this music and other bits sound just the same as this often used GIANTS music).  There are literally hundreds of movies and television series that have been scored by this talented man. It remains for someone to do a complete credit listing (Jeanette get going on this one!).

Richard scored all of THE MECHANICAL MAN, THE UNSUSPECTED, A PLACE CALLED EARTH, HOME SWEET HOME, THE SECRET CITY OF LIMBO, GRAVEYARD OF FOOLS, and A SMALL WAR. Music from THE MECHANICAL MAN, THE UNSUSPECTED, and A PLACE CALLED EARTH was reused in many second seasoners, sometimes with other LaSalle music, sometimes with other music from Williams, Stevens, Geller, and the other composers' past works for the first season. Richard's same music also was heard in the mixes of CHAMBER OF FEAR, WILD JOURNEY (which also featuured some very new music by LaSalle), THE MARIONETTES (which featured the music of WILD JOURNEY as well as some of GRAVEYARD OF FOOLS), DOOMSDAY, PAY THE PIPER, THE DEADLY DART, THE CLONES, LAND OF THE LOST, COMEBACK, and OUR MAN O' REILLY.   

LaSalle's music has a more optimistic feel to it, lending to a brighter second season. The music from the MECHANICAL MAN featured some good stuff mostly when Steve was using the new telescope device but also when Fitz was menaced by the giant animal. This animal music is reusued in both OUR MAN O'REILLY when the cop is checking for clues in the forest and finds evidence and in THE MARIONETTES when Bobo grabs Val a second time outside the cage. The music when Steve uses the scope is heard when O'Reilly goes to the phone booth to find info for the Spindrifters. Another good piece is when the robot goes out of Mark's control and the three men are still inside it just before a commericial and after. This music is reused a lot on GIANTS. I also like the very end when Barry and Fitz talk leading to the very end of the episode. This music is very uplifting and most GIANTS episodes, first and second season, end with uplifting music (GENIUS AT WORK, NIGHT OF THROMBELLTINBAR, GOLDEN CAGE and others come to mind) with the exception of the end theme to THE FLIGHT PLAN (reused in BRAINWASH).             

THE MECHANICAL MAN is fully Richard LaSalle music and it sounds very nice. The music after Chipper is freed from the quicksand sounds a bit like some of the music in THE DERELICT and the scare music used in the early cave sequence in the teaser to FOLLOW THE LEADER and a dozen other LOST IN SPACE segments. LaSalle's score for this one was added to THE UNSUSPECTED along with some even nicer, new tunes, setting the mood in all the right places. The fight musics for this episode are very exciting, especially during the Steve-Mark-Dan fight at the climax of Act Four. This music is rendition of music used in a B-Western-Cowboys and Indians movie from the late 50's or early 60's which also had a large portion of THE DERELICT music in it. The fight music in the end is also used in an altered and more subtle version at the end fight of CITY BENEATH THE SEA pilot movie by Irwin Allen from the early 70's. In fact, the whole of that pilot movie uses terrific versions of LaSalle's music. The music for MECHCANICAL MAN and THE UNSUSPECTED fits GIANTS: it is light, moody, dark, exciting, mysterious, fast paced, silly, and serious. Some of it sounds drum like and is very fitting for the forest-jungle scences. The transitional music is also good--and some of this is used for the mini-chase after Steve dashes away from the time traveling villains in A PLACE CALLED EARTH. Some of the music is very Bernard Herrman-ish and this is evident during the drugstore scence in A PLACE CALLED EARTH.

LaSalle's HOME SWEET HOME was more original, with a fully brand new LaSalle score, again with variations on his own themes cropping thoughout. HOME SWEET HOME is another of those GIANTS scores that can be fully enjoyed by just listening. Much of it is airy, spacey, and odd with some kind of down-home approach lightness added to it. I particularly like Steve's search for Fitzhugh, the space warp and the metoeor music, as well as when Steve hurries Fitzhugh back to the time machine-pod. I also like the music when Steve finds the key on the Constable. And the music when Steve and Fitz first disembark in the Earth town and Steve tries to explain about what may have happened to them to Fitz. In short, I liked almost all of HOME SWEET HOME's score, which made a mediocre episode much better.  

Another fully original score throughout is LaSalle's SECRET CITY OF LIMBO which again, contains some redone tunes--mostly evident is the nice music from when Taru tells Val and Fitz if anyone comes they should freeze and the music transitions us to Betty scotch taped on the table as Mark and Steve run to her. This is a short but nice piece which is that same brilliant music from THE DERELICT just as John grabs the line Maureen shot to him--it is uplifting, hopeful, and light. I found that true of most of SECRET CITY OF LIMBO'S score. However, the fight music was brand new and while it is good and tries hard to be better than the fight music from THE UNSUSPECTED, it isn't. There is also music in LIMBO which is repeated at the very end of A SMALL WAR which is music heard in THE DERELICT as Maureen, unconscious, is brought in from the airlock and as she awakens and sees the three children hovering over her worried and then they smile. This is a very light piece and almost too optimistic and Disney-like. But I like it, a lot. It gives that edge to the Allen shows that other shows don't have--a kind of balance of the feelings of dark and light. The teaser music and just after during the episode credits has some very beautiful music, grand and large---it is just too bad we really didn't see a whole large city to go along with the great score here. This music is heard as Val and Mark first appear on the tranport platform and look around up to when Taru first looks in at them--also after the main series theme song--as the freeze frame shows his face--this music is incredible and very science-fiction-y.

By contrast, GRAVEYARD OF FOOLS, which uses some older LaSalle music, sounds more fantasy like. Most of this is actually lifted from other episodes but there is some new music, mostly during the plane's final escape from the graveyard which then switches to the fight music used in THE UNSUSPECTED, THE DEADLY DART, and others as the plane arrives back at the warehouse-lab--and this mix is nicely handled. There is also a nice, new action music trumpeting which is used in GRAVEYARD OF FOOLS but is more noticeable during the shooting at Dan and Steve by Thorg in WILD JOURNEY (again giving way to the excellent fight music from UNSUSPECTED). This new trumpeting music is also heard in A SMALL WAR as Steve divebombs the giant father in the toy plane and the man hurls rocks at Steve (again giving way after a return from the commercial break to the same US fight music). While all this sounds repititive, it isn't when viewed in the series which, again, uses all the LaSalle music combined with other music in some other, earilier episodes, especially WILD JOURNEY, CHAMBER OF FEAR, OUR MAN O'REILLY and THE DEADLY DART. Others--A SMALL WAR and GRAVEYARD are fully LaSalle. In THE MARIONETTES the same build up to the trumpeting chase-fight music and the cahse-fight music from only GRAVEYARD and WILD JOURNEY can be heard as the dancer girl giant lets the four go out of the fallen cage and as the knife thrower throws a knife at Goldbe.

A SMALL WAR's music mix can be called nothing but brilliant. Along the way there were many great mixes of music. SEVEN LITTLE INDIANS, TARGET: EARTH, CHAMBER OF FEAR, COLLECTOR'S ITEM, THE CHASE, SABOTAGE, THE CLONES, EVERY DOG NEEDS A BOY, LAND OF THE LOST, OUR MAN O'REILLY, DOOMSDAY, ON A CLEAR NIGHT YOU CAN SEE THE EARTH (a fantastic mix with some extra ping to the beats), FRAMED (which sounds more majestic than usual), BRAINWASH (which has tremendous sounding music mixes during Mark's rescue of the brainwashed Steve), THE DEADLY DART, THE WEIRD WORLD and SIX HOURS TO LIVE.

The only episode score that really doesn't do much is COMEBACK, which is also my least favorite episode. Still, it uses LaSalle music well during the gorilla menacing Barry and Dan scences (the LaSalle music could have three CDs devoted to it alone). The original music was by Alexander Courage. There are spurts of LaSalle here and there but not much. To his credit, Courage tried to use old fashioned movie-serial type music to add to the theme of the episode. This is used very effectively during Val's Rescue From the Lava Pit---but not in the rest of the episode. A possible exception is the Steve-Mark sword fight leading to the Steve Hanging Over Fire theme. For the most part, it is lack luster with only the teaser opening and ending music, the title credits for the episode, the left over LaSalle music, and the Val Pit scence fairing the best. Not the best GIANT'S score.

This brings us to VOYAGE TO THE BOTTOM OF SEA and THE TIME TUNNEL. VOYAGE revolutionized adventure show music. Before it premeired there was little continuity or excitement in the scores of action adventure shows. Each season has a distinct musical feel, but as in all Allen series, there are throwbacks to earlier scores and remixes with new and old music. VOYAGE could probably generate ten CDs, including the odd scores of RETURN OF BLACKBEARD.

For the most part, the first season used the Paul Sawtell music from ELEVEN DAYS TO ZERO. This is an excellent score and hopefully will make up parts of the first CD, if not all. From start to finish the themes are fitting, nice to listen to, and complimentry to the episode. From the storms on the movies Nelson shows to the very end with its looking toward the future of Seaview and its job, the score enlightens us. The action music used during the squid fight leads us into a commercial in grand style and continues, almost uninterupted with the action--it is really very good. Previous to this is a long and extended melody of exploration music which gives the feel of the wonderment of the sea and the scuba divers as they swim about. This is repeated as the montage of images of the Seaview's later journey to the polar caps is shown. The music gives on the feeling of a long but enjoyable journey. The Lost in the Ice Cap music is also very good and the accompaniment music to the Snow Cat is also excellent, mixing well with the action and when the Snow Cat returns the music is exciting and optimistic.

CITY BENEATH THE SEA and THE FEAR MAKERS were much more pessimetic but they had to be. The themes accompanied murder (CITY) and clastrophobic surroundings (FEAR). The final destruction of the CITY was well done and the fights in the ocean were well scored.

The Seaview music itself, used throughout the show, is very evident in the first season and in THE VILLAGE OF THE GUILT it is prevalent. This also comprises the musical theme song, the only time an Irwin Allen series actually did this--use the theme song to the overall series amid the actual episodes. This theme epitomizes the VOYAGE feel and when they changed the theme for one episode, hoping to do it for the entire second season (JONAH AND THE WHALE by Jerry Goldsmith) they immediately went back to the original, proving its strength. To be fair, the Goldsmith theme is a brooding, moody piece akin to exploring a dark, deep, dank sea and it fit that episode, JONAH, quite well. The original theme gives us the joy of being out in the ocean. A version of this graces LONG LIVE THE KING and almost all the episodes. 

THE MIST OF SILENCE gives us a very MISSION: IMPOSSIBLE like score, several years before MISSION: IMPOSSIBLE ever came on the air. It also sounds very Brazilian as the story tells of a Latin American country and the struggles of its freedom fighters against a cold regime. The best music here is the music used when Crane and Nelson battle the lead military man---it is reused, in part, during the chase at in the fourth act of TURN BACK THE CLOCK. It is quite catchy.

THE PRICE OF DOOM is noteworthy for the errie music that accompanied the monster blob-planktons as they moved quietly through the ship, starting out as a quiet hum and building to a tense more action filled piece. Without this music, the monsters would have been much less scary.

THE SKY IS FALLING had some otherworldly music, for the first time on VOYAGE. The very end as the humans watch the UFO flying off as Nelson wonders if we will remember that they were friendly is graceful and enigmatic and contains a bit of the VOYAGE theme song. SUBMARINE SUNK HERE had a much more pessimistic score than usual and the music accompanying the deaths of the many crewmen make it more tragic, especially the crewman who dies going out into the crush depth water. THE INVADERS used excellent music, action wise and mood wise. Nelson's final defeat of the alien in his room has a spine tingling fast beating music used in other action sequences in other episodes such as BUCCANEER, THE SABOTEUR, and THE TRAITOR, all three of which had excellent scores. The music as the missiles drop huge boulders on the remaining aliens is swirlingly effective and sounds prophetic. Less inventive is the direct lift of the Gort robot music from DAY THE EARTH STOOD STILL for the VOYAGE show THE INDESTRUCTIBLE MAN, although the very end theme is quite good, coming from past episodes. LONG LIVE THE KING had some unusual music for VOYAGE and some of it is inspired by Christmas and by the foreign country motif. It is much warmer than usual for VOYAGE. THE HUMAN COMPUTER is odd in that it is one of the few episodes that has long stretches without any music whatsoever and that is to its credit. The show just works better without less music.

THE SABOTEUR contained music that sounded like MISSION: IMPOSSIBLE music, only this time the slower, more subdued type. This is evident as Crane messes around with the missile cilo. This music is sometimes used in THE TIME TUNNEL. The feel is of someone skulking around doing something they shouldn't be and hoping they wouldn't get caught. The climax of this show and THE TRAITOR used some excellent action music which accentuates the Cold War feel of the first season, some of which came from THE LAST BATTLE. This music is also used in many other first seasoners and sounds like a machine gun going off (it can be heard when the dinosaurs battle in TURN BACK THE CLOCK).

HAIL TO THE CHIEF had a very mysterious score and slow as it is, picks up and really helps the last scene as Nelson battles the female assassin scientist with her death ray device.

Other episodes do not stand out as much but also come to mind: THE GHOST OF MOBY DICK, HOT LINE, THE MAGNUS BEAM (with some terrific chase and fight music), VILLAGE OF THE GUILT (with excellent fight music on the hill and wonderful music during the teaser and the octopus attack at the climax), THE AMPHIBIANS, and THE ENEMIES.

JONAH AND THE WHALE started out the wildly different second season soundtrack: different because the music is so totally removed from the first season, even if the stories, at first, weren't. Moody, quick paced and slow at the same time, catchy during the rescue attempts, and absolutely bellowing at times--as it should be with the whale motif, it is wonderful. Like LAND OF THE GIANTS music, it sometimes sounds as if something large and unstoppable were coming at you--except this time, under the sea. It also has the feel at times that there are high waves rocking--fitting for VOYAGE. I particularly like the music just as Nelson starts the ten second countdown and Lee appears at the window of the diving bell within the whale--this catchy tune is used again in the second season--most memorably in TERROR ON DINOSAUR ISLAND (when Lee hears Nelson calling in the fourth act). There are also plenty of "shock"  music cues in this new theme and these are used a lot in the second season and sometimes in the third and fourth (SECRET OF THE DEEP). JONAH music is repeated in THE SHAPE OF DOOM which also features a whale.

AND FIVE OF US ARE LEFT by Lenny Hayton has some lovely pieces of music especially the very last tune as Nelson walks away from the Japanese survivor (this was also the last bit we hear in THE LOST BOMB and DOOMSDAY ISLAND). There are also some very moody, very dark and dramatic scores that go along with this very adult, very under rated episode-AND FIVE OF US ARE LEFT.

THE CYBORG used music that became one of VOYAGE'S lead ins to  commericial breaks and it is heard when Ulrich rushes at Nelson from his wheelchair at the very end of the fourth act. This music is also used when Nelson tells Kowalski to hang on just at the end of the DEAD MAN'S DOUBLOONS when they are attacking the pirate base; it used many times throughout the rest of the season THE DEADLIEST GAME as Chip is attacked at a gas station, as the ship shakes in THE MACHINES STRIKE BACK and some of THE MENFISH just at the end of the exciting fourth act). It can also be heard as the manfish bursts through a wall and attacks Crane in THE MENFISH and THE MERMAID. It is sometimes used in the last two seasons. DEAD MAN'S DOUBLOONS also used the LAST WAGON music at the very beginning of the teaser.

LEVIATHAN reused some of the JONAH music, mostly when the giant shark eats the scientist at the beginning but there is a lot of original music also. The end music as the giant scientist attacks Seaview is actually another Herrmann variation of music used in THE MYSTERIOUS ISLAND as the volcano blows smoke and ash in that great film and also the beginning music of the credits (which is on CLASSIC FANTASY FILM SCORES and THE MYSTERIOUS FILM WORLD OF BERNARD HERRMAN. Some of the balloon escape music sounds a lot like music used in the fires on LAND OF THE GIANTS (such as FRAMED and THE CLONES). 

THE MONSTER'S WEB featured some fine music used for the giant spider which gives the feeling of something crawling and the sea, both at one time in one pulse pounding beat.

Other scores that seem somewhat more original than redos include the sneaky sounds of THE SILENT SABOTEURS but honestly this is not a memorable score. Also fitting but not outstanding in memory are the subdued scores for THE PHANTOM STRIKES and THE RETURN OF THE PHANTOM with the sequel having memorable music only when Crane assualts the girl while possessed by the ghost of Capt. Kruger.

There is also a piece of tense action music used only in the second year. It is heard as Nelson gets his foot caught in a rock while dinosaur lizards attack each other and Sharkey tries to remove his Admiral's foot from the rock in TERROR ON DINOSAUR ISLAND. This music is better heard (since the dinos are screeching loudly in TERROR ON DINOSAUR ISLAND) in THE MACHINES STRIKE BACK (during Nelson and Crane's escape and as a missile is diverted in the teaser), THE DEADLIST GAME, and THE X FACTOR (as the cars are attacked by the helicopter). It is also used, in part, in THE MENFISH climax, a climax which mixed many of the second season actioner music into one with great results.

Music that seems out of synch with the rest of the season, but is great to listen to, is from ESCAPE FROM VENICE (which also features a limerick music with words--a spy song in code which also gives way to a wordless end theme in the epilogue), THE LEFT HANDED MAN, and TIME BOMB.

Flying Sub music: some of my favorite VOYAGE themes. LEFT HANDED MAN and THE SKY'S ON FIRE as well as others such as the title credits to THE MONSTER'S WEB used fast paced, uplifting music that is played as the Flying Sub soars through the air, cutting like a knife. Other music is used when the FS launches and still other music is used when it dives into the sea and when it jets out of the air into the sky. Very lively, ear opening music. This is sometimes used in and out of another theme which makes a listener feel the FS is hovering and can be heard in the teaser to TERROR ON DINOSAUR ISLAND and in many episodes that follow (KILLERS OF THE DEEP, DEAD MAN'S DOUBLOONS, AND FIVE OF US ARE LEFT, ESCAPE FROM VENICE, and sometimes in the third and fourth seasons). This music sounds more military but then gives way to more relaxed mood usually as the viewport of the Flying Sub shows us forests or open stretches of ocean or land from the pilots' point of view. It is also used, less often, to show us the same point of view when the FS is submerged such as in LEVITHAN.    

Slower and quieter music from JONAH is used effectively in THE SKY'S ON FIRE as the ice falls around Seaview and also in GRAVEYARD OF FEAR as the Seaview encounters a graveyard of sunken ships. GRAVEYARD had a strange mix of music fitting to the horror motif of that episode. GRAVEYARD OF FEAR had some quiet, almost psychological themes to its score but it is most memorable with its title opening. As the title appears we hear a light theme introducing us to Act One and this is later repeated in future episodes.

The third season is perhaps the oddest of musical mixes with more alien-space sounding music (DEADLY INVASION, MONSTER FROM THE INFERNO, THE TERRIBLE TOYS, DAY OF EVIL which a very tense segment which even though dealing with aliens from space again remained entertaining and interesting with a taut very otherworldly score to match and the last few moments of this episode end with a very alien sounding theme, followed by a momentary reprieve of fresh air whic in turn is followed by the familiar Seaview cruising home music--all very nicely edited into each other in this episode and this is repeated later but not in such fullness as in DAY OF EVIL, THE HEAT MONSTER, and DEADLY CLOUD some of which comes from THE MENFISH but much of which is new to VOYAGE. Again, Herrman music and new variations are used in a great majority of these. The otherworldly-almost god-like THE TERRIBLE TOYS soundtrack uses not only the sun and Smith changing course music from WILD ADVENTURE but also music from THE DAY THE EARTH STOOD STILL and music from VISIT TO HADES on LOST IN SPACE and other LOST IN SPACE scare music from Season One and Two--WRECK OF THE ROBOT when the Saticon-like aliens steal the robot from the ship after going through it. This mix is incredible and like THE MENFISH it deserves its own CD--it sounds and evokes feelings and thoughts of the "aliens are gods"  writer Erich Von Dankien and the similar horror-aliens are monsters on Earth writer--HP Lovecraft. DEADLY CLOUD uses LOST IN SPACE scare music and DAY THE EARTH STOOD STILL. SHADOWMAN uses more Herrmann and LOST IN SPACE Saticon music from THE GALAXY GIFT and WRECK OF THE ROBOT. THE HEAT MONSTER used Herrmann (JOURNEY TO THE CENTER OF THE EARTH and that same short piece of JASON music expanded to a longer version). JOURNEY, which is soon to come out on CD, is on part of THE FANTASY FILM WORLD OF BERNARD HERRMANN.

As another aside, JOURNEY TO THE CENTER OF THE EARTH music is reported to have been featured in THE INDESTRUCTIBLE MAN, CRADLE OF THE DEEP, THE FOSSIL MEN (which also had some DAY THE EARTH STOOD STILL in it), CAVE OF THE DEAD (as Nelson enters the sub and sees only skeletons), JOURNEY WITH FEAR, and possibly TIME LOCK.

DEADLY INVASION had some first hand music and used some DEATH WATCH music. The fights in DEADLY INVASION were excellent in score, especially when Nelson and Sharkey burst out of the forcefields and fight the alien guard. This music is used in the very last episode, NO WAY BACK as Nelson rushes to find the time bomb that Mr. Pem planted on Seaview before it explodes this time around. It is used in many of the fight sequences---the best of the fight music of later VOYAGE episodes can be heard in THE DEADLY DOLLS, THE CREATURE (the third season CREATURE as opposed to the first season CREATURE), EDGE OF DOOM, MAN OF MANY FACES, CAVE OF THE DEAD (a wild electic piece), and NO WAY BACK among others, any of which could provide a full CD sample of VOYAGE music.

There is also another, less effective, but enjoyable action theme used in episodes such as THE EDGE OF DOOM. It repeats the same beat over and over and sounds like an underwater fight theme but it is used many times, mostly when a fight in the Flying Sub takes place but sometimes effectively over the episode titles. It is also used in that great mix from SECRET OF THE DEEP (which would make a great CD itself!).

Of note in Season Three is the offbeat score for the offbeat episode THE WAX MEN. I particularly enjoyed the theme as Crane dashes from one place in the control room to the bay of the FS. This is a slow bit of "sneaking around"  music which builds to a pulse pounder of fast paced action music. Also memorable is all the shake music used and the music used when the clown faces Nelson and Crane in the control room at the electrifying climax and as Seaview shakes--again. Good stuff--and yes, it would provide a great CD all to itself. So much "cat and mouse sneak and chase"  music in it, make for a great score.

THE FOSSIL MEN while derivative in score contains a wonderful mix. There is also the music as Crane battles the rockman with a only a lead pipe in his hand while Chip and Nelson plant explosives on the door to break in and help him. This music is excellent and is used in too few episodes (the third season THE CREATURE, THE MUMMY and a few others).

The two werewolf episodes in the third season (WEREWOLF and BRAND OF THE BEAST, a sequel) and THE HAUNTED SUBMARINE provided more scare music, some of which is from the two PHANTOM episodes from season two. This is supernatural stuff and fitting and scary. THE HAUNTED SUBMARINE fares better than all the supernatural scores for VOYAGE but the plot...well, this is supposed to be about the music only.

The fourth season had more offbeat scores than any other: JOURNEY WITH FEAR, SEALED ORDERS, TIME LOCK, TERROR (with very good variations on the space alien musics), RESCUE (with very good music as Nelson is searching for a hidden radio but plenty of older ENEMY BELOW music too), A TIME TO DIE (which sounds a great deal like BLAST OFF INTO SPACE and HAUNTED LIGHTHOUSE music from LIS), BLOW UP, THE RETURN OF BLACKBEARD (a totally new score by Mullendore), THE TERRIBLE LEPRECHAUN, NIGHTMARE, MAN-BEAST (which actually sounds watery and almost Twilight Zone-Outer Limit-ish and is very scary and odd), SAVAGE JUNGLE (which seems to be totally new music added to the old first season music from MIST OF SILENCE), FLAMING ICE and ATTACK! (both totally new), THE DEATH CLOCK (with the strangest score from any Irwin Allen production and mostly all fresh), and NO WAY BACK.  Mixing plenty of old and new were: THE DEADLY DOLLS, CAVE OF THE DEAD, MAN OF MANY FACES (the music when Crane unmasks an attacker and finds it is Kowalski is very good and is used again when the two headed bubble creature plays with the Flying Sub in SECRET OF THE DEEP), FATAL CARGO (I like the music when the white gorilla traps Chip and Sharkey in the Missile Room), THE LOBSTER MAN, THE ABONMINABLE SNOWMAN (an episode which scared the heck out of me as a young child and I am sure the music had a bit to do with this), and EDGE OF DOOM.

Throughout all four seasons there was traditional and offbeat music used for the many travel scenes of Seaview, all with the theme song somewhat noticeable underneath--to great effect.

Some LOST IN SPACE and TIME TUNNEL music was featured in episodes such as THE TERRIBLE TOYS and THE HEAT MONSTER. Goofy LOST music was used briefly in THE HAUNTED SUBMARINE and TERROR ON DINOSAUR ISLAND. SHADOWMAN used LOST  "scare" music. 

VOYAGE was no exception the excellent standards the other three Allen shows used and the music was certainly of high caliber. What was exceptional was the ability for the show to sound fresh from ELEVEN DAYS TO ZERO to NO WAY BACK.

THE TIME TUNNEL reused many themes from VOYAGE TO THE BOTTOM OF THE SEA. END OF THE WORLD used fight music from VOYAGE'S second and third season as well as the shock grandiose music from LOST IN SPACE's second season--the opening title to act one of FORBIDDEN PLANET and the going into the sun music. REIGN OF TERROR and SECRET WEAPON sounded totally new and very original with REIGN being more lively. INVASION used the old spy music from VOYAGE'S first season (THE TRAITOR and THE SABOTEUR). It, THE GHOST OF NERO and other episodes also used the scare music from VOYAGE, LOST IN SPACE, and the mummy music which was taken from the 1950's spy music mentioned earlier. This music is also the same type of music discussed when Will falls down the hole in THE LOST CIVILIZATION and is also used in VOYAGE'S THE MUMMY. It can also be heard briefly in THE ASTRAL TRAVELLER (as well as some optimistic music when Will finds out he is in Scotland--turning grim when he sees a moat). Plenty of the LOST IN SPACE and VOYAGE scary music is reused also (KILL TWO BY TWO, PIRATES OF DEADMAN'S ISLAND, REVENGE OF ROBIN HOOD, and MERLIN THE MAGICIAN are some of those).

Early THE TIME TUNNEL music didn't really establish any type of pattern. THE DAY THE SKY FELL DOWN had a marvelous score, seemingly original and not unlike the offbeat VOYAGEs, LOSTs, and GIANTS scores. This happens again several times later: REIGN OF TERROR (an incredibly good score by Leith Stevens), SECRET WEAPON, and THE DEATH TRAP. Other episodes use a great deal of visual stock footage from big budget films and I suspect plenty of the music from those films was also lifted. I suspect this for: ONE WAY TO THE MOON (with plenty of stock footage from DESTINATION MOON and most likely the music came from that movie also--as it was scored by Leith Stevens), THE LAST PATROL (at least parts of it were original), REVENGE OF THE GODS, THE ALAMO, MERLIN, REVENGE OF ROBIN HOOD, MASSACRE, NIGHT OF THE LONG KNIVES, some of THE WALLS OF JERICHO, BILLY THE KID, the battle scences in RAIDERS FROM OUTER SPACE, and maybe ATTACK OF THE BARBARIANS. As an aside Leith Stevens also scored the classics called WAR OF THE WORLDS, WHEN WORLDS COLLIDE, and DESTINATION MOON (all three are on CD), all of which can be noted as having similar music to the music he used in the Irwin Allen shows. All marvelous.

About the time of the episodes THE GHOST OF NERO and THE WALLS OF JERICHO a new TIME TUNNEL action piece was written into the show. It is as good as any of the action music used in the other three shows. This can be heard in IDOL OF DEATH (when the tunnel aide tries to steal the mask treasure and attacks the tunnel staff), PIRATES OF DEADMAN'S ISLAND (when Beal attacks Doug on the ship just before Doug and the boy vanish), and TOWN OF TERROR (during a fight between the two and the aliens who are about to grab the girl). It is sometimes heard along with another action music theme, usually the two used together. At times, it seems as if the two are one piece. ATTACK OF THE BARBARIANS (when Polo and aides attack the men who want to kill a tied up and left Doug) and THE DEATH TRAP (during the many fights in that episode) seem to use this other piece without the action-fight from TOWN OF TERROR. It is not as good but maintains a tense feel. Both are heard when Doug attacks the saboteur Neman in CHASE THROUGH TIME.

Other original TIME TUNNEL music is the great, dazzling piece that accompanies Tony and Doug as they are seen flying through time. Another is the cliffhanger still frame piece of music which sounds like a ticking clock winding down. There is also music used for the various disappearances and appearances, unlike most of the sound effects used in VOYAGE, LOST, AND LAND for such things. Here, it is a mystical batch of music pieces heard at the end of DEVIL'S ISLAND and a great deal during TOWN OF TERROR.

THE TIME TUNNEL also heavily used JOURNEY TO THE CENTER OF THE EARTH music. Unlike the smaller pieces used from this movie in LOST IN SPACE and VOYAGE, many of THE TIME TUNNEL lifted pieces are on CD (hear the FANTASY WORLDS OF BERNARD HERRMANN). This music is when Alec falls down a cave and gets lost from the others. It sounds like the sands of time are falling and looks like it in the movie. THE TIME TUNNEL used this a great deal. It can be heard clearly in KIDNAPPERS when Ott attacks the tunnel complex at the beginning and in CHASE THROUGH TIME when the bees attack the saboteur Neman in the finale.

Many episodes of THE TIME TUNNEL had no real musical identity but what was there was interesting. Occasionally, LOST IN SPACE music would be used (A VISIT TO HADES). This and a great majority of the music discussed above that was lifted from "scare"  sequences really fit the Medevil and World War II eras quite well. They also fit the scare episode with Nero's ghost.

Some transitional music used was actually transitions used in LOST IN SPACE which LAND OF THE GIANTS also lifted (as discussed above) was used in TIME TUNNEL (INVASION is one example).

DEVIL'S ISLAND had a nice, if undistinguished score. This can be said for most of the scores for THE TIME TUNNEL, which had music for the various appearances and disappearances on the show (many not heard on LOST and VOYAGE until AFTER they were on THE TIME TUNNEL).

CHASE THROUGH TIME used a small bit of music from THE LAST WAGON just as Neman tells the Lab where the bomb is and Kirk and Ray find it. CHASE THROUGH TIME also uses the music from VOYAGE'S THE SABOTEUR (when Crane sabotages the missile room cyclos). This was used in other TIME episodes. 

In all, the four Irwin Allen series used a great deal of music to evoke feelings of all types and to compliment the visuals, which, when all is said and done, would not be as spectacular without the accompiment of the great storehouse of music that was used in all four series, be it original or from other sources. When the CDs are released, if they are, I hope the makers take this into consideration and plan future volumes. Irwin's series could fill over five dozen volumes!






















THE FEAR MAKERS-Hugo Friedhofer


THE PRICE OF DOOM-Hugo Friedhofer and Alexander Courage


HOT LINE-Paul Sawtell





THE EXILE-Paul Sawtell




DOOMSDAY-contains stock which is also used in THE TIME TUNNEL


THE INDESTRUCTIBLE MAN-Bernard Herrman, others




JONAH AND THE WHALE-Jerry Goldsmith, the second theme song


THE CYBORG-Alexander Courage

ESCAPE FROM VENICE-Nelson Riddle, Riddle made another theme song

TIME BOMB-Leith Stevens



THE X FACTOR-Leith Stevens

LEVIATHAN-Alexander Courage


DEAD MEN'S DOUBLOONS-has some Last Wagon Music 


THE PHANTOM STRIKES-Lenny Hayton, Herman Stein (both credited)

KILLERS OF THE DEEP-has some Last Wagon Music









WEREWOLF-Lenny Hayton

THE LOST BOMB-Alexander Courage







THE HEAT MONSTER-Bernard Herrman, others

THE FOSSIL MEN-Bernard Herrman, others

THE MUMMY-Bernard Herrman, others

SHADOWMAN-Bernard Herrman, others


THE WAX MEN-Robert Drasnin

DEADLY CLOUD-Bernard Herrman, others



CAVE OF THE DEAD-Bernard Herrman,

JOURNEY WITH FEAR-Bernard Herrman,




TIMELOCK-Lenny Hayton




BLOW UP-Leith Stevens





MAN BEAST-Leith Stevens


FLAMING ICE-Alexander Courage

ATTACK!-Irving Gertz













THE DERELICT-Herman Stein, John Williams ?


THERE WERE GIANTS IN THE EARTH-Herman Stein, John Williams,   Bernard Herrmann

THE HUNGRY SEA-John Williams, Bernard Herrmann, Last Wagon music

WELCOME STRANGER-Herman Stein, John Williams






RETURN FROM OUTER SPACE-Christmas music, new music

THE SKY PIRATE-new sad music

GHOST IN SPACE-Bernard Herrmann, others

WAR OF THE ROBOTS-Bernard Herrmann, others




FOLLOW THE LEADER-Bernard Herrmann, John Williams


WILD ADVENTURE-Alexander Courage


FORBIDDEN WORLD-Robert Drasnin, some John Williams




THE DREAM MONSTER-Bernard Herrmann,







CAVE OF THE WIZARDS-Alexander Courage

TREASURE OF THE LOST PLANET-stock, Courage, Stevens


THE PHANTOM FAMILY-Bernard Herrmann, stock

WRECK OF THE ROBOT-Bernard Herrmann, stock

THE ASTRAL TRAVELLER-Khyber Rifles, other stock


WEST OF MARS-Robert Drasnin

THE MECHANICAL MEN-Alexander Courage, coronation from PRINCE VALIANT



















CRACK OF DOOM-Robert Drasnin     


MASSACRE-Joseph Mullendore



THE DEATH TRAP-Robert Drasnin


NIGHT OF THE LONG KNIVES-Bernard Herrman (from King of KhyberPass), INVASION-

REVENGE OF ROBIN HOOD-from old movie



GHOST OF NERO-Bernard Herrmann,




PIRATES OF DEADMAN'S ISLAND-has some Last Wagon Music

CHASE THROUGH TIME-Bernard Herrmann,


ATTACK OF THE BARBARIANS-some Last Wagon music


THE KIDNAPPERS-Bernard Herrmann,


TOWN OF TERROR-Bernard Herrmann,



THE FULL UNAIRED PILOT-John Williams, others





THE CRASH-John Williams, bits of Jerry Goldsmith, Bernard Herrman

FRAMED-Leith Stevens, John Williams


TERROR GO ROUND-Joseph Mullendore

THE FLIGHT PLAN-Paul Sawtell, John Williams

MANHUNT-Leith Stevens


THE CREED-Irving Gertz









SEVEN LITTLE INDIANS-Williams, Gertz, Geller

TARGET: EARTH-Harry Geller, John Williams


RETURN OF INIDU-Joseph Mullendore

RESCUE-Leith Stevens

SHELL GAME-Joseph Mullendore


THE CHASE-Leith Stevens, John Williams




DEADLY PAWN-Joseph Mullendore



CHAMBER OF FEAR-Richard LaSalle, John Williams, Leith Stevens

THE CLONES-John Williams, Richard LaSalle

COMEBACK-Alexander Courage, Richard LaSalle



NIGHTMARE-Robert Prince


PANIC-Joseph Mullendore

DOOMSDAY-John Williams, Richard LaSalle

A SMALL WAR-Richard LaSalle

THE MARIONETTES-John Williams, Richard LaSalle

WILD JOURNEY-Richard LaSalle, John Williams





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