Black Orchid (tx: 01-02/03/82)
Revelation of the Daleks (tx: 23-30/02/85)
Good Vibrations – The Surfers
Cuts: 0’19” is heard (although 0’33” was cleared for use) 7 minutes into Part One, as the DJ, in full 60s hippy costume, first watches Peri on the video screen.
Releases (select releases): The Beach Boys were an American sensation: the creators of deliciously sun-kissed harmonies that surfed around the world, producing an uplifting soundtrack to an endless summer in the 60s. Their original version of Good Vibrations was released as a 7” single (Capitol 5676) in October 1966, and on the album ‘Smiley Smile’ (Brother T-9001 & ST-9001) in September 1967.
The version used in Doctor Who was a cover version from the LP The Surfers: ‘Sounds Like the Beach Boys’ (Contour 2870 407), Side 2 Band 1, released 1971. “The Surfers” were no more than a group of session musicians formed for one day to re-create some classic Beach Boys Songs for a budget release.
Availability (select releases): the Surfers’ album has never been reissued, but it can currently be purchased as downloadable mp3s from www.BuyHear.com; the original Beach Boys version is readily available on compilations such as ‘The Very Best of The Beach Boys’ (EMI 5326152), released July 2001.
A Whiter Shade of Pale – Procol Harum
Cuts: 0’36” (although only 0’33” was cleared!) is played 11 minutes into Part One, as the DJ reads a dedication to the residents of the mortuary.
The BBC sourced the track from the original 7” single (Deram DM 126), released in May 1967; the song also appeared on Procol Harum’s eponymous LP (DES 18008) in September 1967. By far the band’s most popular song, it was reissued and re-released numerous times before 1985 – for a good discography visit www.procolharum.com.
Availability (select releases): the track is readily available on many compilation albums and the CD reissue of ‘Procol Harum’ (Repertoire REP4666), released April 2001.
Hound Dog & Blue Suede Shoes - [uncredited cover versions]
Cuts: Hound Dog 0’58” (although only 0’50” was cleared) 13 minutes into Part One, as the DJ does the hand-jive, baby, and reads a further dedication.
Blue Suede Shoes 0’25” (0’29” was cleared) in the same scene, following-on directly from Hound Dog.
Releases (select releases): Hound Dog Elvis Presley’s immortal version of this Leiber & Stoller song (initially recorded by Big Mamma Thornton in 1953 and Freddie Bell & The Bell Boys in 1956) was originally a 7” single in July 1956 (RCA Victor 47-6604, USA).
Blue Suede Shoes Carl Perkins’ original recording was released as a 7” single in January 1956 (Sun 234), with the famous Elvis Presley version following it to vinyl in September 1956 (RCA Victor 47-6636).
Availability (select releases): the Smash Hits versions of these tracks are currently unavailable; the original Elvis versions are on the CD ‘30 #1 Hits’ (RCA 07863680792), released September 2002.
In the Mood & Moonlight Serenade – The Ted Heath Orchestra
Cuts: In the Mood 0’10” is heard in Part One, 41 minutes into the episode, as the DJ (now dressed as a gangster) concerns himself with the Doctor’s movements.
Moonlight Serenade 1’34” plays, 11 minutes into Part Two, as Jobel romances Peri straight into the arms of the DJ, who explains that he has copied his fake American accent from some recordings brought back from Earth by his great-grandfather. Both songs would appear in Doctor Who again: in the 1940s story The Empty Child/The Doctor Dances.
Releases (select releases): In the Mood Glenn Miller’s big band orchestra originally released their distinctive arrangement of Joe Garland’s ‘In the Mood’ as an American 7” single in 1939. The 'Miller sound' - realised by a clarinet and tenor sax playing identical melodies with harmonies from three other saxophones - became the distinctive attraction that first set Miller's band apart.
Moonlight Serenade Glenn Miller’s own composition – his first international hit record, and the tune that propelled his orchestra to fame – was first released in America in 1939. It quickly became his orchestra's signature tune; the romantic and yearning melody gained a bittersweet poignancy when the group was reformed after Miller's disappearance in the Second World War.
The versions used on-screen were from the Ted Heath Orchestra’s 'A Salute to Glenn Miller' LP (Decca PFS 4259) conducted by Billy May, released in 1972; also available on Quadraphonic 4 reel-to-reel tape (London Records LON J 17186)!
Availability (select releases): Ted Heath’s entire ‘Salute to…’ album was reissued on CD in April 1995 (PGD Special Markets 20436), and the dual-compilation CD ‘A Salute to Glenn Miller/Ted Heath Salutes the Duke’ (Vocalion CDLK 4290) released April 2005. Glenn Miller’s original recording is readily available on albums such as ‘In The Mood – The Definitive Glenn Miller’ 2CD (BMG 82876560302), released October 2003.
Fire – The Jimi Hendrix Experience
Cuts: 0’57” was heard in Part Two, 22 minutes into the episode, as the DJ frantically played air-guitar, air-drums and air-flute (really) in his studio.
Releases (select releases): In a few frantic years, Jimi Hendrix revolutionised guitar playing and popular music as we know it. He moved to England in 1966, where he taught trendy Londoners how to 'kiss the sky', and became the idol of a generation.
Fire was originally released on the LP ‘Are You Experienced?’ (Track Records 612-001 in the UK, with the artwork shown left; Reprise Records 6261 in the USA, with a different cover and running order) in mid-1967. According to their detailed production paperwork, the BBC actually sourced the song from the compilation LP Jimi Hendrix: 'Smash Hits' (Polydor POLS 2310268), released 30th July 1969 (shown right).
Availability (select releases): the track is readily available on many Hendrix compilations – such as ‘Experience Hendrix: The Best of Jimi Hendrix’ (MCD11671), released March 2000 – and the remastered CD issue of ‘Are You Experienced?’ (MCD11608), released April 1997.
Replacements: The song had to be removed for the VHS and DVD versions of the story, as the original license did not allow for its commercial release.
Remembrance of the Daleks: Parts One & Three (tx: 05 & 19/10/88)
Do You Want To Know A Secret & A Taste of Honey – The Beatles
Cuts: Do You Want to Know a Secret 0’36” plays in the café, 4 minutes into Part One, as Mike bellows for attention.
A Taste of Honey 0'51” is heard (although only 0’33” was cleared for use), 9 minutes into Part Three, as the Doctor instructs Gilmore and the party leave the café.
Releases (select releases): both tracks were taken from The Beatles' first UK album, ’Please Please Me’ (Parlophone PMC 1210 MONO/ PCS 3042 STEREO) released 22 March (MONO) and 26 April (STEREO) 1963. This fantastic LP - which contained the A and B sides to their first 2 singles, plus 10 new tracks - remained at the top of the charts for 30 consequetive weeks from 11th May 1963 - which is still a record - until ‘With The Beatles’, the follow-up album, replaced it in November. (In America 'Please Please Me' was released as "Introducing The Beatles" in July 1963.) For Remembrance of the Daleks, both tracks were taken from the original stereo LP.
Do You Want to Know a Secret is, unusually, sung by George Harrison and was allegedly inspired by a song in Walt Disney’s ‘Snow White and the Seven Dwarfs’ (1937), where the heroine sings “Wanna know a secret?” A Taste of Honey was originally written by "Bobby" Scott and Ric Marlow for Tony Richardson’s film ‘A Taste of Honey’ (1961), based on the 1958 play by Shelagh Delaney, and was covered by The Beatles for their first LP - though it was a song they quickly dispensed with live.
Availability (select releases): both songs are readily available on the CD reissue of ‘Please Please Me’ (Parlophone CDP7464352), as released in January 1987.
Replacements: although this episode was released as-broadcast on VHS in 1993 (BBCV5007, in The Daleks boxed set (BBCV5005) with The Chase), the ever-changing copyright situation regarding The Beatles’ music prevented the songs' release on DVD in 2001. Do You Want to Know a Secret was replaced in the UK (BBCV1040) with clean dialogue from an early edit of the story and a cover-version of the same track by Billy J Kramer and the Dakotas, and in the US (WHV - E1138) and Australia with a copyright-free cover-version; A Taste of Honey was replaced on all versions with a piece of generic guitar music.