| As with the previous volume, this one is solely dedicated 
                    to compositions by Alistair Lock. Wouldn't it have been fairer 
                    to give the work of Nicholas Briggs or Russell Stone some 
                    exposure before returning to Mr Lock?
 In 
                    other respects, the compilation offers rather less than its 
                    predecessor. The music of only three stories is featured - 
                    The Last of the Titans, The Shadow of the Scourge 
                    and The Fires of Vulcan - as opposed to the previous 
                    standard of four. There are no dialogue clips this time around, 
                    and the stories in question all starred Sylvester McCoy, which 
                    makes the cover design a little misleading.  The 
                    Last of the Titans was a single-part story included on 
                    a special CD given away with issue 300 of Doctor Who Magazine. 
                    The music features mock-creepy themes with shades of Sapphire 
                    and Steel-type percussion. These themes get slightly darker 
                    as the piece develops, but the medley is rather lightweight, 
                    reflecting the brevity of the story.  The 
                    Shadow of the Scourge demonstrates a greater range of 
                    themes, although these also exhibit a predominance of gloomy 
                    refrains. Not for the first time, the work of McCoy-era musician 
                    Mark Ayres proves to be inspirational, as is evident in the 
                    moody synths that signify the ethereal plane of the alien 
                    Scourge, and in a few bars of Ghost Light-style organ 
                    music. The occasional funkier moment lightens the mood slightly, 
                    but the jauntiness of Benny's theme (a variation on the original 
                    signature tune to Big Finish's New Adventures) still 
                    comes as something of a relief. Given 
                    that The Fires of Vulcan was set during the last days 
                    of Pompeii, its music - the best of the three selections on 
                    this CD - is surprisingly free of doom and gloom. It opens 
                    with some gentler instrumentation and choral samples, evoking 
                    a simpler way of life at this point in history. Strident, 
                    booming drums suggest the might of the Roman Empire as well 
                    as the violence of its gladiatorial arenas. Eventually, a 
                    tolling bell presages the inevitable destruction of the city 
                    by Vesuvius.  A 
                    disappointing second volume, then. Hopefully the third will 
                    provide more variety.  Richard 
                    McGinlay 
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