Today with Dodi & Di 2007
Theme tune to a TV pilot made for E4 by Tom Meeten and Barunka O’Shaughnessy, the premise a daytime magazine show presented by Princess Diana and Dodi al Fayed. Was due to air in 2007 but got pulled at the last minute.
Kevin Eldon in 'A Man's Best Friend'
Dodi & Di Give it a Try

Mr & Mrs Fandango 2008

Theme tune to a Comedy Lab made by Tom Meeten and Barunka O'Shaughnessy. Like most theme tunes, it went through many iterations before we settled on this. Not my favourite but you can sing the title along to it so that'll do.

Gary Le Strange
Early Stuff
From the dark days of yore
Gary Le Strange
The Byronic Lord of Pop
Professional Tunes
For TV, radio & stage
Experimental & Personal
For my own pleasure
Comedy Songs
Music to laugh at
A Musical CV

Self Storage (extended) 2014

One of my favourites which didn't make the final cut, this is a suite of pieces originally written for Alex Kirk's episode 'Self Storage'. Difficult to define - an experimental slice of 80s-style rock/prog/funk, with metallic percussion and guitars.

The Baron (End Titles) 2013

Closing title music from short film The Baron, the closest thing it has to a theme tune.  I say it's all done with computer software (by East West and Spectrasonics), but the director still suspects I have a secret orchestra tied up in my basement.

Tom Meeten is The Baron
Robert Pickle and his faithful cleaner in space
Pickle Goes Mad 2014
I didn't entirely abandon orchestral music for Series 2 - if anything, I became more adept at it, mainly thanks to some incredible new software by East West. This primarily classical piece was written for a tense action sequence in 'In Space...'

The Day They Came to Suck Out Our Brains 2013

Theme tune to the online sci-fi comedy series of the same name which, despite appearing in ten episodes, two specially-made trailers and one thirty-minute compilation, never actually got played in its entirety. Until now! Feel free to sing along.

Charlotte Jo Hanbury being menaced by a flying brain
A Man's Best Friend (suite) 2014
Another entirely orchestral score from 'A Man's Best Friend', this features so many of my favourite tunes from the series that I've decided to edit them together into an extended suite. Apologies if it takes longer than usual to load.
And Johnny Vegas narrated 'Self Storage'
Steve Oram meets Michael Fish in 'The Weatherman'
The Weatherman 2014
The main musical theme for Tony Way's beautiful story 'The Weatherman', which sadly became overshadowed by the sudden death of narrator Rik Mayall. A huge influence and hero to us all, he puts in a staggering performance in this episode.
Rik Mayall narrating 'The Weatherman' with his fingers
Dreich 2014
On Sunday I was asked to write an apocalyptic tune for the end credits. The very next morning we heard the sad news about Rik. To have written this for the last scene of his final performance was unexpected and genuinely unnerving.

Murder in Successville (Trailer Mix B) 2015

Theme tune to Tiger Aspect's celebrity whodunnit for BBC 3, brilliantly held together by Tom Davis as the spectacularly endearing DI Sleet. A hypothetical 2-minute mix for a trailer which didn't happen, but to me the definitive mix of the tune.

Tom Davis from the broadcast title sequence

Murder in Successville (Original Pilot Theme) 2014

The original intro to Murder in Successville was much more based on the typical American cop shows of the 1970s (The Rockford Files was always mentioned as a touchstone) so I made sure this was funky with a strong cheesy melody.

Murder in Successville - Pilot Titles

Murder in the Lounge 2014

A  jazzy 60s spy genre version of the original title theme, briefly considered as the main theme itself but ended up as incidental music. Though it worked well for the pilot, the series itself needed more modern sensibilities so the 60s stuff was out.

Sleet's iconic cop car, the retro classic Ford Sliit

Assault on Precinct 31 2016

For Series 2, the production team had a much stronger idea of how each episode should look, feel and sound, so the first episode Vigilante was inspired mainly by Drive, with tunes to match. This one stood out so here's a special extended mix.

Assault on Precinct 31

Miranda (Anti-Social Suite) 2016

A short suite of several disturbing, action-packed and redemptive tracks from towards the end of Miranda, the second episode of Series 2, its modern drugs theme continuing the electronic stylings of Vigilante, adding touches of Narcos along the way.

Mark Wright is the rookie cop in 'Miranda'

Head, Shoulders, Knees & Toes 2016

Back to orchestral stuff and modern noir for the fifth episode of Series 2, taking a lot of its inspiration from Fargo and The Killing, creating a much more chilling atmosphere in the process. This is a suite of various elements, both used and unused.

Emma Bunton from 'Head, Shoulders, Knees and Toes'
James Bachman casually kills his own henchman
Codename Surprise 2014
This episode revolved around a secret agent's birthday party, so this tune incorporates both spy film and party elements. I wasn’t terribly sure about this at the time - thought maybe the Cuban elements were a little OTT - but it’s grown on me.
Vic Reeves narrated 'In Space...'
In Space, No One Can Hear You Clean 2014
Weirdly enough my biggest panic came when I had to write a synth-based score for this sci-fi story written by Nico Tatarowicz. Though usuallly I only had three days to write each score, this took me six. Looking back though it was definitely worth it.
Office boss Decker in trouble in 'The Crisis Plan'
Cannibals 2014
By the start of Series 2 the need for orchestral versions of pre-existing tunes had been dropped and I was pretty much left to do what I liked. The first piece I wrote for the new series, I'd describe this basically as Morricone does Tea for Two.
Bow, the island setting of 'The Untangler'

Night at the Museum 2014

By the end of the series I'd pretty much run out of ideas and my original score for 'I'm Still Here' wasn't working. Then I found out I had to do it all in one evening, which probably explains why this track captures that ‘still working at 4 am’ sound.

The Untangler 2014
This crazy episode written by the brilliant Toby Davies called for a main theme suggesting a beautiful tropical island, so I tried going for something The Shadows might have done in their heyday. A superb new bit of guitar software helped enormously.
Tom Meeten as a living statue
Ennio Morricone was again mentioned as a touchstone for the look and feel of this story, hence the daft vocalisations in the demo (which didn't make it into the episode)

The Last Laugh (Suite No 1) 2015

Back to pure orchestral for this story, written by Toby Davies about an am dram director (superbly played by Kevin Eldon) whose Christmas panto is ruined by an old rival. This is a suite of some of the earlier tunes before the pace goes overboard.

Christopher Lloyd narrates 'The Sat Nav Did It'
Death of a Partner/The Truth Revealed 2015
By this time, having done a series of Murder in Successville and psychological horror The Ghoul, I thought I'd done Bernard Herrmann homages to death, but somehow I came up with even more for this story. This is a merging of two separate tracks.
Abattnoir (vocal demo) 2015
I always have a creative lull halfway through any series and this was no exception. However, the demo I'd done for this episode some months earlier was one of my favourites so I think I got away with it. Basic idea: Morricone does Old MacDonald.
Kevin Eldon gives an acting masterclass in 'The Last Laugh'
Brian goes a little bit mental in 'The Zombie That Roared'
The Zombie That Roared (Suite No 1) 2015
Normally I'd have worried that my work on this was too hard-edged but the extra communication between us all meant I rarely felt afraid to experiment. This Alex Kirk tale was one of my favourite episodes to work on - here's a suite of some of the early bits.
Carrie Fisher narrates 'Dread and Breakfast'
You're Only Young Once 2015
Another great thing in Series 3 was director Richie Pengelley's superhuman effort to add placeholder music to the early edits, giving me a greater feel for what we needed. Without that, I wouldn’t have had the courage to try something like this.
Tom Meeten and Jamie Glassman confer in 'Uncivil War'
Uncivil War 2015
By the time Series 3 rolled around I'd discovered I could make quality music much quicker than before. This meant for the first time in Crackanory history I was able to watch an edit of the film before writing the music. This is a compilation of the first results.
Tony Way lowering himself into an office Mission Impossible style

Business as Usual 2015

Disaster struck as I was writing the final episode when my PC broke down completely. Fortunately I just needed a new power supply but I had to keep the score simple to hit the deadline. But you know me - I just can’t keep it simple for long...

Into the Vent 2015
One of the more eclectic scores I did for Series 3, certain sections of The Vexed Message called for Mission:Impossible style music, like this bit, where Tony Way has to climb through an air vent and break into his boss' office.
Richard Glover finds a new lover

The Wrath of Ken 2013

From Ep 5 of Brains (possibly my favourite), The Wrath of Ken was my first real chance to write some proper incidental (i.e. non-musical) music with the aid of moving pictures, and in a 50s/60s style to boot. I'm still very happy with the results.

Alexis Dubus and Gemma Whelan in the superb 'Wrath of Ken'

Reefer Niceness 2013

This laid back, surf-rock ballad started out as a tune called ‘Uncle Terry’ for my stage character Colin Watson, but after giving up on the deeply unfunny lyrics, I retooled it for this episode, where it seemed to fit perfectly.

London inaded by UFOs! (or very strong cannabis)

The Lunch Break of Doom 2013

Another experimental bit of 60s organ-synthy nonsense (inspired directly by some of the early Troughton Dr Whos) to cover a very silly lunch break in Episode 8: First Contact. I also wrote the muzak that plays while the scientist is on hold.

Phil Whelans and Richard Glover take the Lunch Break of Doom

Restoration Man (theme demo) 2013

Fortunately my efforts with Me and My Monsters led to a fruitful relationship with Tiger Aspect, so great effort went into this demo when their factual dept asked me to write a new theme for this reality series.  Sadly it didn't get used, so here it is.

Titles of the Restoration Man... which this didn't end up being the theme for
The Mainstage (Main Theme) 2008
Theme tune to the pilot of a spoof music series, written and directed by Gareth Tunley and produced by Channel X. An electro-rock anthem I wouldn’t have been remotely capable of making ten years previously. You can see the full show here.
The Mainstage

Going On 2010

The theme tune from Gareth Tunley’s arts parody Going On.The brief: something which sounded like it was written in the 1960s but updated for the 00s, part Hot Chip (see The Culture Show) with a professional sheen like The One Show. Did I manage it?

Going On

Me and My Monsters (Demo A) 2010

It feels long enough ago now to reveal some of the demos I did when I was asked by Tiger Aspect to pitch a theme tune for a show they were doing with the Jim Henson Company. Sadly I was so busy, I just did the first thing I thought of. But I do love it.

Me and My Monsters (which I failed to write the theme for)

Big Shane (on 'What the Fun' FM) 2015

One of many silly radio jingles I wrote for a BBC/Tiger Aspect pilot starring Greg James called 'Dead Air'. This is the full-length mix of OTT Aussie DJ Big Shane's breakfast ident. Genuinely one of my favourite things I’ve ever done.

Greg James plays Jake Cross (and not Big Shane) in Dead Air

Me and My Monsters (Demo B) 2010

Demos A & B were, if you can believe it, written and recorded in one morning and sent off by lunchtime. Demo B was more of a serious attempt to follow the producers' guidelines, atonal guitar solo included. The lyrics are placeholders but I still love them.

Me and My Monsters (which I again failed to write the theme for)

Me and My Monsters (Demo C) 2010

To my amazement, my crappy demos got me down to the last three, so I got another chance, taking this one a little more seriously, though not realising I should have taken extra care to make it sound less like a demo. Obviously, I didn't get the job.

Me and My Monsters (which I tried and failed three times to write the theme tune for)
Mr and Mrs Fandango
Mr and Mrs Fandango
Mika bounces with a breakdancing frog
Gary in purple, by Andy Hollingworth
Rik Mayall narrating Crackanory with his fingers

The Yearning 2014

The first piece I wrote for the film after my first meeting with Gareth. I wasn't sure if this was the opening theme, but everyone liked it so much it became the opening by default and, apart from a tiny tweak or two, this is basically unchanged from my demo.

Poster image from The Ghoul

Through a Windscreen 2014

Originally we wanted the score to sound entirely electronic but once I worked out how to use my string software, and applied a little love of Bernard Herrmann, this became Chris' theme, nailing the idea of him as a cop in deep psychological trouble.

Deep Cover 2014

Though we worried at first this tune was a little too irrelevantly Japanese, we liked it so much that we adapted it, especially the string part, for various scenes (particularly the sigil - if you listen closely, you can sing along "Bring Kathleen to Me").

Chris lies in bed, attempting to make a sigil

Into the Woods 2014

Another early piece, primarily inpsired by my frustration that 'A Sad Thing' didn't make it into Crackanory (see below). Basically I refined it and, though it sounds like nothing else in the film, it fits the Chris/Morland forest scene perfectly.

Into the Woods

A Typical Chris Day 2014

Possibly my favourite piece in the film, this was a conscious attempt to use Chris' established theme and slowly evolve into something much darker, mirroring what's happening with Chris. This is the original mix, a little longer than it eventually became.

A Typical Chris Day

Completing the Loop 2014

A happy accident which came about when Gareth laid two of my improvisations over each other, itself inspiring a scene in the film. After which I tidied it up, adding strings to augment the main chord change. The final version in the film is slightly shorter.

Completing the Loop
Tom Meeten as Chris, as seen through a windscreen

Crackanory (Main Theme) 2013

Someone said the best way to write a great TV theme tune is to write a good tune, then scribble all over it. This is pretty much that theory in action. Of all the tunes I tried for the Crackanory theme, this crazy slab of madness is the one people liked best.

Detail from Crackanory's opening title sequence

Polly Put Depressing On 2013

The original idea for the Crackanory score was to take a well-known tune and rearrange it into various different orchestral versions to suit different scenes and moods. This one from the pilot 'The Teacup Has Landed' is a very good example.

Harry Enfield reads 'The Teacup Has Landed'

Psych Sleeves 2013

Not having been classically trained, I wasn't too confident about my orchestral arrangements and soon started trying different styles - I was very proud of this 60s-inspired Greensleeves, for example, which sounded pretty authentic.

Alan Smiggs discovers a lost Shakespeare on his toilet

Peace Talks 2013

Then one week halfway through the series I started getting much more comfortable with the orchestral stuff and came up with this for 'The Translator'. I agree it still sounds like a computer rather than an orchestra but I was overjoyed with the tune.

Daisies erupt across the continent in response to the peace talks

Love You 2013

Things got tricky when we started using licensed tracks instead of traditional or classical pieces but some of them inspired worthwhile tunes, like this finale to Kevin Eldon's "What Do You Say?" which remained fairly intact and played over the credits.

Kevin Eldon reads 'What Do You Say?'

Compute with Me 2013

I still couldn't help trying to convince the team that a more eclectic style would be more fitting for my skill set, so one week I went the extra mile with this Kraftwerk pastiche. To my surprise it was an instant hit and closed the episode 'Pleasure Drone'.

The Pleasure Drone activates Camouflage Mode

The Big Decision 2013

By the end of the series, a decision was reached that using pre-existing tunes wasn't working, so I was trusted to write the final episode myself. Its subject was Idi Amin, whose fascination with the USA and Scotland inspired the slide guitar and bagpipes.

The Newsreader

A Sad Thing 2013

This string quartet & piano piece (for 'My Former Self') felt like a major breakthrough. I was gutted when it was left off the soundtrack in favour of another track. But I believe it’s made a return in the Audible version.

Martha Howe-Douglas engages with her former 7-year-old self

Wengerbeat 2017

The first episode of Series 3 featured an extensive scene at an art exhibition (supposedly hosted by Arsene Wenger) which needed background dance music throughout. This 8 and a half minute epic is the end result of two days’ frenzied slog.

Arsene Wenger with his art gimp

Credits in Victorian Successville 2017

The insanely funny Victorian episode starring Martin Kemp was second to air in Series 3 but last to be filmed, so this end credit music - an orchestral reimagining of the main theme - was (almost) the last piece of music I wrote for the show.

Martin Kemp in the midst of forgetting his own name

Finis 2016

Crackanory’s fourth series started in cinematic style with Tony Way’s A Close Slave, set in Ancient Rome. All the dialogue was spoken in Latin, so I gave my music Latin titles to match. This was written for the end credits, but lost out to another track.

Nero sedet in theatrum

From the Heart 2016

Another closing title track, this time from Episode 2. I remember having great difficulty finding the right tone for this score for some reason, until somehow this poured out of me at the end of a very long night. Probably my favourite piece from the series.

Sheridan Smith narrates 'Living with a Lie'

Many Things Have Changed 2016

Arn Widdowson’s The Despot of Tea was a brilliantly inspiring character-driven piece with an outstanding trio of performances from Jamie Glassman, Tom Bennett and Gareth Tunley. This is a suitably European folk tune I used as one of the main themes.

A photo opportunity you can't refuse

A Handsome Young Man 2016

An orchestral-textural piece from The Survivor, a remarkable, unique tale written by Alexander Kirk, narrated by Anna Friel and beautifully shot in black and white by director Richie Pengelley. One of many dreamy string pieces I wrote for this episode.

A handsome young man awakes in a strange new world

The End 2016

My score for Proxy Lady ended up being quite a mixed bag, but I’m quite fond of this short piece I wrote for the end credits. This is also one of the few episodes I managed to miss on transmission, so I’ve still no idea if they used it. Do let me know if you can.

Ritu Arya contemplates a pencil in 'Proxy Lady'

Purple Mill Stream 2016

Sarah Morgan’s incredible Devil’s Haircut mainly called for lots of barbershop harmonising (which someone else did, thank God, and brilliantly), but a random reference to Prince at the end led to this silly idea for the end credits. A night well spent. I think.

The cool, cruel world of barbershop competition

Misdirection 2016

Possibly my favourite Crackanory score and one of the very best episodes, Toby Davies’ The Disappearance is an intensely clever story about a pair of London stage magicians. This ‘Daisy Bell’ inspired piece goes in one direction, then back the way it came.

Dominic Coleman is in that straitjacket for a reason

Infinite Bender 2016

The final televised episode (so far) was Kevin Eldon’s Pickled. As usual, by the end of the series I felt utterly drained, so it shocked the life out of me when I wrote this punchy slice of madness. A last push before the inevitable crash and burn.

Benedict drinks himself to jail
Richard Glover is 'The Monster' (poster detail)

The Shadows are My Friends 2015

As with all TV & film, more gets shot than you actually need and I usually end up writing tunes that never make the final cut. This was in fact my favourite of all the stuff I wrote for the party scene, with its wonky 50s guitar, but sadly it had to go.

Hot Cold Action 2015
One of the various party tunes I had to write as part of the soundtrack for James Wren and Bob Pipe's short film The Monster. This is a slightly leaner, more stripped back version than the one heard in the film.
The ancient Monster finds himself at a party with young people
Helen George discovers she has a soft spot for the Monster after their walk in the park

Mournful Beast/End Titles 2015

I've morphed two pieces together here, the first a mournful keyboard piece designed to reveal the Monster's sadness, followed by the end title music, a much more forceful, John Carpenter-inspired piece which perhaps reveals his other side.

A Walk in the Park 2015
I needed a love theme to cover the scene where Madeleine and The Monster walk home through the park. I wanted it to start out sounded like something more stylised from the 80s and morph into something more natural to mirror the emotions by the end.
The Monster at odds with his director