MOVIE MUSIC UK

MOVIE MUSIC UK CLASSICS

Original Review by Craig Lysy

Studio executives at Universal conceived of an audacious new film featuring their star comedians Abbott and Costello, which would bring them into contact with Frankenstein’s monster, Dracula, the Wolfman, the Mummy and the Invisible Man. Lou Costello was singularly unimpressed with the script, but relented when he was offered $50,000 and informed that his friend Charles Barton would be directing. Robert Arthur was placed in charge of production with a $759,524 budget, Charles Barton would direct, and Robert Lees, Frederic Rinaldo and John Grant were tasked with writing the screenplay. For the cast, Bud Abbott would play Chick Young and Lou Costello would play Wilbur Grey. Joining theme would be Lon Chaney as Lawrence Talbot (The Wolfman), Béla Lugosi as Dr. Lejos (Dracula), Glenn Strange as Frankenstein’s monster, and Lenore Aubert as Sandra Mornay.

Freight handlers Wilbur Grey and Chick Young lives are upturned when they uncrate the remains of Frankenstein’s monster and Dracula, which have arrived from Europe to be used in a house of horrors exhibit. To their horror, Dracula awakens and escapes with the weakened monster, who he plans to re-energize with a new brain. Larry Talbot arrives from London determined to thwart Dracula and his beautiful aide Dr. Sandra Mornay. Dracula and Sandra abduct Wilbur for his brain and recharge the monster in preparation for the operation. Chick and Talbot attempt to find and rescue Wilbur, but when the full moon rises Talbot transforms into the Wolfman all hell breaks loose with Wilbur and Chuck confronted by a rampaging Wolfman, Dracula, and Frankenstein. The film went over budget $32,746, but was nevertheless a huge commercial success, earning $3.2 million. Its success would spawn a franchise of monster encounter films, including; “Abbot and Costello Meet The Killer Boris Karloff” (1949), “Abbot and Costello Meet The Invisible Man” (1951), “Abbot and Costello Meet Dr. Jekyll and Mr. Hyde” (1953) and “Abbot and Costello Meet The Mummy” (1955). Critical reception was good, however the film received no Academy Award Nominations.

Early in his career composer Frank Skinner had acquainted himself well in the Monster genre and thus was the studio’s natural choice for this latest project. Skinner saw an unusual opportunity and challenge presented by this unique film, which incorporated classic Hollywood monsters with the comedy of Abbott and Costello. I believe that Skinner, upon viewing the film understood that the film, at its core, was an Abbott and Costello comedy, set in a horror film setting. As such, I believe he made the correct judgment to let their comedic buffoonery stand on its own, while juxtaposing their antics with dramatic scoring for the monsters and suspense.

For his soundscape Skinner composed five themes, and several motifs. The Rampage Theme supports scenes whereas the title states, the monsters are on the rampage. Skinner creates a diabolical narrative that uses a dire, repeating four-note descending statement, which seems to evoke malevolence and doom. The theme is malleable and also very good at sowing mystery, and unease when the monsters are lurking. The Monster Theme supports Frankenstein’s Monster. Skinner speaks to his enormity with dire trombone and tuba declarations, which resound and are empowered by timpani strikes with a lumbering gait cadence. The Wolfman’s Theme is primal and its repeating four-note phrasing empowered by howling horns, which terrorize. Dracula has a theme and two motifs associated with him. Eerie, swirling strings vortices sow terror when he is in human form. When he transforms into a bat, fluttering woodwinds carry his flight. The Hypnosis Motif is used to empower Dracula’s paralyzing stare, which immobilizes his victims and places them into a trance. Skinner ingeniously augmented the orchestra with a novachord and Ondes Martenot to create an eerie effect by ghostly voices from the netherworld. Sandra’s Theme is voiced by strings seducente, which speak to her sexual allure and efforts to entice Wilbur to secure his brain for the monster. There are two other motifs, the Clock Motif offers repeating clock chimes, which Skinner uses to sow foreboding and unease. Wilbur’s Motif is Skinner’s one wink in his score to comedy, with horns sardonica wailing ‘Wah-Wah’ for his buffoonery.

“Main Title” offers a score highlight where Skinner masterfully sets the tone of the film. It opens with the Universal – International studio logo empowered by an ominous stepped descent by dire horns declaring the Rampage Theme. At 0:09 suspenseful tremolo strings usher in the animated opening credits with the opening Rampage fanfare reversed with a dramatic stepped ascent. An ominous musical narrative surges as the monster knocks on two coffins whose lids open and release two skeletons, which collide, with a chattering xylophone rain effect supporting their collision and the breakup of their bone structure that rains down to form the film title. Dire fanfare resumes and at 0:46 the silhouettes of our four adversaries’ parade across the screen, with each supported by a brief quote of their themes; at 0:47 the four note dire horns of the Wolfman, at 0:49 the horrific vortex by strings del terrore of Dracula’s Theme, at 0:53 the fierce two-note strikes of Frankenstein’s Theme, and at 0:56 the serpentine strings seducenti of Sandra’s Theme. The remainder of the credits are supported by a grim musical narrative empowered by the Rampage Theme.

In “Monster #1” Skinner sow tension and unease as we view of Big Ben and Parliament shrouded in a night time fog with narrative script; “London”. Eerie high register violins are joined by four chimes by Big Ben and a repeating quote of the Wolfman Theme by a number of woodwinds soli. The theme surges on strings of fear as at 0:32 when Lawrence opens his window shutters and gazes at a policeman below. He is agitated and his theme (Wolfman) emotes with a growing sense of panic, joined by the grim and portensive Rampage Theme on strings. He picks of the telephone and with desperate urgency exhorts the operator to expedite his transatlantic call. “Just A Wolf” reveals Lawrence finally reaching Wilbur. He desperately orders him not to deliver the two crates to McDougal’s House of Horrors until he arrives. Before he can elaborate his transformation into the Wolfman commences as it is the night of the full moon. We open with foreboding as we see Lawrence fall into a chair unable to speak. At 0:18 a horrific musical narrative erupts empowered by grotesque declarations by the wailing horns of the Wolfman Theme as he slowly transforms into the Wolfman. Now transformed he begins growling and his theme unleashes a maelstrom of destruction as he tears up the room. At the other end of the line Wilbur believes he is talking to a dog and so hangs up and disregards Lawrence’s instructions. “The House Of Horrors” reveals Wilbur and Chick delivering the first crate to McDougal’s House of Horrors. They arrive at night as lightning flashes and thunder rolls join with music to create a sense of foreboding and fear as they move the crates past exhibits with horrific wax figures. In the following two cues Skinner masterfully sow tension and a lurking menace that is quite unnerving.

“Dracula’s Legend” reveals Wilbur and Chick opening the first crate, which reveals a coffin with the Crest of House Dracula. Chick departs to retrieve the second crate and music enters with clock-like chimes buttressed by the Rampage Theme by woodwinds and eerie strings as Wilbur reads a placard, which describes the legend of Count Dracula. As he reads the coffin lid rises to reveal Dracula, who sees him and lowers the lid. The lid lowering causes a squeak that unnerves Wilbur. Skinner begins to create a rising tension as Wilbur calls back Chick, who dismisses his fears and returns to the truck. At 0:56 Clock Motif joined by eerie string effects and the foreboding Rampage Theme support Wilbur resuming his read of the placard, joined at 1:10 by the fluttering woodwinds of the Bat Motif as he reads of Dracula’s ability to transform into a bat and fly across the countryside. He turns, sees the lid cracked open with a hand reaching out and screams for Chick. Chick is again dismissive and returns to fetch the second crate. Foreboding strings of doom and eerie trumpets slowly raise tension as he reads that Dracula lives by drinking blood. The coffin lid starts to open and the candle holder slides, causing Chick to yell for Chick a third time, only to again be rebuked for his nonsense. Chick departs and musical foreboding and a rising tension returns as the lid again begins opening causing Chick to turn towards the entrance and shout for Chick. At 3:43 we segue horrifically into “Dracula Rises” atop shrieking strings terrore and the Rampage Theme borne by horns of doom as Dracula emerges from the coffin and moves towards Wilbur. Yet at 3:56 a diminuendo of unease supports Dracula’s fleeing to the shadows as Chick arrives, listens to Wilbur’s panic, and debunks his story by opening the coffin to reveal it empty. They both depart to open the second crate and Skinner sow a lurking menace with the Rampage Theme as Dracula stealthily returns to his coffin, using the noise of the crate opening to mask him opening and closing the squeaky coffin lid.

“Frankenstein’s Monster” reveals Wilbur reading the exhibit placard relating the story of Dr. Frankenstein’s monster. They open the second crate to reveal the face of the monster. Trilling woodwinds usher in dire declarations of the Monster Theme joined by sawing string as Wilbur recoils in terror. Wilbur accidentally backs into a guillotine exhibit whose blade dislodges to behead a wax head. Chick says to hide the head as he answers the calls of McDougal who has just arrived. The Rampage Theme carries Wilbur to the coffin and as he lifts the lid, and at 0:32 becomes transfixed by Dracula’s paralyzing stare, which is empowered by the other-worldly ghostly voices of the Hypnosis Motif, joined in an unholy synergy by trilling woodwinds and the Rampage Theme. At 1:20 we segue into “Out-Monstered” as Dracula moves to the second crate and beholds the Monster supported by the Hypnosis Motif, Rampage Theme and trilling woodwinds. At 2:00 dire trombone and tuba declarations of the Monster’s Theme resound as Dracula awakes the monster, who voices – “Master”. A diminuendo of suspense follows as Wilbur is awakened by the shattering of the monster’s crate as he extricates himself. He feigns paralysis as Dracula bids the monster to follow him, and they walk past him carried by a lumbering Monster Theme. They hide in the shadows as the McDougal and the Insurance agent arrive.

“Simple Brain” reveals McDougal and the Insurance agent hauling Wilbur and Chick off on theft charges when they discover both crates are empty. After they have left, Dracula and the Monster emerge and he orders the monster to take his coffin and follow him. The lumbering Monster Theme support their departure. At 0:16 we shift to a gothic castle on a deserted island where a bat flies to a window and gazes at Professor Stevens working in his laboratory. An eerie Bat Motif supports the bat’s flight, buttressed by the Monster Fanfare on trombones with a foreboding and repeating three-note. At 1:10 the Rampage Theme resounds darkly as the bat transforms into Dracula who pounds the castle door with a large knocker. He is greeted by Sandra who is empowered by her theme, which consists of a grim stepped descent by low register woodwinds. Her theme shifts to celli and bass as eerie violin dance aloft. Dracula declares that the monster must be reanimated with a new brain that will make him subservient to his commands. He adds that for her services, she may have anything she desires. She examines the monster and suggest they begin quickly as he is deteriorating. At 3:24 muted horns sardonica emote a ‘Wah-Wah’ effect as she advises that Wilbur’s brain will suit their needs perfectly. We close darkly at 3:33 with a dire Monster Theme as she asks Dracula to assist him to the laboratory. “Wilbur The Hypnotist” was dialed out of the film and features a reprise of the Hypnosis Motif.

“Almost A Wolf” again shows Skinner’s talent in nuanced scoring. It reveals Lawrence visiting Wilbur and Chick in their hotel room. He validates Wilbur’s story regarding Dracula and the monster. He is agitated as full moon rise is imminent and asks Wilbur to lock him in his room across the hall. Wilbur does as he asks and then returns to his room where he discovers that Lawrence has left his suitcase. He returns it, but cannot locate Lawrence. Music enters ominously with howling horns declaring the Wolfman Theme as Wilbur decides to write a note. What unfolds is interplay of the Wolfman’s stalking theme and the musical comedy of Wilbur’s cluelessness and capacity to evade the Wolfman’s lunges as he miraculously escapes. In an unscored scene Sandra visits their hotel room and seductively reminds Wilbur of their date tonight to the masquerade ball. He is excited, Chick is vexed, and Sandra says to pick her up at sun down. They guys are soon stunned by the arrival of the beautiful Joan Raymond, the private investigator intending to seduce Wilbur into revealing the location of the missing bodies. She fawns over Wilbur and confesses her love, which he laps up, leaving Chick bemused. She departs and the guys visit Lawrence’s room and find it wrecked, which they attribute to a bender. He wakes and drops all pretenses, confiding that he was bitten by a were wolf and transforms into a wolf with each full moon.

“The Monster’s Lap” reveals Wilbur, Joan and Chick arriving at the castle. Wilbur advises that Sandra said he was her man and they are gleefully welcomed by Professor Stevens. Sandra greets them and informs Wilbur that he was to come alone. She then advises that she has to get rid of Chick and the blonde. She departs with Joan to the powder room upstairs and the phone rings. Wilbur answers and Lawrence warns them that a Dr. Lejos has been buying equipment that can be used to revive the monster. Wilbur panics, but is dragged by a disbelieving Chick to search the castle to prove Dracula and the monster are not here. They open a door which has a staircase leading down to a dock. Music enters with a slow statement of an ominous Monster Theme. Wilbur tries to flee, but the door slams in his face and a panicked flight motif of terror carries him back to Chick. A foreboding Monster Theme resumes and at 0:44 dire muted horns support Wilbur triggering a brick revolving door, which takes him into a cell. An ominous misterioso with twinkling celesta supports his exploration with interplay of a dire Monster Theme and Wilbur’s sardonic Wah-Wah horn motif as he passes by the comatose monster and then backs in to sit down in its lap. At 1:42 tremolo strings and a foreboding bassoon evoke a rising terror as Wilbur looks down, sees the monster’s massive hand, and begins to panic. At 2:14 the monster wakes and the grotesque Rampage Theme erupts as Wilbur flees in terror, discovers a waking Dracula, makes a desperate run to the revolving door, with an orchestral surge taking him to safety as he triggers the door.

“It’s Swing Again” offers classic Slap-stick comedy, which Skinner scores dramatically. It reveals Wilbur reenacting his discover of Dracula and the monster to a disbelieving Chick. Music enters with a spinning ascent as Wilbur triggers the door, with he and Chick rotated into the cell, and Dracula, his coffin, and the monster rotated out to the dock staircase. An eerie descending misterioso envelops them as Chick explores. At 0:14 Wilbur panics, triggers the rotating door, and is confronted by Dracula and the Monster. Skinner sows a frenzied panic joined by the dire Rampage Theme as Wilbur tries to open the door while Dracula and the monster converge on him. We end with blaring horns as Wilbur rejoins Chick, again triggers the rotating door, which deposits them back at the dock staircase as Dracula, his coffin and the monster swing back into the cell. In “The Diary Of Life And Death” reveals a snooping Joan discovering Dr. Frankenstein’s book “Secrets of Life and Death”. As she examines the book, she learns of the professor’s plan. In the adjoining room Sandra discovers in her hand bag a business card identifying Joan as an Insurance Inspector. As they descend stairs to rejoin Wilbur and Chick, Skinner supports eerily with the Rampage Theme rendered as a misterioso.

“Master” reveals that Sandra is wary of proceeding having discovered Joan’s identity. She decides to not proceed with the plan and excuses herself from the masquerade claiming a headache. This displeases Dracula who follows her to her room. He demands she support his plan, but she remains defiant and refuses. Skinner supports with a foreboding Rampage Theme playing under the dialogue. At 1:12 he demands she look at him and the Hypnosis Motif joins as she is rendered paralyzed. We crest on the Rampage Theme rendered as a crescendo del orrore as he moves in and bites her neck. In “Sandra The Vampire” Dracula escorts Sandra to the masquerade ball and orders her to join Wilbur and proceed with the plan. They go for a stroll in the garden and sit. She commands him to look into her eyes as she seeks to place him under her control. Skinner supports with the Hypnosis Motif, but it is augmented with the fluttering woodwinds of the Bat Motif as Wilbur sees images of a flying bat in each of her eyes. This serves to distract him and he turns away before she can gain control. She moves in to bite his neck, but flees as Lawrence and Chick arrive.

“Broussard Jr.” reveals Lawrence, Chick and Wilbur searching the woods for Joan, who has disappeared. While searching, Lawrence looks up and sees the full moon. Immediately a crescendo grottesco arises and crests horrifically at 0:19 with the wailing horns of the Wolfman Theme as we see him transformed into the wolfman. Once again Skinner creates a musical narrative with interplay of a dire and stalking Wolfman Theme with comedic interludes supporting Wilbur’s Wah-Wah buffoonery as he repeatedly escapes the Wolfman’s lunges. At 1:40 he runs away and escapes fueled by racing strings of flight. Later they return with a crowd and discover that McDougal has been attacked and bitten on the neck. In “Dracula Hits The Jackpot” McDougal says he was attacked and bitten by a man wearing a wolf mask. Chick is holding his wolf mask and is accused of the attack. They also accuse Wilbur of being an accomplice and the two bolt, with the crowd pursuit. Skinner propels the chase with a strident, galloping string motif buttressed by horns. At 0:23 we downshift and as the music transitions to an ominous Rampage Theme. He transforms into a bat and Wilbur flees, with Dracula’s Theme emoted by a vortex of strings buttressed by dire horn declarations of the Rampage Theme propelling the bat in pursuit. Wilbur reaches a boat, jumps aboard, and finds Joan and Sandra in a stupor. A diminuendo usher in at 1:22 the Hypnosis Motif as Dracula immobilizes Chick and then boards the boat, which departs to the castle. In the woods Lawrence proposes that he give himself up to clear Chick of the charges.

“The Bloodhounds” reveals McDougal, sheriffs, and blood hounds hunting down Chick and Wilbur in the forest. Skinner sow desperation and unease as they close in. At 0:41 a forlorn Wolfman Theme supports Lawrence joining Chick who now believes that Dracula is real. Lawrence proposes giving himself up to exonerate Chick. Chick will not have it and at 1:05 musical desperation escalates on an accelerando as the posse and dogs close in forcing the two to scurry and hide on the opposite river bank. We close on a diminuendo of relief voicing the Wolfman Theme as the posse passes by on the opposite river bank. “Preparing The Monster” reveals Wilbur locked in a cell and wearing a punishment collar, with a stuporous Sandra and the monster. He pleads to both to help him to no avail. Dracula wakes and exits his coffin, and tries to shock the monster awake with a charge from his ring. It fails, and he orders Sandra to take care of Wilbur, while he dispatches the professor. Sandra informs Wilbur of their diabolical plan to remove his brain and transplant it into the monster, to which he panics. In the laboratory the professor argues with Dracula, but is knocked out by Sandra with a blow to the head. Dracula says that they will dispose of the two bodies together. Outside, Lawrence and Chick reach the island in a row boat, and enter the castle. Music enters with an ominous statement of the of the Rampage Theme draped with slithering strings as Dracula and Sandra wheel in the professor and then dump him on the floor. Dracula then orders the monster to lay down on the gurney. The theme permeates the scene as they take the monster to the laboratory Chick and Lawrence hide in the shadows. As Dracula and Sandra prepare the monster for the procedure, Chick and Lawrence rescue Wilbur and the professor and then escape to the boat. Lawrence, Chick and the professor leave Wilbur behind as they set off to rescue Joan. “Wilbur Trapped” reveals Dracula returning to the cell and discovering it empty. He uses his hypnotic powers summon Wilbur to return. The ghostly Hypnosis Motif supports joined at 0:34 by Wilbur’s Wah-Wah Motif as he succumbs and falls into a trance. A malevolent Rampage Theme supports his walk back to Dracula. We close atop horns trionfanti as Chick Lawrence and the professor return to the boat with Joan. Wilbur is missing and Chick and Lawrence set off to rescue him after they see lights flickering in the laboratory window.

In “Shortchanging The Monster” music from 0 – 0:32, which featured a diabolical statement of the Rampage Theme was dialed out of the film in lieu of instrument and electricity sounds. It was intended to support Dracula recharging the monster while Sandra prepares to extract Wilbur’s brain. At 0:33 a dire Rampage Theme is unleashed to support Chick and Lawrence entering the laboratory to rescue Wilbur. Sandra is knocked out and when Dracula pursues Chick down the corridor, Lawrence begins to release the bound Wilbur. However, at 1:04 he looks up, sees the full moon and howling horns resound with the Wolfman Theme as he transforms. Before he can strike Dracula enters and a ferocious musical narrative erupts as Wilbur’s gurney is buffeted back and forth between the Dracula and the Wolfman. At 1:41 we segue into “Monster Chase” with Dracula fleeing propelled by a strident string ostinato with the Wolfman in hot pursuit. At 2:02 the Monster Theme swells as he awakes and breaks his binds. His lumbering theme take him towards Wilbur, but Sandra wakes and orders him to stop. The monster picks her up, carries her to the window, and tosses her out as Chick returns and unbinds Wilbur. At 2:24 the Rampage Theme propels Wilbur’s and Chick’s escape as they repeatedly and comedically outwit the monster with slap stick antics. The Wolfman and Dracula join the fray and the Rampage Theme propels both fights. Interspersed in the musical narrative are tension diminuendo interludes, repeatedly severed by the Monster Theme as Wilbur and Chick’s efforts to hide fail. At 4:51 Dracula is trapped on a balcony and transforms into a bat. Yet as he flies away the Wolfman leaps, grabs him and they fall to the sea rocks below, carried to their doom by the howling Wolfman Theme. At 5:02 an eerie Rampage Theme supports Joan being freed from her trance after Dracula’s death. The theme shifts back to its diabolical form buttressed by strident strings orrore as Chick and Wilbur flee with the Monster in pursuit. McDougal and the sheriff arrive and place them under arrest until they see the monster approaching. The jump off the dock into the water as Wilbur and Chick flee in the row boat. They escape, but stop at ten feet as the boat remains tethered by a rope to the dock. The Monster tries to sink them by tossing several huge dockside boxes at the row boat. Meanwhile the professor finds gasoline, and dumps it on the dock. He sets it aflame and at 5:35 the lumbering Monster Theme joins with the Rampage Theme as the monster walks straight into the fire and is consumed, supported by a crescendo del orrore, which crests grotesquely at 7:17. We flow into “End Title” carried by strings tranquilli as Wilbur and Chick count their blessings, yet at 7:32 fragments of the Rampage Theme return as we see a lit cigarette suspended midair as the Invisible Man introduces himself. The guys panic and jump overboard and we end on a coda of the Rampage Theme. At 7:52 we flow with celebratory joy into “End Cast”.

The genesis of this album was a Kickstarter project managed by Intrada Business Development Director Roger Feigelson. Composer, orchestrator and conductor Leigh Philips was placed in charge of production, with William Stromberg and Anna Bonn assisting with the score’s reconstruction. The performance of the Royal Scottish National Orchestra under William Stromberg’s baton was masterful, and the recording offers state of the art 21st century audio quality. I want to commend all involved for bringing the world premiere of Frank Skinner’s obscure masterwork, “Abbott and Costello Meet Frankenstein. I believe Skinner understood that there are two ways to score a comedy; the first is to embrace the comedy, joining in the ‘Mickey Mouse’ fun, silliness and buffoonery, or second, to score it dramatically, addressing the characters, emotional dynamics and setting. Skinner upon viewing the film chose the latter approach, which I believe was the best choice. The unfoldment of Abbott and Costello’s slap stick comedy and buffoonery set to scary and suspenseful music created an ingenious alchemy. The Rampage Theme serves as the score’s main theme and it permeates the entire film. It empowers the aggression and attacks of the monsters. The theme is well conceived, as it is malleable and quite effective when expressed in a lurking form, or as a misterioso. Our monsters are all animated with themes, each of which fit them their nature well, right down to their very sinews. Folks, for me Skinner was an unheralded tier two Hollywood composer, who wrote tier one quality music. I am thankful whenever a Skinner work is made available and highly recommend the purchase of this exceptional quality album.

For those of you unfamiliar with the score, I have embedded a YouTube link to the Main Title: https://www.youtube.com/watch?v=jIbT471JHtE

Buy the Abbott and Costello Meet Frankenstein soundtrack from the Movie Music UK Store

Track Listing:

• Main Title (1:44)
• Monster #1 (1:01)
• Just A Wolf (1:10)
• The House of Horrors (1:16)
• Dracula’s Legend/Dracula Rises (6:31)
• Frankenstein’s Monster/Out-Monstered (3:24)
• Simple Brain (3:45)
• Wilbur The Hypnotist (0:30)
• Almost A Wolf (1:49)
• The Monster’s Lap (2:45)
• It’s Swing Again (0:48)
• The Diary of Life and Death (0:50)
• Master (1:44)
• Sandra The Vampire (0:30)
• Broussard Jr. (1:57)
• Dracula Hits The Jackpot (1:40)
• The Bloodhounds (1:43)
• Preparing The Monster (1:32)
• Wilbur Trapped (1:09)
• Shortchanging The Monster/Monster Chase End Title and End Cast (8:17)
• The Monster’s Lap (Alternate) (2:40)

Intrada INT-7183 (1948/2025)

Running Time: 46 minutes 45 seconds

Music composed by Frank Skinner. Conducted by William Stromberg. Performed by the Royal Scottish National Orchestra. Original orchestrations by David Tamkin. Recorded and mixed by Heddo Morfett-Jones. Score produced by Frank Skinner. Album produced by Leigh Phillips, William Stromberg and Anna Bonn.