Original subtitles

(rocket blasts off)

Downloaded from YTS.MX

- Okay, Venus. - Okay, Steve.

Official YIFY movies site: YTS.MX

- Right, let's go.

Stand by for action.

(bomb explodes) (water splashes)

(audience cheers and applauds)

Five... ("Thunderbirds" theme)

Four.

Three.

Two.

One. (rocket blasts off)

Thunderbirds are go.

("Thunderbirds" theme)

("Thunderbirds" theme continues)

("Thunderbirds" theme continues)

(audience applauds)

(audience cheers and applauds)

- I love that these guys have just done the most astounding

Thunderbirds march and then you applaud me for walking on.

(audience laughs) I really do appreciate that.

Ladies and gents, thank you so much for coming along

to a very special night,

Standby for Action, Gerry Anderson in concert.

For those of you who don't know,

my name is Jamie Anderson and I am the proud son

of the legendary Gerry Anderson.

(audience applauds)

I think it's a testament to the quality and the timelessness

of all the shows that there are almost 2,000 of you here.

You've all come together tonight and it's because of you,

all of you, that we are doing this.

The Anderson legacy really does live on

in the hearts and minds of generations of fans

all over the world, and that's all of you.

And actually I know that quite a few of you have travelled

from overseas and I think that is an effort

worthy of international rescue.

I know, yeah, it's amazing. (audience applauds)

Well done.

What I can tell you is that a huge team has worked

together tirelessly and we will do our very best to give you

an evening's entertainment that is worthy

of the Anderson name.

Now, you've already met George, George Morton,

our fantastic conductor who's already done an amazing job.

(audience applauds)

Later on this evening we'll also be welcoming

our special guest conductor, Richard Harvey.

(audience applauds)

And over there at the piano dressed as Captain Black,

another Anderson alumnus, Crispin Merrell.

(audience applauds)

So this is it, Anderson Entertainment and Carrot Productions

are very, very proud to present Stand by for Action.

Please put your hands together for your incredible host,

the inimitable Jon Culshaw.

(audience applauds)

- Ah, thank you.

Thank you so much, thank you.

Ah.

Thank you for that very, very glorious welcome,

what a wonderful, wonderful occasion,

so wonderful to be here.

We saw on the screen, filmed in video colour,

our orchestra also in video colour tonight.

Let's hear it for, so many of you. (audience applauds)

So many of us in video colour.

AS PERTWEE: I got the wrong memo and I've come here as Jon Pertwee,

but never mind, yes. (audience laughs)

I'll tell you the anecdote of when Parker

drove the Whomobile.

Quite frankly, he was superb.

But it's an absolute joy to be with you tonight.

It truly is a great, great honour to be invited

to host this event and just to the joyful homework

of watching so many of those Anderson shows

to refresh one's knowledge and you just see

and you're amazed even more at the great diversity

and the history of these wonderful shows

that brought so much joy to us,

that sense of Saturday-ness whenever we saw them.

And in a packed show tonight,

this is how packed the show is,

look at that, look at that.

This is my Anderson Bible for the night and there they are,

the music stand is taking the volume of them.

So are you ready?

(audience responds)

As that wonderful saying goes, stand by for action.

(audience applauds)

Yes, indeed.

A very warm good evening to you, ladies and gentlemen,

welcome here to Stand by for Action, Gerry Anderson in Concert.

As I've said, I'm Jon Culshaw, enormously excited to be your host

for this evening's musical retrospective

of the major Gerry Anderson television shows,

a journey that will take us from 1957

all the way through to 2005, a remarkable span.

And along the way, we'll be enjoying the theme music

to such classic shows as "Stingray, "Captain Scarlet,"

"Joe 90, "UFO, "Space 1999,"

and not forgetting "Thunderbirds."

All brought to life by our amazing orchestra right here.

(audience applauds)

Tonight, of course, we're here to celebrate the musical side

of the Gerry Anderson legacy,

but important, too, to honour not only Gerry and those

who created the music for his shows,

but also the many other great talented artists and creatives

who brought these shows to life for us.

So it's very appropriate then that our programme begins

with music from two very early television shows

that were devised not by Gerry,

but by the author Roberta Leigh,

"The Adventures of Twizzle" and "Torchy, the Battery Boy,"

what familiar names, wonderful familiar names.

Produced by Gerry's fledgling production company, AP Films,

in the late 1950s, these shows featured magical worlds

filled with living toys, talking animals,

and a legion of annoying small children who usually had to

be taught a lesson by those said toys and animals.

Let's send them to the cabinet office as soon as possible.

(audience laughs and applauds)

Depending on how old you were when you first

saw these shows, you'll either remember them

with warm fuzzy feelings of nostalgia

or perhaps fodder for some of the very worst

nightmares you ever experienced.

We'll leave that to you to decide as we enjoy

the wonderful theme songs to both

"The Adventures of Twizzle" and "Torchy, the Battery Boy."

(audience applauds)

- [Narrator] Have you heard of a twizzle toy?

You haven't.

Well that's because there's only one of them,

but perhaps we better begin at the best place for stories,

at the beginning.

("The Adventures of Twizzle")

("Torchy the Battery Boy")

♪ Torchy ♪

(rocket blasts off)

♪ Torchy, Torchy, the battery Boy ♪

♪ I'm a walky, talky toy ♪

♪ Press my switch, see my bulb start to gleam ♪

♪ I'm the most magic light you have seen ♪

(rocket blasts)

("Torchy the Battery Boy" continues)

("Pongo the Pirate")

♪ I'm Pongo the pirate ♪

♪ I live in a grapefruit sloop ♪

♪ And with my spyglass, I spy, and I peer, and snoop ♪

♪ I'm Pongo, ha ha, the pirate ♪

♪ I love to pinch and spank ♪

♪ And if I should catch you ♪

♪ I'll make you walk the plank ♪

♪ Pongo, bad, Pongo, bold ♪

♪ Pongo always looks for gold ♪

♪ Pongo, bad, Pongo, bold ♪

♪ Pongo always looks for gold, ha ha ha ha ha ♪

♪ I'm Pongo the pirate ♪

♪ I live in a grapefruit sloop ♪

♪ And with my spyglass, I spy, and I peer, and I snoop ♪

♪ I'm Pongo the pirate ♪

♪ I love to pinch and spank, ah ha ♪

♪ And if I catch you, I'll make you walk the plank ♪

♪ Pongo, bad, Pongo, bold ♪

♪ Pongo always looks for gold ♪

♪ Pongo, bad, Pongo, bold ♪

♪ Pongo always looks for gold, ha ha ha ha ha ha ♪

(audience applauds)

- Well that gets us into the right frame of mind,

right from the off, straight away.

What about another round of applause again

for that wonderful beginning, there, fantastic, yes.

(audience applauds)

Gets it into the right frame of mind,

the frame of mind it's given me is Ozzy Osbourne.

AS OZZY: Some of the finest hallucinations I've ever seen there.

Now, the Andersons wouldn't be sticking

with Roberta Leigh for too long.

Soon after Torchy began airing on British television,

so did another puppet show from AP Films.

And this one was entirely their own creation.

And it was the idea of somebody that we'll be hearing

a great deal about this evening, the composer Barry Grey.

(audience applauds)

And it was Barry Grey who pitched them his idea

for a puppet western, ever inventive.

This would eventually become "Four Feather Falls"

and it chronicled the adventures of the residents

of the western frontier town of that same name.

Now, there can't be many television law enforcers

who can also carry a tune.

Let's hope there should be a few more of them

in the years to come.

But Sheriff Tex Tucker, oh, yes, Tex Tucker,

he had a repertoire of half a dozen songs

that were heard repeatedly over the course of the series.

Again, all written by the great Barry Grey.

We're gonna be hearing two of Tex's songs shortly

sung beautifully by Edward Price,

one of which also doubled as the show's closing title song.

But first we shall have the opening titles,

the song with this wonderful name, "Kalla Ma Kooya."

- [Narrator] The four feathers on this hat are magic.

They enable Tex Tucker's dog and horse to speak

and his guns to fire without him even touching them.

And now, another exciting adventure from Four Feather Falls.

("Kalla Ma Kooya")

(thunder crashes)

(thunder crashes)

(guns shoot)

♪ Kaya, kalla ma kooya, kalla kaya ♪

♪ Kaya, kalla ma kooya, kalla kaya ♪

♪ Through magic of his strange effects ♪

♪ Big Chief friend of Two Gun Tex ♪

♪ Kalla ma kooya, kalla kalla ma kooya, kalla kaya ♪

(audience applauds)

("Four Feather Falls")

♪ In Four Feather Falls, Four Feather Falls ♪

♪ There's always magic in the air ♪

♪ In Four Feather Falls, Four Feather Falls ♪

♪ You always find a vacant chair ♪

♪ In Four Feather Falls, Four Feather Falls ♪

♪ Where every heart is kind and true ♪

♪ If ever you're in town, they'll never let you down ♪

♪ And stranger, there's a welcome for you ♪

♪ But anything can happen, anything at all. ♪

♪ You may hear a dog meow ♪

♪ But stranger than that, why any stray cat ♪

♪ May suddenly remark bow wow, woof woof ♪

♪ Oh Four Feather Falls, I said Four Feather Falls ♪

♪ The only place on earth to be ♪

♪ Cos Four Feather Falls, yes, Four Feather Falls ♪

♪ Means heaven on the range to me ♪

("Four Feather Falls" continues)

♪ Four Feather Falls, Four Feather Falls ♪

♪ Means heaven on the range to me ♪

♪ Heaven on the range to me ♪

("audience applauds)

("Two Gun Tex of Texas")

♪ Two Gun Tex of Texas, he's a guy with the straightest deal ♪

♪ But he keeps the law with the fastest draw ♪

♪ And a nerve as strong as steel ♪

♪ Two Gun Tex of Texas is a friend who would never fail ♪

♪ But if you did wrong, wouldn't take him long ♪

♪ To clap you right in jail ♪

♪ He's known throughout all Kansas ♪

♪ Through every single mile ♪

♪ As a rootin'-tootin', highfalutin sheriff with a smile ♪

♪ Two Gun Tex of Texas will never let you down ♪

♪ But play it bad and he'll get mad ♪

♪ So cover your tracks from Two Gun Tex ♪

♪ The smartest guy in town ♪

("Two Gun Tex of Texas" continues)

(audience applauds)

- I think he was having a bit too much fun

in that bath, don't you? (audience laughs)

Absolutely wonderful, marvellous stuff.

In fact, "Four Feather Falls" was the first series to use

the lip-syncing technique that became known

as supermarionation, another very, very familiar term to us.

And having created this futuristic technology to bring

their puppet characters to such glorious life,

it was now time for AP Films to create a series

that although it wasn't set in the future,

it certainly incorporated futuristic elements,

the most obvious of which was the show's star vehicle.

As the title song told us every week it could travel

on land, through the air, under water, and even into space.

And I know you will know this, that vehicle's name.

- [Audience] Supercar.

- Supercar, absolutely, we've got many, many fans

of the Supercar Fan Club here in the auditorium

with us tonight.

Of course, "Supercar" followed the adventures

of the whole supercar team

as they put this fantastic machine through its paces.

We're gonna be hearing two tracks from "Supercar"

in just a moment.

The second one will be a selection of jazz tracks

from the show's final episode, "King Kool,"

this is the famous one where Mitch the monkey

takes up the drums of course.

I think we can hear a little example just now.

(drums play)

(audience laughs and applauds)

Ah, fantastic.

You must come to some of my gigs, do that after every joke,

I'll be so grateful to you, thank you.

But before we hear that particular piece,

we have the show's theme song,

and this will get us into a suitably super mood

with their rendition of the show's main theme.

Please welcome our wonderful singers,

we've heard from them already, give them a big welcome now,

Emma Brain-Gabbott, William Purefoy, Michael Dore,

and Edward Price. (audience applauds)

Ladies and gentlemen, keep your applause going

as they perform the theme song from "Supercar."

("Supercar" theme)

♪ Supercar, supercar ♪

♪ With beauty and grace, fast as can be ♪

♪ Watch it flying through the air ♪

♪ It travels in space, or under the sea ♪

♪ And it can journey anywhere ♪

♪ Supercar ♪

♪ It travels on land, or roams the skies ♪

♪ Through the heavens' mighty rage ♪

♪ It's Mercury-manned ♪

♪ And everyone cries, it's the marvel of the age ♪

♪ Supercar ♪

(audience applauds)

- This is APF TV, your local television station.

And now we present to you the show you've all been

waiting for, folks, the Bud Hamburger Super Soap Show.

- Bravo, bravo.

- And this week we have a very special surprise for you all.

First, your favourite and mine, King Kool...

(drums plays)

..together with Musical Mitch.

(drums plays)

And finally, I am very proud to present

the world-famous Supercar team and all that jazz.

("King Kool")

("King Kool" continues)

("King Kool" continues)

(audience applauds)

- I can't help but dance a little walking back out

after all that.

When we think of all of the performances that have

taken place in this wonderful auditorium,

Rachmaninoff, now we've got King Kool

to add to that, as well.

So after "Supercar," AP Films turned their attention

to the stars for their next series, which you will know,

this of course was, - "Fireball XL5."

- "Fireball XL5," you know it, you know it, "Fireball XL5."

Now we are well and truly into the realm of science fiction

as the series was set a hundred years in the future

aboard the flagship of the World Space Patrol.

Barry Grey once again produced a completely different style

for the XL5 score, and the opening title theme,

which we shall hear very shortly,

is very reflective of that sound, building great drama

and blending it with 1960s cool.

And by far the show's most popular piece of music,

probably its end title song,

"Fireball," smoothly sung by Michael Dore this evening

and it spent 12 weeks in the UK charts,

and of course no concert of Gerry Anderson's music

could be complete without either of these two tracks.

So let's now enjoy the opening theme and the closing song

from "Fireball XL5," you're a great prompt.

(audience laughs and applauds)

("Fireball XL5" theme)

- OK, Venus. - OK, Steve.

- Right, let's go.

("Fireball XL5" theme continues)

(ship blasts)

("Fireball XL5" theme continues)

(audience applauds) ("Wish I Was a Spaceman")

♪ I wish I was a spaceman, the fastest guy alive ♪

♪ I'd fly you around the universe in Fireball XL5 ♪

♪ Way out in space together, conquerors of the sky ♪

♪ My heart would be a fireball, a fireball ♪

♪ Every time I gaze into your starry eyes ♪

♪ We'd take the path to Jupiter and maybe very soon ♪

♪ We'd cruise along the Milky Way and land upon the moon ♪

♪ To a wonderland of stardust ♪

♪ We'd zoom our way to Mars ♪

♪ My heart would be a fireball, a fireball ♪

♪ Cos you would be my Venus of the stars ♪

(audience applauds)

- Quite, quite wonderful taking us

into that real familiar Gerry Anderson field there.

From the limitless frontiers of outer space,

AP Films then brought us into the mysterious

underwater world of "Stingray."

(audience cheers and applauds)

They introduced another assortment of memorable characters

in the crew of the Stingray submarine

and their Marineville colleagues,

including one particular character who was the focus

of the show's closing title song,

that of course was Marina.

The song "Aqua Marina" performed by Gary Miller,

tonight shall be performed by Michael Dore.

As with Fireball, it ended each episode on an upbeat note

and while also reminding viewers of the on and off again,

on and off again love triangle situation

between Troy, Marina, and Atlanta.

But of course the show wasn't just all about

the romantic dalliances of Troy Tempest,

as much as he probably wished it had have been.

Stingray's opening title sequence not only set the tone

for the show's increased focus on action,

but also the shift of the music

towards that grander, more militaristic air

that would carry over into the later productions

that we love so well.

We shall be hearing the opening and closing themes

to "Stingray" tonight, but between that,

we also have one of the show's most popular pieces

of incidental music, "March of the Oysters."

(audience applauds)

Such an epic dramatic piece,

it was even reused in "Thunderbirds" later.

We shall hear "March of the Oysters" in just a moment

but until then I get to say that familiar phrase,

stand by for action.

(audience applauds)

- Stand by for action. (rocket blasts)

("Stingray" theme)

We are about to launch Stingray

♪ Stingray, Stingray ♪

("Stingray" theme continues)

(sub launches)

("Stingray" theme continues)

- Anything can happen in the next half hour.

(tower explodes)

("Stingray" theme continues)

♪ Stingray, Stingray ♪

♪ Stingray, Stingray, Stingray ♪

(audience applauds)

("March of the Oysters")

("March of the Oysters" continues)

("March of the Oysters" continues)

("March of the Oysters" continues)

(audience applauds) (bomb explodes)

("Aqua Marina")

♪ Marina, Aqua Marina ♪

♪ What are these strange enchantments that start ♪

♪ Whenever you're near ♪

♪ Marina, Aqua Marina ♪

♪ Why can't you whisper the word that my heart ♪

♪ Is longing to hear ♪

♪ Your magic to me, a beautiful mystery ♪

♪ I'm certain to fall, I know ♪

♪ Because you enthral me so ♪

♪ Marina, Aqua Marina ♪

♪ Why don't you say that you'll always stay ♪

♪ Close to my heart ♪

(audience applauds)

- Ah, Aqua Marina, she was my first crush, that's for sure.

All the memories flooding back tonight,

lovely to share it with you.

Now this is the point in the night where you might

just be expecting to hear some music from "Thunderbirds,"

well we're just gonna hold off on that

just for a moment or two, just for a little while later.

We know you're very clearly raring to get

into "Thunderbirds" a little more,

so we thought you might just like to try a little bit

of audience participation.

Oh good, yes, exactly, exactly.

Two words everybody loves and you've proven it tonight.

Now as you know, I'm very, very lucky to currently play

the role of Jeff Tracy in the new range

of classic "Thunderbirds" audio stories

being released by Anderson Entertainment.

And I actually have the great honour of being able to say

Jeff's classic intro narration.

But I thought tonight it might be fun if you were to join in

with me and if that makes you nervous or unsure,

don't, just remember what Jeff himself would say,

remember, the code of international rescue,

not to give up at any cost.

Remember that.

(audience applauds) You're very kind, thank you.

So what we would like to do just now at this very moment,

whenever you are ready,

I shall say five and then the orchestra

will play that first chord

and then I would like to rely on all of you to provide

for us the four, the three, the two,

and so on leading to a rousing cry of "Thunderbirds are go"

just as you see the wonderful launch.

Okay, so I hope you're feeling ready with this.

It's one of the most familiar motifs

in all the Gerry Anderson world of music.

What could possibly go wrong?

(audience laughs)

So no excuse for scrubs, boys, are you ready?

Okay, here we go.

Five,

(orchestra plays)

- [Audience] Four,

three,

two,

one.

(rocket launches)

("Thunderbirds" theme)

(audience applauds)

- You did us proud there, five, four, three, two, one.

Once more. - Thunderbirds are go.

- Mr. Tracy would be proud, he would be proud.

As Parker himself might say,

luvvies, stone the crows,

you've done amazing there, proper amazing.

(audience applauds)

It's my great honour to play Parker, too.

In fact, Parker is one of those voices I'm quite tempted

to just keep and talk like for the whole time.

(audience laughs)

I think life would be a whole lot happier

if I was to do that.

Yes, taking on the mantle from the wonderful David Graham.

Let's have a round of applause for the wonderful David Graham.

(audience applauds) David Graham, we love you lots.

Showing how it should be done.

Now, I appreciate that by asking you to wait a little longer

for some more music from "Thunderbirds,"

I am playing a bit of a dangerous game.

(audience laughs)

You see, we've planned this,

this has all been meticulously.

So to tide you over, what we're going to do next

is play "That Dangerous Game,"

a jazz track from the episode "The Cham-Cham,"

brought to life by our amazing orchestra.

(audience applauds)

("That Dangerous Game")

("That Dangerous Game" continues)

("That Dangerous Game" continues)

("That Dangerous Game" continues)

("That Dangerous Game" continues)

("That Dangerous Game" continues)

("That Dangerous Game" continues)

(audience applauds)

Oh wonderful, I think nevermind Bond, James Bond,

the name's Parker, Aloysius Parker.

That would work for me.

There's something about seeing m'lady there to the music

of a saxophone, it's a very unique effect,

isn't it, it really is.

From dangerous games we move to dangerous adversaries

with 1967's "Captain Scarlet and the Mysterons."

(audience applauds) Yes, a little frisson

of danger there in your reaction, we love that.

Plunging us into a war of nerves

between the Mysterons on Mars

and the Earth's Security Organisation Spectrum.

The series introduced, as well,

the indestructible Captain Scarlet,

let us hear it for the great fellow, yes.

(audience applauds)

As well as his cloud-based colleagues

and the sinister Mysteron agent Captain Black.

(audience laughs)

It'll be a good pantomime season this year, won't it?

Right back into the spirit of it.

Perhaps the show's most famous piece of music

was not composed to accompany any specific scene

but instead to serve as a transition between them.

I think we can have an example of this in a moment,

that seven note tympani drumbeat that most people

instantly think of whenever they hear

the name Captain Scarlet.

Can we have a little preview of that right now?

(tympani plays)

(audience applauds)

Thank you,

thank you, thank you, thank you.

Impetus, there we are,

that sound was incorporated into the show's

opening and closing titles,

both of which we shall be hearing very shortly tonight.

But between those, we also have the Mysterons theme

based on the rising four-note motif that signified

the presence of the Mysterons.

This features possibly the most unusual and rare instrument

on our stage this evening.

Let me get the pronunciation correct here,

the ondes martenot, the ondes martenot, yes,

(audience applauds)

played tonight by Francois Evans.

Let's hear it for Francois on the ondes martenot.

(audience applauds)

Oh, that's what, would you do that again for us, sir?

That's wonderful there.

Can we have that again?

I'd love to hear that just once more exclusively

on its own, its own right.

(ondes martenot plays)

One more time, unmistakable. (audience applauds)

Unmistakable.

You can just imagine Gerry and Barry Grey hearing that

and going, we need that sound, we need that sound,

weave it through the show.

All of that coming up very shortly.

But first, let's have a walk down the alley

for a fatal meeting with Captain Scarlet.

("Captain Scarlet" theme)

(footsteps echo)

- [Narrator] The finger is on the trigger

about to unleash a force with terrible powers

beyond the comprehension of man.

This force we shall know as the Mysterons.

(bottle rattles)

(guns shoot)

(tympany plays)

This man will be our hero,

for fate will make him indestructible.

His name, Captain Scarlet.

("The Mysterons Theme")

("The Mysterons Theme" continues)

("The Mysterons Theme" continues)

("The Mysterons Theme" continues)

("The Mysterons Theme" continues)

("Captain Scarlet" closing theme)

♪ Captain Scarlet ♪

♪ He's the one who knows the Mysterons' game ♪

♪ And things they plan ♪

♪ Captain Scarlet ♪

♪ To his Martian foes, a dangerous name ♪

♪ A superman ♪

♪ They crash him and his body may burn ♪

♪ They smash him but they know he'll return ♪

♪ To live again ♪

♪ Captain Scarlet ♪

♪ As the angels are flying wing to wing ♪

♪ Into the scene, spectrum is green ♪

♪ Captain Scarlet ♪

♪ Though the Mysterons plan to conquer the Earth ♪

♪ This indestructible man will show what he's worth ♪

♪ Captain Scarlet ♪

♪ Indestructible Captain Scarlet. ♪

(audience applauds)

- Yes, the heroic anthem of a Captain Scarlet there

and before that the haunting sound

of that wonderful, wonderful ondes martenot.

The ondes martenot, it was very haunting.

It's made me turn into Tom Baker just temporarily.

I was very haunted by that sound, very haunted,

but in the most marvellous, glorious way,

in the most beautiful way, yes.

I think the Mysterons have pulled me

into the wrong franchise, I like it here.

(audience laughs and applauds)

Now from the alien menace of Captain Scarlet,

the Andersons entered the world of international espionage

with their next series, of course, "Joe 90."

Revolving, yes, indeed, indeed, one of my early favourites.

I wanted to be Joe 90.

I wanted to be Joe 90 when I was young.

Revolving around the adventures

of a nine-year-old super spy.

And musically the show largely moved away

from the militaristic sound of Captain Scarlet

and towards a score that reflected youthful innocence

and the adventurous nature of the show's main character.

In just a moment you'll be enjoying four tracks

from "Joe 90."

Following the show's opening title theme, we'll have

a piece from the episode "International Concerto,"

which follows concert pianist Igor Sladek on his world tour,

that followed by "Hi-Jacked," a popular piece

from the episode of the same name,

and lastly, we shall round out with the "Joe 90" section

of this evening with the show's joyful end title,

combining '60s pop and those beautiful orchestral swells.

But before we get to that point,

let us begin things unmistakably

with the opening theme, "Joe 90."

(audience applauds)

(electronics whir)

- There she is, Sam, the big rat.

- The big rat?

- The brain impulse galvanoscope, record and transfer.

- With respect Mac, I find it hard to believe

that it has the capability you've described.

- It has Sam, you'll see.

Ah, Joe, good, now we can begin.

- Is this it, Dad?

- This is it.

You know what to do.

Now, Sam, I have recorded my brain patterns

on that reel of tape,

so electronically it now stores

my knowledge and my experience.

In a moment, I'm going to transfer that knowledge

and experience to little Joe.

(chair whirs)

- Okay, Dad, I'm ready.

- Relax, Joe, don't answer me, just relax.

Relax completely.

(electronics whir and beep)

("Joe 90" theme)

("Joe 90" theme continues)

("Joe 90" theme continues)

(audience applauds)

("International Concerto")

("International Concerto" continues)

("International Concerto" continues)

("Hi-Jacked")

("Hi-Jacked" continues)

("Hi-Jacked" continues)

("Hi-Jacked" continues)

(audience applauds)

("Joe 90" closing credits)

("Joe 90" closing credits continue)

("Joe 90" closing credits continue)

(audience applauds)

- Absolutely wonderful, we are immersed in magic tonight,

ladies and gentlemen.

Do you remember that famous clip of Oliver Reed

being interviewed by Michael Aspel

and he was dancing drunk like that?

That theme would've suited that absolutely beautifully.

Somebody should superimpose those two clips together

and make it work.

"Joe 90," I wonder if that was showing

a young Joe Biden, somehow.

(audience applauds)

Just goes to show how ahead of their time

these Gerry Anderson shows were.

That was 1968, '69, something like that,

in the opening moments there in the globe,

as Joe goes in, I'm sure you could hear the sound

of sort of 1998 internet dial-up sound mixed in there,

ahead of their time.

I'm sure it was there.

Okay, "Joe 90."

Now of course, Gerry and Sylvia Anderson were best known

for their TV productions,

but they also produced several feature films

and the film score that we have chosen to include

this evening is the opening theme

to their fourth and final film, "Doppelganger."

Also, yes, indeed, indeed, indeed, "Doppelganger.,

(audience applauds)

Also known by its American title

of "Journey to the Far Side of the Sun."

(audience applauds)

Patrick Moore would've got over that much more quickly,

a journey to the far side of the sun,

very, very fascinating.

(audience laughs and applauds)

This was released in 1969.

The film dealt with the discovery of a new planet

on the opposite side of the sun from the Earth.

Frankly, we can't prove that it's not there.

This could very well be a reality, fascinating.

It's true, this could be discovered.

And the story of one of the expeditions

sent to investigate all this.

Not only did the film deliver suitable cinematic spectacle,

but Barry Grey produced for it some of his greatest work

with Doppelganger's grandest musical moments

being performed by a 55-piece orchestra.

We shall echo and emulate that

here tonight in just a moment.

Now as our last theme before the interval,

let's all now enjoy the main theme for "Doppelganger,"

"Journey to the Far Side of the Sun."

(audience applauds)

("Doppelganger")

("Doppelganger" continues)

("Doppelganger" continues)

(vehicle launches)

("Doppelganger" continues)

("Doppelganger" continues)

(audience applauds)

Wow, uplifting, hypnotising, absolutely magnificent.

So marvellous, marvellous stuff there, really makes you want

to go off and have an exciting adventure all your own.

Although since we are just about to have the interval now,

please don't go too far.

Act two is to come with more magnificence.

Now, I have to say, don't go shooting your mouths off

about this, but her Ladyship had promised

to make an appearance, although I heard the last thing

she was having a little bit of bother

and probably my lady wouldn't make it.

Engel, what's going on on the screen here?

What do we have here?

We have a situation.

(bell rings)

You rang, my lady.

- Yes. Parker.

(playful music)

♪ Oh, Parker. ♪

♪ Yes, my lady. ♪

♪ I think I'd like to take a little ride ♪

♪ And Parker ♪

♪ Yes, my lady. ♪

♪ Somewhere just around the countryside ♪

♪ Have you prepared the Rolls Royce ♪

♪ Is it ready for a run ♪

♪ Yes, my lady, quite alright, everything's been done. ♪

♪ I've lubricated all the cannons ♪

♪ And I've polished up the gun ♪

♪ Oh Parker, well done ♪

- Lady Penelope speaking.

- Hi Penny, it's Jeff.

Put your ride on hold,

I've received information, it's the interval.

- Goodness, how thrilling.

FAB, Jeff. - FAB, Penny.

♪ Oh, Parker ♪

♪ Yes, my lady ♪

♪ It's time to have the interval, I hear ♪

♪ And Parker ♪

♪ Yes, my lady ♪

♪ Put your feet up, have an ice cold beer ♪

♪ That's oh so kind, my lady, a tipple does sound fun ♪

♪ I'll get your Pernot, my lady ♪

♪ And then put away the gun ♪

♪ Do join us ladies and gents, the party's just begun ♪

♪ Oh, Parker ♪

♪ Yes, my lady ♪

♪ Well done ♪

♪ Oh, Parker ♪

♪ Yes, my lady ♪

♪ Well done ♪

♪ Thank you, my lady ♪

(audience applauds)

- Let's hear it for the wonderful Genevieve Gaunt,

our voice of Lady Penelope.

Thank you, my lady.

(audience applauds)

Let's have another round of applause

for our wonderful orchestra here, thank you so much.

Thank you.

And we shall see you for more in part two.

Stand by for more action.

(audience applauds)

(audience applauds)

(dramatic music)

("Legacy")

("Legacy" continues)

("Legacy" continues)

("Legacy" continues)

("Legacy" continues)

(audience applauds)

Welcome back to our wonderful orchestra.

Welcome back to you, are you ready for more action?

(audience exclaims)

You are magnificent, you are truly magnificent.

Thank you so much to our wonderful orchestra once again

and that fascinating film,

the wonderful insight into how the Anderson shows,

in the background, and the making of, how they come to life

so majestically and magically.

A world premiere of that arrangement, as well, wonderful.

A round of applause once again for that world,

wasn't that fantastic to hear? (audience applauds)

And as we get into the second half,

we have not quite finished with the world

of supermarionation just yet,

it is time for "The Secret Service."

Yes, "The Secret Service," a true one for fans,

one of the stranger Anderson shows, we can say,

centering around a parish priest named Father Stanley Unwin,

played oddly enough by the comedian of the same name,

well known for his nonsense style of speaking,

no one else, on with ease, I think someone else

has stolen it, but no,

(audience applauds)

taking it to right-off levels, far, far, far.

I need the brigadier to call order,

that's quite enough of that.

Yes, Lethbridge Stewart will not have him in the house.

No, certainly not.

I've had a very interesting conversation

with a wonderful fellow called Jeff Tracy.

I hope that Eunice and he can collaborate,

yes, marvellous development.

Now then, where was I, yes?

You see, Boris has thrown it totally out of fe, fa, fa, fa.

So armed with his Unwinese

and a shrinking ray known as the minimizer,

Father Unwin and the Secret Service and his gardener Matthew

were deployed on various missions for British intelligence.

Sadly, only 13 episodes were filmed,

but by Jove, they made their mark.

Once again, Barry Grey took inspiration

from the show's concept in composing its score,

giving the main theme a distinctly choral sound,

hiring the Mike Sammes Singers to perform it

and a beautiful sound, so evocative of that time,

brings all the memories flooding back so uniquely.

To get us into this heavenly mood,

it is time now for you to enjoy the main title theme

for "The Secret Service."

(audience applauds)

(dramatic music)

(glass breaks)

(gun shoots)

- Hello, this is Healey Automation.

There's been,

- [Phone] Hello, hello, hello, are you there?

(dramatic music)

(device clicks)

(explosive discharges)

(case seals)

(bell rings)

("The Secret Service" theme)

("The Secret Service" theme continues)

("The Secret Service" theme continues)

(audience applauds)

- I love that wonderful vocal style, so alive,

darting around the place, you can imagine a character

in a comedy looking for something,

mysteriously like that, it's so evocative, so brilliant.

Let's have a wonderful round of applause

for our fantastic singers, those heavenly vocals.

(audience applauds)

Emma, William, Michael, and Edwards,

thank you so much indeed.

I've adored listening to them in our rehearsals today.

Well, as Father Stanley Unwin himself might have said

that was quite a finely composing

and beauty sung performance of deep joy

to the ear load, oh yes.

(audience applauds) Well, that's

the most sensible thing I've said all night.

But now we enter the universe of live action

for three opening title themes from the 1970s.

Kicking things off with "UFO."

(audience cheers) Exactly.

As you prove, just the title of the show makes you think

of string vests, purple wigs, sinister aliens

all set in 1980.

I wish it had, 1980 should have been like that.

(audience laughs) It should have been.

Instead, it was sort of Barbara Dixon,

the two Ronnies, and Madness.

I prefer the "UFO" version, although ours was lovely, too.

The show's opening title sequence, so, so memorable,

kicked things off in style

with that absurdly catchy main theme

which got us viewers hyped

for some exciting outer space thrills.

And outer space thrills were just what were offered

in the second of our next three offerings

we're about to hear.

As following the theme to "UFO,"

we shall be blasting off into the unknown

with the crew of Moon Base Alpha for the theme

from the very first season of "Space: 1999."

(audience applauds)

This main theme reflected the grandeur

of the Andersons' vision for their new space series,

as well as incorporating a wonderful bit

of very '70s disco funk.

Somehow these two worlds,

they all worked so beautifully together.

The first season of "Space: 1999" was to be

the final Anderson production to be scored by Barry Grey

as when the show returned for its second season,

its soundtrack was instead composed

and conducted by Derek Wadsworth.

Derek who, like Barry, is sadly no longer with us,

he's on record as saying that Gerry wanted

Space: 1999's new main title theme to sound

something like "Hawaii Five-0,"

very interesting and innovative choice.

Two very different versions we shall offer you

of "Space: 1999" in a very short while,

but first, as promised, "UFO."

(audience applauds)

("UFO" theme)

("UFO" theme continues)

("UFO" theme continues)

(audience applauds)

("Space: 1999" theme)

("Space: 1999" theme continues)

(audience applauds)

("Space: 1999" theme)

("Space: 1999" theme continues)

(audience applauds)

So energising, so brilliant, the memories all coming back.

I can remember watching these programmes when I was young,

10 or 11, in the days before catch-up TV

and straight after watching an episode,

you'd be so en energised, you'd go and draw the planets,

you'd draw the spaceships,

you would try to build them out of plastic cups.

And this is how you, the memories are just coming back

about how these shows just enriched our lives.

It's wonderful.

Let us move on now, let us continue.

We're now just over halfway

through this evening's proceedings, time now for George,

our wonderful conductor, to take a short

but well-earned break.

George, we shall bid you a temporary farewell.

Thank you so much, a round of applause for George.

We shall see you later. (audience applauds)

Thank you so much, thank you so much, thank you.

And now we welcome our very special guest conductor

as the next section of our programme delves

into the 1980s and "Terrahawks," yes.

(audience cheers)

And the man who composed all the music

for that wonderful show is joining us now, none other.

Please give a wonderful, huge welcome

to the magnificent Mr. Richard Harvey.

(audience applauds)

Thank you, Richard, and welcome amongst us here.

Yes, Richard was the man who in 1983 was tasked

with composing the main theme and score

to the latest Gerry Anderson series, "Terrahawks."

Synthesised music had come a long way since Barry Grey

had experimented with it on shows such as "Supercar"

and "Fireball XL5" back in the 1960s.

And the technology now existed to allow musicians to create

compositions that previously would not have been possible

without a full orchestra.

And that suited Gerry Anderson just fine since "Terrahawks"

didn't have the budget to pay for a full orchestra.

Instead, Richard used his technological expertise

precisely to create an electronic score for "Terrahawks"

that spotlights the heroics of the Terrahawks organisation

to the evil machinations of Zelda herself

and all the action in between.

Now, Richard, as we've just heard,

you originally produced this music without an orchestra,

so we can't wait to hear our wonderful orchestra tonight

rise to the wonderful challenge and occasion of bringing

all of this music to life.

If you are happy to go, sir, thank you so much.

We are all ready, ladies and gentlemen,

thank you to Richard and some music

from the fantastic "Terrahawks."

(audience applauds)

("Terrahawks Suite")

- Terrahawks, stay on this channel, this is an emergency.

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

("Terrahawks Suite" continues)

- Fantastic, Katie, just fantastic.

("Terrahawks Suite" continues)

(audience applauds)

(applause continues)

- Ah, the talent and magnificence,

thank you, Richard Harvey.

A round of applause once again, and for our wonderful orchestra,

keep your appreciation going.

Thank you so much. (audience applauds)

Absolutely incredible, and we see,

I always say nobody predicted the future

better than Gerry Anderson.

Whenever you see an Elon Musk launch now,

it's pure Gerry Anderson.

We can see where Mr. Musk got his inspiration from

and we saw there on the screen

Mars 2020 and we think of Mars with spirit and opportunity,

the Curiosity rovers and so on, not far away here,

Gerry Anderson, the greatest futurologist,

absolutely magnificent.

So that, ladies and gentlemen,

it's sadly the last number this evening

for our wonderful singers.

Can you please give a wonderful round of applause

of appreciation, Emma Brain-Gabbott, William Purefoy,

Michael Dore, and Edward Price.

Thank you so much for your magnificence this evening.

Thank you so much. (audience applauds)

Emma Brain-Gabbott, William Purefoy, Michael Dore,

and Edward Price, thank you so very much indeed.

Now, marvellous stuff, thank you to Richard, as well,

for the incredible music, it's resonating still.

Richard will join us later in the programme tonight

and we look forward to that as we hand the baton back now

to George Morton.

George Morton, welcome back, sir.

(audience applauds)

Ah (laughs).

Change of costume for Mr. Morton.

Absolutely wonderful, okay, to our next series

we take you now and we're continuing the theme

of introductions, we're about to hear

three opening title themes from someone else

you haven't yet been introduced to.

Gerry Anderson's final three television series,

they shared a consistent musical sound thanks to all

of that music being composed by the same man.

That man played the piano for us earlier this evening

for "King Kool," ladies and gentlemen, Mr. Crispin Merrell,

now in the audience, Crispin.

(audience applauds)

Let us hear it for Crispin, thank you so much.

Wonderful to have you with us tonight.

We're now going to hear three

of Crispin's main title themes now,

beginning with the 1994 series "Space Precinct,"

(audience cheers)

starring Ted Shackelford as a human police officer

keeping the mean streets of Demeter City on the planet Altor

safe for both human and alien alike.

Crispin's score emphasised the danger of this new world

and the threats it contained, as well as the wonder

and the majesty of the new frontier of space technology

and exploration, once again, chiming with where we are now.

That sense of wonder was at the forefront of his score

for Anderson's next series, 1999's "Lavender Castle,"

yes, "Lavender Castle," (audience applauds)

a stop-motion animated series which told the story

of the crew of the spaceship Paradox,

the search for the mythical city of Lavender Castle

and the tangles with the sinister Dr. Agon.

He sounds very sinister.

The final Anderson series that Crispin composed

the music for was also Gerry's last.

This was 2005's "New Captain Scarlet,"

a CGI re-imagining of the 1967 original

for which Crispin honoured Barry Gray's sound with the 1960s,

that unique sound, the heroic music of the spectrum,

and also the more sinister themes

for the activities of the Mysterons.

Just like Richard's work on "Terrahawks,"

Crispin's Anderson scores stand tall and proud

alongside the work of the legendary Barry Grey

and coming up for you now are three themes that prove that,

"New Captain Scarlet," "Lavender Castle, and first,

enjoy "Space Precinct," thank you.

(audience applauds)

("Space Precinct" theme)

("Space Precinct" theme continues)

("Space Precinct" theme continues)

(audience applauds)

("Lavender Castle" theme)

("Lavender Castle" theme continues)

(audience applauds)

("New Captain Scarlet" theme)

("New Captain Scarlet" theme continues)

("New Captain Scarlet" theme continues)

(audience applauds)

Fantastic to see all the new technology,

all the innovation embraced there,

as well as the wonderful stop motion,

one of my particular favourites, wonderful to see that too.

Well, ladies and gentlemen,

it's a glorious evening to share with you.

We're very nearly at the end of our programme.

Yes, I know, I know.

But first though, not quite there,

I did promise you that we would be

coming back to "Thunderbirds."

(audience cheers)

Might you be ready to do that right now at this very moment?

Of course you are, of course.

In fact, we are going back to the very beginning

of "Thunderbirds" itself with the score of the show's

first ever episode, the popular "Trapped in the Sky."

It's a score that encompasses many of the memorable motifs

that Barry Grey brought to the series

from the hood plotting in his jungle temple

to a ladyship and myself making sure he comes

a cropper in the end,

to the iconic drama of international rescue,

racing against time to save the fire flash itself,

and even a little bit of Virgil Tracy himself on the piano.

Well, we might not have Virgil, but we do have Gemma Beeson.

Welcome Gemma, let's have a round applause for Gemma.

(audience applauds)

And George Morton with his baton, it Looks like we are

just about ready to wrap this up, FAB style,

this FAB evening of Gerry Anderson in wonderful style,

any opportunity I just take on the voice of Jeff,

I walk a little taller when I talk this way.

Take it away, boys.

(audience applauds)

("Trapped in the Sky")

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

("Trapped in the Sky" continues)

(audience applauds)

(applause continues)

Very, very special indeed.

Now what better way to end this evening than with what is

probably the very best known Anderson theme composed

by that utter genius, Barry Grey.

A toe-tapping call to action that has become

culturally ingrained in all of us.

To bring this final piece to life,

I would like to welcome back to the stage

the truly FAB Richard Harvey.

(audience applauds)

Now, as you may well have guessed, ladies and gentlemen,

our finale this evening will be

that very special piece of music,

and I truly believe had it been written

just a few hundred years earlier,

it would probably have ended up as the national anthem,

(audience laughs and applauds)

of course it is the "Thunderbirds March."

Richard and our glorious orchestra, are you ready?

FAB, take it away.

("Thunderbirds March")

("Thunderbirds March" continues)

("Thunderbirds March" continues)

("Thunderbirds March" continues)

("Thunderbirds March" continues)

(audience applauds)

And the crowd are on their feet.

I have run out of superlatives.

Will you thank Richard Harvey once again

and will you welcome back to the stage George Morton

and your appreciation for our wonderful singers, please,

Emma Brain-Gabbott, William Purefoy,

Michael Dore, and Edward Price.

(audience applauds)

Thank you, all of you.

(applause continues)

Oh, thank you for your wonderful appreciation.

You are the greatest fans in the universe, you truly are.

There is one person who hasn't just yet received

the credit they are due.

She's somebody who has worked tirelessly

to make this event happen,

working hundreds of hours, enduring many sleepless nights

to bring together this amazingly joyous event.

Would you please put your hands together for our producer

of this wonderful night,

Carrot Productions's Rachel Whibley,

congratulations and thank you to Rachel Whibley.

(audience applauds) You made it all happen.

We're so grateful to, ah, thank you, Jamie.

Rachel Whibley, where are you?

Keep your applause going.

Rachel did not know this was going to happen.

This is a, ah, Rachel.

Ah, thanks to you

(audience applauds)

Your appreciation for Rachel Whibley,

ladies and gentlemen, thank you so much.

More presentations to come,

this time of a rather fizzy variety.

Keep your applause going,

we've not finished with the presentations yet.

(audience applauds)

Ah, there we are, the champagne awards,

the champagne awards.

Yes, there we are.

Really, oh, thank you.

Oh, thank you.

George Morton, will you join us please, George Morton?

We have both of our conductors on the stage

with us at the moment.

Thank you, Jamie.

(applause continues)

Just one more set of thanks from me.

And that's to the wonderful team of people that work so hard

to continue the great legacy of Gerry Anderson,

from podcasts to live streams,

merchandising to publishing, everything in between,

every bit of technology that we have at our hands now.

Could the team from Anderson Entertainment

please stand for us and give a round of applause

for all of these wonderful folks.

That is Tim Collins,

Steph and Nicholas Briggs, Ben Page, Chris Dale,

Chris Thompson, Andrew Clements, Ross Arrowsmith,

Tim Langus-Griffin, and Louise Everson.

Your appreciation for the Anderson Entertainment team

keeping this wonderful legacy going, keeping the joy going,

our thanks to you. (audience applauds)

Thank you so much for joining us.

Give yourselves a round of applause for being

the greatest of fans,

for your wonderful enthusiasm and warmth.

You've done us proud, you really have done us proud.

With that, ladies and gentlemen, would you like some more?

I think they deserve some more, I think so.

Come back, come back, come back.

It is encore time, ladies and gentlemen,

rejoin us, it is encore time.

(epic orchestral music)

(audience applauds)

Ah, keep your appreciation going,

thank you so much, your applause, we are addicted to it.

(audience applauds)

(epic orchestral music)

♪ Knows the Mysterons' game ♪

♪ And things they plan ♪

♪ Captain Scarlet ♪

♪ To his Martian foes, a dangerous name ♪

♪ A superman ♪

♪ They crash him and his body may burn ♪

♪ They smash him but they know he'll return ♪

♪ To live again ♪

♪ Captain Scarlet ♪

♪ As the angels are flying wing to wing ♪

♪ Into the scene, spectrum is green ♪

♪ Captain Scarlet ♪

♪ Though the Mysterons plan to conquer the Earth ♪

♪ This indestructible man will show what he's worth ♪

♪ Captain Scarlet ♪

♪ Indestructible Captain Scarlet ♪

(audience applauds)

(applause continues)

(applause continues)

(dramatic theme music)

(dramatic theme music continues)

(dramatic theme music continues)

(dramatic theme music continues)