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Edwin Astley
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Edwin Thomas "Ted" Astley (12 April 1922 – 19 May 1998) was a British composer. His best known works are British television themes and scores, most notably the main themes for Department S, The Saint, Danger Man and The Baron. He also successfully diversified into symphonic pop and the arrangement of his theme to The Saint, as re-recorded by Orbital, reached number three in the UK singles chart.

Key Information

Early life

[edit]

Astley was born in Warrington, Lancashire, to Lawrence Astley and Mary Alice Pester. He served in the Second World War as a musician in the Royal Army Service Corps band playing saxophone and clarinet for the troops.[1]

Career

[edit]

In the early 1950s, Astley was arranging for Geraldo. His song "I Could Never Tell" was written by Edwin and Billy Bowen as an entry into a song writing contest when they were both serving in the army. Edwin won the prize of £250 and later used this money to pay for his wedding to Hazel Balbirnie. "I Could Never Tell" was later recorded by both Vera Lynn and Richard Tauber.[2]

His own band, the Ted Astley Orchestra, became well known in the north of England,[2] and he wrote songs for performers such as Anne Shelton.[3][2]

He wrote music for many British television series of the 1950s and 1960s, including incidental music for The Champions, and the opening titles to The Adventures of Robin Hood (with the exception for the closing titles), Danger Man[4] (known as Secret Agent in North America, where a new graphic opening credit sequence was added which featured the song "Secret Agent Man" by P.F. Sloan and Steve Barri and was followed by the original English credits accompanied by Astley's High Wire theme),[3] Department S, Randall and Hopkirk (Deceased), The Saint, Gideon's Way and The Baron. All of these programmes were ITC Entertainment productions.[3]

Astley also wrote the orchestral and "opera" score for the Hammer Films version of The Phantom of the Opera (1962).

Astley wrote two arrangements of his own theme for The Saint, a slow version used in the black and white episodes and a more up-tempo arrangement of the same theme for the colour episodes. He then wrote a second theme, used in the second season of the colour episodes' In all 3 closing themes. he used the tune that Leslie Charteris had written, which had previously been used in films and on radio. Charteris' theme would also open its main theme to Return of the Saint and would close its theme for its TV movies of The Saint which starred Simon Dutton (neither of which were composed by Astley); however, Astley's original Saint theme was chosen for the film of the same name.

Astley also wrote two themes for Danger Man – one for the 30-minute series transmitted from 1960 to 1962 entitled "The Danger Man Theme", and a new theme for the 60 minute series (1964–68) entitled "High Wire". Astley was asked to write music for The Prisoner, but had to withdraw because he felt that he would be unable to create Patrick McGoohan's vision for the score – due to McGoohan being too busy to hold meetings with him.[5]

However, Astley showed his diversity by writing the music for Sir Kenneth Clark's BBC documentary series Civilisation (1969),[3] and scoring several British Transport Films including Diesel Train Ride (1959), Broad Waterways (1959/60) and The Signal Engineers (1962).

In 1997, Astley found himself at number three on the UK singles chart as composer of "The Saint",[6] 33 years after he wrote it, which had been revived by Orbital for the new Saint movie.[3] His last work was a 1998 symphonic interpretation of the Who's music called Who's Serious: The Symphonic Music of the Who, which followed 1995's Symphonic Music of the Rolling Stones.[7]

Recordings

[edit]

Astley's actual recorded output is quite sparse, consisting of a few singles and albums of the music from The Saint and Danger Man. These were only available in the United States until 1997 when he arranged for CDs to be issued in the UK, where the albums were expensive collector's items. Other recordings included the soundtrack for International Detective, a few library records which were only semi-official and a series of albums made by the London Symphony Orchestra which featured his work.

Recently the complete recordings of the score to Randall and Hopkirk (Deceased) was released by Network DVD in the UK. The three disc box-set featured over two hundred recorded music cues from the series, and a book detailing the music production.[8]

In 1977, Astley wrote the orchestral score for Street in the City, a song recorded for the Pete Townshend and Ronnie Lane album Rough Mix.[9]

Personal life

[edit]

Astley married Hazel Balbirnie in 1945, and had five children.[4] Their eldest daughter, Karen, married Pete Townshend.[3] Their son, Jon Astley, produced and remastered The Who's reissues. Daughter Virginia Astley is a singer-songwriter.[2] His other children are Virginia's twin Alison, and son Gareth.

Astley retired in the late 1970s, and died in 1998.[3] Recognition of his death was limited to brief obituaries in The Times and The Independent.[10] However, tributes later appeared on television and in print.

Legacy

[edit]

In 2001, Jools Holland presented a television tribute called Astley's Way.[11][12] Holland had recorded the Danger Man theme earlier, and he appeared with Jools Holland's Rhythm and Blues Orchestra to play "High Wire", plus various other themes and incidental music composed by Astley. The documentary also included interviews with his widow, son Jon, daughter Virginia and son-in-law Pete Townshend.[2]

Selected filmography

[edit]

Television

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Edwin Astley

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Edwin Astley (12 April 1922 – 19 May 1998), also known as Ted Astley, was a prolific British composer, arranger, and musician best known for creating iconic theme music for television series, particularly action-adventure programs during the 1950s and 1960s. Born Edwin Thomas Astley in Warrington, Cheshire, he rose from humble beginnings to become one of the United Kingdom's most influential television composers, contributing scores to over 140 episodes of The Adventures of Robin Hood (1955–1959) and crafting memorable themes for shows like Danger Man (1960–1968), The Saint (1962–1969), and Department S (1969–1970). His work often blended jazz, orchestral, and popular music elements, influencing British broadcasting and earning him recognition as a pioneer in TV scoring. Astley's early life was marked by self-taught musical talent; he began learning the violin at age nine and left school at 14 to play at local dances, supplementing his income from a gas company job. Joining the in 1939, he served in the Royal Army Service Corps band, where he learned the and while composing and arranging pieces. After , he formed the Ted Astley Orchestra in , broadcasting on , and later moved to in the late , working as an arranger for artists like at the music publisher Francis, Day & Hunter. His entry into film and television came in 1953 with the low-budget Danziger studios, where he honed his skills in rapid composition for episodic content. Among Astley's most enduring contributions are his television themes, such as the nine-note trumpet fanfare for , which became synonymous with the series, and the sophisticated, jazz-inflected motifs for . The theme for The Saint, featuring a distinctive seven-note played on harmonica and orchestra, remains one of his signature pieces and was later remixed by the band Orbital, reaching number three on the UK Singles Chart in 1997. Beyond television, he composed scores for films including (1959) and Hammer Horror's The Phantom of the Opera (1962), as well as the for the landmark documentary series Civilisation (1969). In his later years, Astley retired to , , in the late 1970s but continued composing, including orchestral arrangements of pop songs and collaborations with his son on music for The Who and . He was married to and had five children, including three daughters; one daughter, Karen, married The Who's , making Astley his father-in-law. His legacy endures through the timeless appeal of his television themes, which captured the era's adventurous spirit and continue to be featured in retrospectives and compilations.

Early life

Childhood and family

Edwin Thomas Astley, known as "Ted," was born on 12 April 1922 in , (now ), . He grew up in a working-class family rooted in the industrial landscape of , where his father worked as a builder and occasionally played the in a local , though no other family members pursued music as a profession. Astley was the first and only member of his family to make music his career. Astley's early exposure to music began at age 9, when an uncle gave him a , sparking his interest in the instrument. By age 14, after leaving school, he balanced a day job in the office of Richmond's gas oven manufacturers with evening performances, earning more money playing at local dances than from his employment. This period marked the foundation of his self-taught musical skills in the vibrant, community-driven music scene of wartime-era .

Musical training

Astley began his musical journey at the age of nine when he started learning the , initially teaching himself with encouragement from his family in their working-class household in . His father, a manual laborer who played the in a local and the melodeon at home, fostered this early interest by providing a violin obtained from a relative, allowing Astley to practice and develop basic proficiency without structured lessons. By age 14, this self-directed effort had progressed sufficiently for him to perform locally, including at dances, where his violin playing earned him income surpassing his wage from an office job at Richmond's gas oven manufacturers. Astley expanded his instrumental skills through practical immersion rather than formal instruction, acquiring a at age 14 and receiving basic guidance from a relative while honing it in performance settings. He learned the during his . These early experiences exposed him to ensemble playing and . These early gigs, often featuring popular tunes and swing rhythms of , served as his primary training ground, building versatility across instruments without enrollment in a conservatory. Lacking access to professional due to his socioeconomic background, Astley's development emphasized informal progression through repeated performances and self-arranged pieces for small groups by age 18. Key influences included the vibrant dance band scene and mainstream hits of the era, such as those by British orchestras, which shaped his ear for catchy melodies and rhythmic drive long before any formalized career pursuits.

Military service

Astley enlisted in the Royal Army Service Corps band as a boy soldier during , building on his pre-war background playing at local engagements. In this role, he served throughout the war, primarily performing on and within military ensembles to entertain troops. His time in the band offered intensive, structured practice that refined his instrumental proficiency and introduced him to the demands of performance under wartime conditions. By age 18, Astley had progressed to arranging music for both military bands and dance orchestras, demonstrating early compositional talent within the disciplined military environment. This period of service not only enhanced his technical skills on wind instruments but also instilled a professional rigor that influenced his later arranging and scoring work.

Professional career

Post-war entry into music

Following his demobilization from the at the conclusion of , Edwin Astley, performing under the stage name Ted Astley, transitioned into civilian music by joining the Percy Pease dance band in Sale, , as an instrumentalist on and . Drawing on the foundational performance and arranging skills gained from his wartime service in the Royal Army Service Corps band, Astley formed and led his own group, the Ted Astley Orchestra, securing a residency at the Sale Lido near . During this period in the late and early , he invested considerable time in arranging material and leading performances, solidifying his role in the regional dance band scene. The band's engagements, primarily in , included a couple of radio broadcasts before the residency concluded in 1952. Seeking expanded prospects, Astley relocated to area in the early , positioning himself within the broader and variety circuits of the capital. This move marked a pivotal shift from localized performances to a wider professional network in the post-war entertainment industry.

Arranging and early compositions

Following his post-war bandleading at Sale Lido, which served as a crucial stepping stone, Edwin Astley transitioned into arranging roles in the early 1950s, contributing significantly to London's vibrant popular music scene. In 1952, after moving to the capital, he was contacted by bandleader Geraldo, who had admired his earlier work and commissioned him to orchestrate the radio program Tip Top Tunes. This collaboration led to Astley providing arrangements for Geraldo's orchestra, blending jazz influences with light orchestral styles that appealed to post-war audiences seeking escapist entertainment. Astley's arranging prowess extended to his position at the prominent music publisher Francis, Day & Hunter, where he crafted scores for renowned singers such as and Anne Shelton, further embedding him in the industry's core. His efficiency—known for delivering high-quality work quickly and at low cost—helped solidify his reputation among dance band leaders and broadcasters during this period. Among his early compositions, "I Could Never Tell," co-written with Bill Hill-Bowen, stood out as a notable achievement; it won a £250 songwriting contest sponsored by the Sunday Pictorial and was recorded by and in 1945, marking Astley's breakthrough into songwriting before his full arranging career took off. Beyond this, Astley's broader output in the included arrangements for various bands and contributions to emerging radio and variety shows, which showcased his versatility in adapting contemporary hits for live performances and broadcasts, thereby establishing his foothold in London's competitive music circles.

Television scoring for ITC

Edwin Astley served as the principal composer for under the leadership of , delivering and memorable themes for more than a dozen action-adventure television series spanning the late to the . His work defined the sonic identity of ITC's mid-Atlantic style productions, which were crafted for international syndication and emphasized escapist entertainment with a glamorous, high-stakes flair. Astley's scores were integral to the success of these series, often recorded in to capture a polished, cinematic quality that elevated episodic television. Key examples of his ITC contributions include the instrumental end theme for The Adventures of Robin Hood (1955–1960), which he composed for over 140 episodes, blending folk-inspired motifs with orchestral sweep to underscore the swashbuckling adventures. For Danger Man (1960–1968), Astley crafted the signature "High Wire" theme, featuring a jazzy harpsichord riff that evoked espionage tension, alongside extensive incidental cues throughout both the half-hour and hour-long formats. His theme for The Saint (1962–1969) became iconic with its seven-note motif, performed on brass and strings to mirror Roger Moore's suave protagonist, while scores for Gideon's Way (1965–1966) and The Baron (1966–1967) incorporated bold brass and rhythmic drive to heighten police procedural and jewel-thief intrigue. Later series like The Champions (1968–1969), Department S (1969–1970), and Randall and Hopkirk (Deceased) (1969–1970) showcased his versatility, with supernatural elements in the latter prompting eerie yet upbeat motifs. Astley's style was characterized by upbeat, jazz-influenced arrangements that fused contemporary idioms—such as smoky , syncopated rhythms, and prominent —with accessible, motif-driven structures designed for instant recognition. This approach not only complemented the visual spectacle of ITC's color-filmed series but also influenced the era's spy and adventure genres, creating a cohesive "ITC sound" that prioritized energy and sophistication over somber tones. He frequently conducted his own , the Edwin Astley and His Orchestra, for these recordings, ensuring precise execution of his dynamic compositions in sessions that produced enduring soundtrack albums.

Film and documentary scores

Edwin Astley's contributions to and scoring in the 1950s and 1960s demonstrated his versatility beyond television, often drawing on his experience with to secure opportunities in British cinema. While his work was less extensive than his television output, it showcased his ability to craft atmospheric orchestral pieces tailored to genre demands, including horror and historical narratives. His scores emphasized dramatic tension and emotional depth, frequently incorporating operatic or symphonic elements to enhance visual . A notable example is his full score for Hammer Films' The Phantom of the Opera (1962), directed by , where Astley composed an original operatic work that blended horror motifs with romantic lyricism to underscore the film's gothic atmosphere. The music featured lush strings and choral elements to heighten the phantom's tragic obsession and the opera house's intrigue, marking one of his most ambitious cinematic endeavors. This score, performed by a full , integrated seamlessly with the narrative's musical sequences, distinguishing the production from earlier adaptations. Astley also provided the orchestral underscore for the BBC's landmark 13-part documentary series Civilisation (1969), presented by Sir , composing majestic and evocative music across all episodes to accompany explorations of Western art and culture from the Dark Ages to the . His score employed heavy organ registrations and sweeping strings to evoke historical grandeur and introspection, supporting Clark's scholarly narration without overpowering the visuals. This project highlighted Astley's range in , contributing to the series' enduring impact as a cultural milestone. In addition to these prominent works, Astley supplied incidental music for several British feature films during the period, including The Mouse That Roared (1959), a satirical comedy directed by Jack Arnold, where his light-hearted orchestral cues complemented the film's whimsical tone; Visa to Canton (1960), a Hammer spy thriller directed by , featuring tense, rhythmic underscore for action sequences; and A Clean Sweep (1958), another Hammer production that utilized his music to drive its comedic narrative. These assignments, though sporadic, underscored his proficiency in supporting diverse genres within the British film industry, without venturing into major Hollywood productions.

Later projects and retirement

In the late 1970s, Astley entered semi-retirement amid the acute crisis facing the British film and television industries, which saw reduced production and funding opportunities following the peak of the previous decade. He relocated from to the village of in , seeking a quieter life. Despite scaling back his professional commitments, Astley maintained his passion for music by converting a garage at his new home into a personal equipped with state-of-the-art synthesizers. This setup allowed him to experiment privately and build a successful music library for licensing, reflecting his ongoing creative drive in a more low-key environment. Astley's final significant contribution came in 1998 with his assistance on the orchestrations for Who's Serious: The Symphonic Music of the Who, a project produced by his son Jon Astley and featuring the London Philharmonic Orchestra performing symphonic arrangements of The Who's catalog. Earlier that decade, in 1997, interest in his work was revived when electronic duo Orbital's remix of his The Saint theme peaked at number 3 on the UK Singles Chart, though Astley was not directly involved in the production.

Personal life

Marriage and immediate family

Edwin Astley married Hazel Doreen Balbirnie in 1945, shortly after the end of ; the couple remained married until his death in 1998, with Hazel passing away in 2017. The couple met at a dance in , where Astley's band was performing, and he used his £200 songwriting winnings for the wedding. This post-war marriage coincided with the beginning of Astley's professional music career, providing a stable foundation as he transitioned from to civilian work in arranging and composition. The Astleys raised a of five children—two sons and three daughters—in a supportive home environment that balanced Astley's demanding schedule in television and film scoring. managed household responsibilities, allowing Astley to focus on his creative output during the height of his career, while fostering a close-knit family dynamic centered on shared interests and encouragement of artistic endeavors. Astley was known as a genial host who cherished time with his , often prioritizing their company amid his professional commitments. During the peak of Astley's career in the 1950s and 1960s, the family resided primarily in London, where the demands of his work at Associated Television kept him immersed in the city's music scene. In the late 1970s, amid a recession in the British film industry, they relocated to Oxfordshire for a quieter life, settling in Goring-on-Thames, where Astley retired and the couple spent their later years together until his passing on May 19, 1998.

Children and extended family

Edwin Astley and his wife had five children: sons and , and daughters Karen, , and Alison. Astley's eldest daughter, Karen, married guitarist of the rock band The Who on May 20, 1968; the couple had three children before separating in 1994. Several of the children followed family interests into music. emerged as a noted and , particularly for his work remastering and producing reissues for The Who. , twin sister of Alison, developed a career as a , releasing albums such as From Gardens Where We Feel Secure (1983) and collaborating with artists in ambient and folk genres. Through Karen's marriage to Townshend, the family gained indirect connections to prominent circles, though no direct professional collaborations between Astley and Townshend are documented.

Works and recordings

Television themes

Edwin Astley was a prolific of television themes, particularly for ITC Entertainment's adventure and spy series in the 1950s and 1960s, where his orchestral arrangements blended , swing, and dramatic flourishes to enhance narrative tension and excitement. His themes, often self-conducted with his own , became integral to the shows' identities and were frequently repurposed in later soundtrack compilations. Astley's breakthrough came with the folk-inspired theme for (1955–1960), introduced by a memorable nine-note that evoked medieval heroism and accompanied over 140 episodes' . Among his core ITC contributions, the theme for (1960–1962, 1964–1968) featured spy jazz elements, with a punchy, brass-driven motif for the half-hour episodes and the more intricate "High Wire" version for the hour-long format, using percussion and woodwinds to build suspense. For The Saint (1962–1969), Astley crafted an iconic harpsichord riff in a syncopated, swinging style, incorporating a whistled melody that symbolized the suave detective Simon Templar and was performed by his orchestra across black-and-white and color seasons. The theme for The Baron (1965–1966) employed evocative, rhythmic orchestration with bold brass and strings, mirroring the protagonist's worldly antiques trade and adventurous escapades. Astley's score for Department S (1969–1970) adopted a mod swing approach, with groovy bass lines and upbeat horns that captured the late-1960s cosmopolitan flair of the international agency. Similarly, the theme for Randall and Hopkirk (Deceased) (1969–1970) delivered a quirky vibe through playful riffs laced with eerie, whimsical undertones, suiting the ghostly partner's otherworldly interventions in the detective duo's cases. Beyond these, Astley composed themes for over ten other series, including the atmospheric uncredited use of some previous music in (1958–1959); the tense, procedural for (1965–1966); the stylish, flirtatious swing for Jason King (1971–1972); the nautical adventure cues for Seaway (1965); all conducted by Astley and later featured in ITC compilations.

Filmography

Edwin Astley contributed original scores to numerous British feature films and documentaries from the through the , specializing in adventure, drama, and horror genres, with credits typically listed as "Music composed by Edwin Astley." His work often featured orchestral arrangements that enhanced the dramatic tension and atmospheric elements of these productions, particularly for studios like Hammer Films. While much of his output supported low- to mid-budget features, his scores provided evocative underscoring that complemented the era's British cinema style. A selective filmography of key cinematic contributions includes the following:
YearTitleDescription
1955Fun at St. Fanny'sMusic composed for this comedy feature set in a boys' , blending light-hearted orchestral cues with humorous motifs.
1956The Case of the Mukkinese Battle-HornOriginal music for this short comedy-mystery film involving a bumbling investigation, featuring quirky and playful scoring.
1958Composer for this thriller, providing tense underscore to heighten the in its Irish-set .
1959Original music composer and conductor for this science-fiction about a radioactive prehistoric monster terrorizing .
1959Music composed for this satirical comedy adventure starring , with lively orchestral themes underscoring the absurd plot of a tiny nation invading the U.S.
1960The Day They Robbed the Bank of EnglandOriginal score for this heist set in Victorian , featuring period-appropriate symphonic elements to build intrigue.
1960Visa to CantonMusic composed for this espionage adventure film involving intrigue in , with dynamic cues for action sequences.
1962The Phantom of the OperaFull orchestral score, including original operatic compositions, for Films' horror adaptation starring , emphasizing gothic romance and terror.
1969CivilisationOrchestral underscore composed for this BBC art history documentary series presented by , providing majestic and evocative music across its 13 episodes on Western civilization.
These selections highlight Astley's versatility in supporting both narrative features and educational documentaries, where his music bridged dramatic storytelling with cultural depth.

Commercial recordings

Edwin Astley's commercial recordings were relatively sparse, reflecting his primary focus on television composition rather than extensive album production. His discography primarily consists of soundtrack albums derived from ITC Entertainment series, released during the 1960s on labels like RCA Victor, with later reissues and additional releases emerging in the 2000s through specialist distributors. These works often featured orchestral arrangements of his television themes and incidental music, performed by Edwin Astley and His Orchestra, emphasizing the spy-fi and adventure genres that defined his career. In the mid-1960s, Astley released several notable soundtrack LPs tied to his ITC scores. The 1966 album The Saint: Music From The TV Series, conducted by Astley himself, compiled 12 tracks including the iconic main theme alongside cues like "Chaise-Lounge" and "Recumbent Love," capturing the sophisticated, jazz-inflected sound of the Roger Moore-starring series. Similarly, Secret Agent: Music From The TV Series (also 1966, RCA Victor) showcased themes from Danger Man (retitled Secret Agent in the U.S.), with tracks such as "High Wire" and "Drake and Ducks" highlighting Astley's tense, rhythmic style for espionage narratives. A companion release, Secret Agent Meets The Saint (1965, RCA Victor), blended selections from both series, offering orchestral interpretations that bridged the two popular programs. These vinyl albums, produced during the height of the shows' broadcasts, were among the few contemporary commercial outlets for Astley's music beyond broadcast. Astley's orchestral work extended to arrangements of his television themes on these recordings, performed by his ensemble to evoke the dramatic flair of the original scores. For instance, the The Saint LP featured lush string sections and brass accents that amplified the theme's suave elegance, while Danger Man tracks incorporated pulsating percussion for suspenseful effect. Though not exhaustive, these 1960s releases on RCA represented the core of his commercial output, with limited pressings that have since become collector's items. Later in his career, additional soundtrack material surfaced through DVD extras and dedicated releases. The 2008 three-CD set Randall and Hopkirk (Deceased): Original Soundtrack by Network Distributing compiled over 200 cues composed by Astley for the 1969-1970 supernatural series, including the whimsical main theme and episodic stings like "Commercial Break Bumper Sting." This collection, housed in DVD amaray cases with listening notes, marked a significant archival effort to preserve his incidental music, previously unavailable commercially. The 2019 release of Gideon's Way: Original Soundtrack similarly compiled over 120 pieces of Astley's music for the 1965-1966 series. Modern reissues of Astley's earlier works have appeared via labels such as Silva Screen Records and Network, often bundled in compilation albums like Hammer Film Music Collection Vol. 2 (2014), ensuring accessibility through digital platforms and limited-edition vinyl. These efforts underscore the enduring appeal of Astley's scores, despite the original discography's brevity.

Legacy

Critical recognition

Edwin Astley did not receive major formal honors such as the Ivor Novello Awards or BAFTA nominations during his lifetime, with his recognition deriving primarily from the widespread popularity and longevity of his television themes rather than institutional accolades. Following his death on May 19, 1998, Astley's passing received brief obituaries in The Times and The Independent, both of which highlighted his significant contributions to television music, particularly his iconic themes for series like The Saint and Danger Man. The Independent obituary praised Astley as a composer whose "deft touch" created memorable signatures for 1960s and 1970s ITV productions, underscoring his role in defining the sound of British adventure television without noting any awards. During his retirement in the late 1970s, Astley experienced limited contemporary critical acclaim, as the decline of orchestral scoring in television—superseded by more cost-effective electronic methods—diminished opportunities for recognition of his style. His prolific output formed the basis for this understated praise in obituaries, reflecting a career valued more for practical impact than celebrated achievement.

Cultural impact and tributes

Astley's compositions from the ITC era, particularly the theme for The Saint, have seen notable revivals in modern media. In 1997, electronic duo Orbital released a cover of "The Saint" for the soundtrack of the film adaptation starring , transforming the original jazz-inflected melody into a pulsating track that peaked at number 3 on the UK Singles Chart. This version not only accompanied the movie's action sequences but also introduced Astley's work to a of listeners through its commercial success and club play. A dedicated tribute to Astley's career aired on BBC Two in 2001 as the documentary Astley's Way, presented by Jools Holland. The program featured interviews with family members including his son Jon and daughter Virginia Astley, as well as musicians like Pete Townshend, alongside performances of key themes such as "Danger Man" and "High Wire" from The Saint. It highlighted Astley's role in shaping television soundscapes, drawing on archival footage and live recreations to celebrate his contributions to British broadcasting. Astley's music profoundly influenced the sound of British television, particularly in the action-adventure and spy genres, where his use of elements, brass fanfares, and rhythmic brass sections defined the era's adventurous tone. Themes like those for Danger Man (1960–1962, 1964–1968) and The Saint (1962–1969) set a template for suspenseful, cosmopolitan scoring that echoed in subsequent spy series and films, blending orchestral sophistication with contemporary idioms to evoke intrigue and excitement. His legacy continues through his son , a renowned producer and mastering engineer who has worked on reissues and arrangements for artists including The Who, carrying forward a family tradition in music production.

References

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  36. https://www.screenonline.org.uk/people/id/771888/index.html
  37. https://www.last.fm/music/Edwin%2BAstley%2B&%2BHis%2BOrchestra/%2Bwiki
  38. https://www.imdb.com/title/tt0357444/
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