kids, all of which were at fee-paying schools, so I needed every penny I could get!". Cary also recalled that, "The main use of electronics in Quatermass, I think, was the violent shaking, vibrating sound that the "thing in the tunnel" gave off ... It was not a terribly challenging sound to do, though I never played it very loud because I didn't want to destroy my speakers—I did have hopes of destroying a few cinema loudspeaker systems, though it never happened". Carey went on to write the score for another Hammer film, Blood from the Mummy's Tomb, in 1971. Several orchestral and electronic cues from the film were released by GDI Records on a compilation titled The Quatermass Film Music Collection. The soundtrack was released on yellow vinyl in the UK for Record Store Day 2017. Title sequence The title sequence of Quatermass and the Pit was devised to be evocative. Kim Newman, in his British Film Institute (BFI) monograph about the movie, states: "The words 'Hammer Film Production' appear on a black background. Successive jigsaw-piece cutaways reveal a slightly psychedelic skull. Swirling, infernal images are superimposed on bone—perhaps maps or landscapes—evoking both the red planet Mars and the fires of Hell. Beside this, the title appears in jagged red letters." Reception Critical Quatermass and the Pit premiered on 9 November 1967 and went on general release as a double feature with Circus of Fear on 19 November 1967. It was released in the US as Five Million Years to Earth in March 1968. The critical reception was generally positive. Writing in The Times, John Russell Taylor found that, "After a slowish beginning, which shows up the deficiencies of acting and direction, things really start hopping when a mysterious missile-like object discovered in a London excavation proves to be a relic of a prehistoric Martian attempt (successful, it would seem) to colonize Earth [...] The development of this situation is scrupulously worked out and the film is genuinely gripping even when (a real test this) the Power of Evil is finally shown personified in hazy glowing outline, a spectacle as a rule more likely to provoke titters than gasps of horror." Paul Errol of the Evening Standard described the film as a "well-made, but wordy, blob of hokum", a view echoed by William Hall of The Evening News who described the film as "entertaining hokum" with an "imaginative ending".