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Got a vinyl repressing of YOLT for Xmas, time to replace the stylus
The Ipcress File is my favourite non-Bond Barry score, and one of my favourite films as well. Barry's score was perfect for that film.
Why? The music might never recapture brilliance in the same exact Barry style, but it might achieve it in a different style (not even radically different, merely different and still Bondian). It's the individual composer's sensibilities which lend the music its brilliance. Surely other people can come along and achieve what Barry did? The fact it hasn't happened since he left --not at the same level, anyway-- is not evidence to the contrary. And I'm saying this as a big Barry fan with rather narrow music taste.
What his music always had was a sublime combination of romance and suspense, and he composed tunes which stood on their own outside of the accompanying scenes and yet elevated those same scenes to the point where they became even more special on account of his music. It never overshadowed, but complimented and was always thematic.
It is certainly possible for a composer to recapture those aspects while bringing a modern sound to the table, and that is what I would prefer for the next Bond actor - a new and fresh sound, but one full of melody and hummability. I don't want someone to try and copy Barry, because I don't think they will come close, and will only invite unfavourable comparisons. I feel the same way about Bond actors. One should find one's own voice.
Personally, I love Barry's King Kong score, and put it right up there amongst his very best work. There's some amazing pieces in there. The inclusion of the church organ is totally inspired. Just take this piece called "Nightwall" where Kong makes his first appearance. Alternatively titled "Sacrifice-Hail To The King" on the original vinyl album, this is the full-length 15 minute version!! It's totally goosebumps awesome!! I always felt Arnold took something from it for his "African Rundown" piece in Casino Royale.
I think the trick is to be inspired by, but not to idolize. Ultimately the eventual sound and feeling must come from deep within and be personal.
As for his orchestration of the Bond Theme, some hints of its origins are already apparent here, with Vic Flick's guitar work in Barry's very first film score:
The film version is great, as well. I might prefer it to the album version. Faster tempo! I wish they had released it:
https://whatsthescore1.podbean.com/e/john-barry-the-unknown-interview-1981/
Wilson was 24 years old at the time. His enthusiasm comes across in the interview, despite having edited out many of his own words for the podcast, because he thought he had geeked out too much back then and it would be embarrassing to listen to today! He asks some pretty interesting questions about the Bond scores (I especially appreciated the question about the gunbarrel music), even if the answers aren't all that revealing. You can tell he knew the usual answers and wanted more detailed information. I also appreciate his telling us what went down after the interview with Barry. Sad that the lunch between them never took place. But a heartwarming and exciting interview to listen to. Subtly emotional, too.
I never get tired of John Barry's music for The Ipcress File.
Listening to this myself.
Looks like a good film, too-- I might seek it out.
The score features variants of the main theme; of which several are named Alone something. Can't remember if all were used in the film though.
I've heard that track before (it's a good one!), but not the whole soundtrack. Never seen the film either; is seems like a good plot for a comedy-drama.
I like the dry, pithy dialogue from the movie that they added on to the album.
Yes! I usually don't care for added dialogue in soundtrack albums, but in this case I thought it was a nice touch. It fits the tone of the film too, IMO.
The Knack as in The Knack ...and How to Get It?
Never heard that soundtrack before (nor seen the film for that matter). Is it all made out of Barry re-recordings?
Exactly. I'm not sure it's made entirely out of re-recordings, but I do know at least the main title and Something's Up cues are re-recordings.
Ah, my bad. I didn't get you mean re-recordings of the film music; I thought it was re-recordings of music Barry had made elsewhere you meant. Sorry!
I think I might have a song by Johnny De Little on a compilation vinyl album somewhere. I must check that.
Re. re-recordings; that makes me think of the Bullitt soundtrack by Lalo Schifrin, which includes alternative recordings of the music heard in the film. I think there was an additional re-recording, but I'm not sure. Anyway, they eventually released the original recording of the score around 2009 or something. I got that one on CD.
I just read a bit about the soundtrack; is it the one he made back in 2000 you're thinking of?
I have the Film Score Monthly release of the actual movie version – which also features the 1968 soundtrack album version. Both of these are great, but I prefer the film version one. I can't be sure if I've ever heard the recording Schifrin made in 2000.
No worries, my friend.
I didn't know about Bullitt. On a related note, the Dirty Harry film scores had a somewhat belated release as well. At some point there was a compilation album with a selection of cues from the films, but each individual score didn't get an album until Schifrin's own company, Aleph Records, released them.
The ones I'd really like to see get released are Schifrin's Charley Varrick and Prime Cut.
Yes I think it was released on his own label in 2000