158 replies to this topic

[The Shark]

Might a fitting tribute to Barry on the next Bond film be a title song written by him? It's about time someone dusted off KISS KISS BANG BANG and threw it at Adele to sing. It celebrates Bond, Barry and the Golden Anniversary.

Perhaps in the end titles?

That would be most considerate place.

[Jericho_One]

His records keep me sane during the long days at the office. He was definitely one of the greatest composers of all time. Peace to his soul.

[Harry Fawkes]

I can't believe this! I haven't been on the site since Sunday. I was out of touch with the real world in the truest sense and I got a phone call from a mate half an hour ago. He asked if I'd heard the news. How the heck could I hear the in news from here I answered and he went on to tell me that John Barry had died.

I feel sad! His music touched me very deeply. I'm so ing sad that I'm gonna stop writing now and just listen to the pure gold he left behind.

John Barry! RIP mate.

[Ambler]

There are lots of dreadful covers of John Barry's work out there that present a quite misleading view of the quality of his work. The hordes of crappy Czech orchestral compilations are serious offenders in this and many other respects; just listen to this travesty and then compare it to the original. Still, there are some innovative covers such as Scott Walker's delightfully kitsch version of This Way Mary.

[Nicolas Suszczyk]

BOND 23 end credits kick in....

"To our friend John Barry"



Although the closing credit music for BOND 23 should perhaps be stand alone, do not be too surprised if the closing credits are as much of a title sequence to BOND @ 50 with Barry's music montaged by David Arnold and draped over every 2012 silhouette and slither of gun smoke.

For once you and I agree Zorin
I'd like Bond 23 to be dedicated "in loving memory of John Barry".

[dogmanstar]

On National Public Radio yesterday, they played Into Miami over the announcement of Mr. Barry's death. It reminded me again how great the GF Soundtrak is and I want to listen to it again. He will be missed for his sureness of touch with Bond music.

[The Shark]

There are lots of dreadful covers of John Barry's work out there that present a quite misleading view of the quality of his work. The hordes of crappy Czech orchestral compilations are serious offenders in this and many other respects; just listen to this travesty and then compare it to the original.

Yep. Out of all of Nic Raine/City of Prague Philharmonic's Bond covers, that has to be absolute worst. And what's inexcusable about it, is that they were always meant to faithful reproductions, not drastic reinterpretations.

The mistakes in the second bar with turning Major 7th chords in plain in Major triads is so blatant, it makes one seriously question Nic Raine's hear.

Check out this.

Still, there are some innovative covers such as Scott Walker's delightfully kitsch version of This Way Mary.

That's strangely compelling, though nothing beats the Scott Walker/Wally Scott collaborations.

I rather like this one.

[Ambler]

There are lots of dreadful covers of John Barry's work out there that present a quite misleading view of the quality of his work. The hordes of crappy Czech orchestral compilations are serious offenders in this and many other respects; just listen to this travesty and then compare it to the original.

The mistakes in the second bar with turning Major 7th chords in plain in Major triads is so blatant, it makes one seriously question Nic Raine's hear.

That's right. Barry wrote many simple melodies but they were deceptive in that the harmonies were often deliberately discordant. That'e partly what made them so captivating.

Check out this.

me. The Casio VL-Tone orchestra featurning the stiffest drum machine you've ever heard. Not forgetting Sir Rolf on Stylophone...

I wasn't very taken with Barry's own return to synthesisers for Jagged Edge but at least the arrangements were semi-interesting. Almost Morricone-esque in fact...

Edited by Ambler, 01 February 2011 - 06:00 PM.

[FredJB007]

Rest in Peace, John.................you will be missed.

[Jim]

He's fair and he's squat
And like a clot
He looks for trouble
That's why the zero's double
Mr Kiss Kiss Bang Bang

Sorry - it is a pretty good idea.

Some very interesting obituaries for Mr Barry - who let it not go unremarked was the Briton with the most Academy Award wins - several are gently euphemistic in suggesting that he may have been a bit, well, tricky. Still, wonderful work, rest in peace.

[sthgilyadgnivileht]

Here is Movieola, a great documentary on Barry, his craft and work. It's a must for Barry fans who haven't seen it and is a superb tribute. Barry's comments at 36 minutes in speak volumes of why he was such a great film composer.

[Iroquois]

RIP John Barry

I shall now listen to the incredible soundtrack to A View to a Kill as a tribute to the legend that is John Barry.

[Nicolas Suszczyk]

I've had lunch listening to the Thunderball OST today.

[MajorB]

I've had lunch listening to the Thunderball OST today.

You Only Live Twice for me.

[mattjoes]

David Arnold pays tribute to John Barry:
http://www.bbc.co.uk...t-arts-12324183

And Howard Shore:
http://www.bbc.co.uk...rammes/p00dt0zf

I think this thread might be an interesting read, particularly the fourth post on page two:
http://www.filmscore...mID=1&archive=0

Edited by mattjoes, 01 February 2011 - 08:58 PM.

[Nicolas Suszczyk]

My favourite Barry/Bond scores (and the tracks I like most)...

OHMSS
-Escape from Piz Gloria; This Never Happened to the Other Feller; Bond and Draco; Try; Gumbold's Safe; Ski Chase; Journey to Blofeld's Hideaway; Journey to Draco's Hideaway.

THUNDERBALL (I have not the remastered edition )
-Bond Below Disco Volante; Thunderball instrumental; Cafe Martinique; 007; Mr Kiss Kiss Bang Bang; Search for Vulcan.

DAF
-Gunbarrel and Manhunt; Bond meets Bambi and Thumper; DAF Instrumental (Bond & Tiffany); Airport Source/On the Road; To Hell with Blofeld; The Whyte House; Plenty, then Tiffany.

FRWL
-Main title; James Bond with Bongos; 007 Takes the Lektor; The Golden Horn; Gitar Lament; Stalking.

YOLT
-Mountains and Sunsets; Bond adverts WWIII; Fight at Kobe Dock; Little Nellie; James Bond in Japan; End Title;

TLD
-Into Vienna; Excercise at Gibraltar; Kara meets Bond; Assasin and Drugged; Ice Chase; Hercules Takes Off; Koskov Escapes.

[Guy Haines]

And I would also urge folk to catch up with music Barry did for INDECENT PROPOSAL, ENIGMA, THE SCARLET LETTER, CHAPLIN, HIGH ROAD TO CHINA, THE KNACK, PEGGY SUE GOT MARRIED, CRY THE BELOVED COUNTRY (where he uses his own ZULU cues very aptly) and RAISE THE TITANIC, ROBIN AND MARIAN, KING KONG, PLAYING BY HEART and FRANCES.

I'd also recommend KING RAT, THE IPCRESS FILE, WALKABOUT, ALICE'S ADVENTURES IN WONDERLAND, SEANCE ON A WET AFTERNOON, THE SPEcıalısT, THE QUILLER MEMORANDUM, THE LION IN WINTER, NEVER LET GOT, BEAT GIRL, THE DAY OF THE LOCUST, THE LAST VALLEY, THE DEEP, THE COTTON CLUB, THE WHISPERERS, THE L-SHAPED ROOM, THE WRONG BOX, THE APPOINTMENT, THE DOVE, GAME OF DEATH and PETULIA.

May I add my favourite Barry soundtrack outside the world of Bond? - DEADFALL. Not just for that theme tune performed by Shirley Bassey, which sounded as if it belonged in a Bond film -although on repeated listening it dawns on you that it really doesn't - but for the extraordinary centrepiece, "Romance For Guitar and Orchestra". An appreciation of John Barry in today's Independent newspaper singled out that piece for particular praise.

Edited by Guy Haines, 02 February 2011 - 12:00 AM.

[Nicolas Suszczyk]

I haven't heard the whole Barry soundtracks beyond Bond, but I love the themes from BORN FREE, OUT OF AFRICA and MIDNIGHT COWBOY.

[Jack Spang]

That was a nice tribute by Baldwin. I have the Out of Africa soundtrack and it is beautiful but Dances With Wolves would be my favourite. Still, there are a good few of his scores I am yet to own. I have the special edition DVD of Dances With Wolves (the extended version/directors cut) and there is a music video for the film that consists of a collection of some of Barry's main tracks from the film. They are arranged together beautifully with a subtle, modern beat consistent throughout. The video shows behind the scenes clips of the film part of which show Barry composing his music and conducting the orchestra. Beautiful and poignant. It really stirs up a lot of emotion. It might be on You Tube.

Yes, here it is:

[Navy007Fan]

For those who have SIRIUS/XM satellite radio:

Fri 2/4 8:00 am ET
Cinemagic celebrates the career of one of film music’s greats who recently passed away at the age of 77…John Barry. We will feature 8 hours of his music ranging from his early work with the Bond films to his Academy Award winning scores such as The Lion in Winter, Born Free and Dances with Wolves all the way to his final score for the film Enigma. It’s the music of John Barry…only on Cinemagic. (8 hrs)

[The Shark]

There are lots of dreadful covers of John Barry's work out there that present a quite misleading view of the quality of his work. The hordes of crappy Czech orchestral compilations are serious offenders in this and many other respects; just listen to this travesty and then compare it to the original.

The mistakes in the second bar with turning Major 7th chords in plain in Major triads is so blatant, it makes one seriously question Nic Raine's hear.

That's right. Barry wrote many simple melodies but they were deceptive in that the harmonies were often deliberately discordant. That'e partly what made them so captivating.

Exactly. That's the trick. Barry's power is all about the rich harmonies and orchestration beneath, and how that further interacts with the melodic lines above. That dissonance is mostly derived from his early love for jazz - most notably Stan Kenton and Miles Davis, along with Prokofiev, Sibelius and Stravinsky. And obviously he took that Kenton sound to its absolute limit with DIAMONDS ARE FOREVER,

I mean, the Major 7th isn't a particularly discordant chord now, but it would have been in Schumann or Mozart's age. Now it's gives an air of sophistication, and celestial grandeur - which is why it works so well for Blofeld's satellite orbiting the earth. It's that kind simple harmonic complexity lacking in modern film scores. That edge.

Though the classic Barry dissonance is the minor/Major 7th chord, used famously by Bernard Herrmann in the prelude to VERTIGO and PSYCHO. You can hear in various forms throughout nearly all of Barry's scores. A good example would be here. A m/Maj 9th stinger - 4 sforzando trombones, bass trombone and tuba sustaining it from a pp to an ff into the space of 2 bars.

It was those extended harmonies that made these scores so compelling and evocative. Another oft overlooked aspect is the indelible acoustics of the studio, where all of those scores from the early 60s to 1971 were recorded. Hence the natural reverb. CTS Bayswater, which beforehand was an old Masonic Hall. Read into that what you will...

It's very sad, seeing all of these orchestral recording studios closing down forever due to lack of revenue. Lack of interest. The latest being the very last location of CTS Studios - CTS Landsdowne, up in Watford.

On another note, I've also read the book that John Barry was educated with on his correspondence course in Cyprus - Bill Russo's Composing for the Jazz Orchestra, along with another one - Composing Music: A New Approach. Both very thorough and to-the-point, and the later in particular puts an emphasis on striving for simplicity, clarity of ideas and emotional resonance. Something that no doubt had a big influence on Barry's outlook and approach.

Less is more.

Check out this.

me. The Casio VL-Tone orchestra featurning the stiffest drum machine you've ever heard. Not forgetting Sir Rolf on Stylophone...

Mr. Arnold's next Bond theme.

I wasn't very taken with Barry's own return to synthesisers for Jagged Edge but at least the arrangements were semi-interesting. Almost Morricone-esque in fact...

It's a lesser Barry score, though still perfectly listenable. I have to say though, that's a remarkably subtle use of electronics (synth string pads).

Though unlike many of his 80s and 70s contemporariness, Barry always had the good sense to either bury the synth in the mix, or find a patch that would blend well with his superb orchestration. Whether it's the Moog from OHMSS, MIDNIGHT COWBOY, THE PERSUADERS, or THE BLACK HOLE; or my personal favourite use of synths in a Barry score - BODY HEAT, used for maximum dramatic effect (probably a combination of then newly released Jupiter 8, Oberheim OB-X, or a Prophet V). Spine chilling (or knob chilling).

[Guy Haines]

I note the suggestions about including a tribute to John Barry in "Bond 23". I'm not keen on re-working Mr Kiss Kiss Bang Bang - it is the best Bond theme never used, but it is a composition of its time, and I doubt a 2012 "remix" could better either Dionne Warwick or Shirley Bassey.

However, I'd like the next Bond theme to include what the early themes had, namely an interpolation of the James Bond theme. True, it is credited to Monty Norman, but Barry's involvement in it is obvious. Or, as with "Licence To Kill", an introduction which evokes the classic 1960s Bond themes. I realise there may be legal issues here, but they could be overcome, surely?

It would be tempting, also, to allude briefly to the various theme songs throughout the soundtrack, but it might be distracting - as with DAD, when my first viewing of the same was spent ticking off the various references to the previous nineteen official movies. One tune could be included in the film's major action scene though - Barry's "007" theme, used in several Bond films and, I think, to great effect in the underwater battle in TB. It is unusual for a Bond action theme, being mostly in a major chord, uplifting in fact, and yet recognizably a Bond theme.

[Virgosy]

I would prefer to listen the "007 theme" than the "James Bond theme". I always thouht it more powerful, and it will be a great tribute to John Barry to re-use it.

[DaveBond21]

Sad news. I was just listening to his music the other day, having finally downloaded the Best of James Bond to my iPod.

But I also think of "WALKABOUT" and his wonderful work on that film.

RIP

[mattjoes]

You know what would be a fitting tribute? Arnold delivering a great score for Bond 23. Something that honored, if didn't exactly reach the heights of Barry's work.

OK, OK, and the 007 theme being put to good use.

[Double-0-7]

I am jamming to On Her Majesty’s Secret Service in JB's honor this afternoon. This is some of the most haunting music he created - and appropriate with the frozen weather in this part of the world.

[5 BONDS]

Will be so sad to know when you listen to a Barry Bond soundtrack you wonder why he was never nominated. The soundtracks around him for example LIVE AND LET DIE, THE SPY WHO LOVED ME and FOR YOUR EYES ONLY were each nominated for the title song.

How would those films have sounded with a Barry cue? I wonder.

Still think it is unusual that OHMSS or even for that matter GOLDFINGER was not even nominated for an oscar.

R.I.P

[Wade]

I would prefer to listen the "007 theme" than the "James Bond theme". I always thouht it more powerful, and it will be a great tribute to John Barry to re-use it.

Hear, hear! I've always enjoyed the 007 Theme. It was in keeping with the Bond vibe, but it was a bit uplifting and heroic, especially when played as Bond triumphed in the end. That would be a subtle salute to Barry that every Bond fan would appreciate. Especially Barry himself.

[Virgosy]

It's a personal point of view, nothing more.

The "James Bond theme" is more famous, more spectacular etc... Okay, I agree. More heroic ? I don't think so. It's a wonderful piece of music, but I've always heard it as a uncoordinated music... There is an intro, a principal theme, a bridge, a final... But I've never found the link which would... hum, how say, which would be able to keep my attention during all the track. I've always considered this piece of music as three or four following parts without a link between each. But, it's only my opinion.

The melody of "OO7 theme" is powerful while it's also sweet, and I've often imagined Bond's Craig running in a street while he would be chasing a man. I also think that Craig is the best Bond actor to make a scene with the 007 theme. That track sounds pretty cool in From Russia with love, also in You only live twice, although I would have preferred to hear this one during the fight on the roof in Kobe, mixing with Fight at Kobe dock... Whooo, I've got a thrill just imagining the scene and the melody... but I'm still really looking for the Bond scene with the "007 theme"



Just before adding his post, I red back yours and I've understood that you also like "007 theme"... I didn't understood at the first reading, but since I've wrote my reply, I let it...

What a wally I am !!

[FlemingBond]

Such a huge loss. Barry's music is some of my most favorite.