Cool, classic John Barry soundtrack for superb Michael Anderson spy thriller starring George Segal, Alec Guinness, Max Von Sydow, Senta Berger. Music first appears on LP from Columbia label in 1966. Inspired by fresh script from Harold Pinter, drawn from Adam Hall best seller, Barry avoids James Bond style of spy music, nods instead towards atmospheric West Germany locale, bleak theme of rising neo-Nazi movement. For the record, composer produces perfect album offering majority of his score in vivid stereo sound. Haunting main waltz-theme "Wednesday's Child" anchors, suspenseful cues play in contrast. Album also features Matt Monro in vocal version of theme. Intrada CD features album program in stereo from Columbia master tapes, courtesy Sony. For album fans, original artwork features on one side of booklet, all new artwork features on other side. Take your pick! John Barry conducts.
A superbly atmospheric John Barry score effectively conveyed the mood of swinging London for this 1965 film by Richard Lester. Usually playing around with variations of the haunting main theme, Barry used vivacious horns, melancholic strings, and above all a groovy jazz organ (played by Alan Haven). A couple of the tracks don't work well in isolation: the vaudevillian "Something's Up!," and the vocal version of the main theme (not used in the film) by mediocre singer Johnny De Little. But overall, it's got a consistently captivating groove, rating as one of Barry's best scores.
Kritzerland is proud to present a limited edition soundtrack release – two great scores on one great CD. The Whisperers was originally issued on a United Artists LP and had a prior CD release on Ryko. That release, as was the case with several Ryko issues, had dialogue tracks added between the score tracks, which, for most people, completely interrupted the wonderful flow of Barry's original LP sequence. For this release, we have removed the added dialogue tracks and remastered the sound. The original United Artists LP of Equus, along with its prior CD release (also on Ryko - now long out of print), interspersed five of Burton's monologues (and a scene with Firth) among the score cues. Some of the monologues retained their own track and had no underscore, and some were bookended with musical cues. The result was a very nice listen for the first couple of times - after that, one wished that the score could simply be listened to as a score, on its own. So, for this release, we've done exactly that for the first time.
Long-awaited world premiere release of classic John Barry soundtrack in a 2-CD set! After two years of effort with two major licensors (UMG & Sony Pictures), Intrada realizes complete presentation of score plus classic original 1977 album! Peter Yates directs Nick Nolte, Robert Shaw, Jacqueline Bisset in big screen version of Peter Benchley novel. John Barry supplies sensational score to match excitement, danger of underwater tale. Barry melds haunting, richly beautiful theme with abundance of dark, dangerous material to create unusually wide-scale score, replete with dense underwater motifs, aggressive action licks… ever-anchored by stunningly beautiful main theme. Intrada presents complete score on CD 1, in mono from only surviving 1/4" session masters vaulted in excellent condition by Sony, then offers complete (and generous) original Casablanca soundtrack album in stereo from superb condition actual album masters vaulted by UMG - and yes! - including great Donna Summers rendition of Barry's love theme!
Another of John Barry's smouldering, moody thriller scores (Body Heat etc.), the kind of thing he does with a good deal of charm and edgy romanticism. Naturally for his legion of admirers this will be a most welcome treat, although to be entirely frank it is not one of his most distinctive soundtracks. While it hits all of the expected marks with the required poise and professionalism it also lacks freshness and at times sounds a little too much like recycled material (which with this composer admittedly always remains polished and likeable). Given these general musings and vague criticisms we are still left with a valuable addition to the wealth of John Barry work now available, something that is to be appreciated and I am certainly not complaining. (MWI)
Even though it relies heavily on film scorer John Barry's by-now formulaic (if no less effective) methodology of fusing his distinctively luxuriant string arrangements with the music of whatever time or locale the score sets out to evoke (in this case, largely the Hollywood of the 1910s and '20s), the composer triumphed once again, garnering his second Academy Award nomination of the 1990s. Perhaps because of the years he spent dues-paying with English pop and jazz combos, Barry gets inside this period jazz and ragtime with both enthusiasm and, more importantly, taste, recalling similar effective efforts on Francis Coppola's The Cotton Club.