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!
Though John Barry achieved popular recognition for the swinging, loungey, noir-ish soundtracks he composed for the James Bond films, he moved to the front rank of film composers with his score for 1966's BORN FREE. Stylistically, the music of BORN FREE is miles removed from Barry's Bond soundtracks, though the composer's fondness for brass fanfares, stirring strings, and lush, intricate charts with stunning dynamic range is still intact. On the whole, however, the music to BORN FREE has a playful, innocent quality, evoking the nature of the wild animals at the film's center. As the movie is set in Africa, Barry employs a range of African percussion instruments, and sections of flute music (which often seem to echo the sounds of birds or other creatures). The arrangements are expansive and sweeping, giving rise to the sensation of open plains, and Barry's recurring musical themes parallel the film's action (the track titles indicate plot events). The score is, for the most part, surprisingly subdued, with occasional bursts of energy (mirroring tumultuous events onscreen) and its stirring title theme the exceptions. Barry won an Academy Award for the score in 1966.
Mercury Rising is a 1998 thriller directed by Harold Becker and starring Bruce Willis, Alex Baldwin and Mike Hughes. The government creates an unbreakable super code, they think. As a totally irresponsible and implausible decision some idiot in the government publishes the code in a magazine as a test. They never though the code could be broken, but a 9 year old boy with autism somehow breaks the code. Some people in the government then sees the boy as a threat to national security and wants to eliminate him. FBI Agent Art Jeffries, played by Bruce Willis, takes on the task of protecting the boy. This was quite a decent movie I thought, even though I felt the whole premise was very unrealistic. The government people are so incredibly stupid and even a boy with autism can’t break an unbreakable code. Besides that, there’s some fun to be had and this was while Bruce Willis still had a name worth checking out. The score is composed by John Barry.