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Posted: |
Jun 12, 2009 - 8:50 AM
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By: |
MusicMad
(Member)
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Billy: I now wish I'd taken the trouble to see this back in the '70s ... but as a teenager with limited funds a trip to an expensive night out in London wasn't on the cards for me.
I had the Original Cast album and ... was never overly impressed. Oh, the tunes were nice enough, the lyrics funny and the performances as required, or more. But compared to his film scores, I felt this was not Mr. Barry's true field. Also, I preferred the music in his two earlier stage musicals.
When, a few years ago, my wife's school chose to perform the musical (other years: Guys And Dolls, West Side Story, Anything Goes) I attended and ... hoped for the best.
This was the key. I so enjoyed the evening I thought about going the next evening too (but decided against just in case I didn't enjoy it as much). I still prefer the music in those earlier shows (Passion Flower Hotel and Lolita) but now recognise Billy as the great entertainment it is. I don't play the CD album very often but, as I said: I now wish I'd seen the original Michael Crawford performance.
The Glass Menagerie: the theme included on his album Play It Again is pleasant and is quite low key compared to much of his work up until then. Two solo piano performances included on the (highly expensive) boot*** Cd of music from The Tamarind Seed do not offer much - stick with the Polydor album recording.
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Posted: |
Jun 15, 2009 - 8:42 AM
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By: |
neotrinity
(Member)
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Greater Love Hath No Hubby fer His Wife Than This Department:
50.
Director: Blake Edwards.
A’course, it might be stretching the general symbolism beyond its snapping point to say this is any sort of a specific homage to the Bond films as opposed to simply a straight-forward love story set within the espionage framework,
but it’s hard to escape the temptation of classifying it thus when the film includes Maurice Binder’s customary classy main title (nope, sorry, this ain't part of it  )
and, natch, the melodious moosic underneath and behind it all.
Yep-per, it’s a right solid and atmospheric Barry contribution replete with many of the musical motifs (both romantic and dramatic) his rep was richly noted for. There’s nothing here that really elevates the material above and beyond the fairly involving storyline but, sometimes there’s a heckuva lot to be said for sheer sleek professionalism – and this one is definitely that
(o, yeah, an' howcum there STILL ain’t no legitimate soundtrack yet????!!!) … 
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Posted: |
Jun 17, 2009 - 7:43 AM
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By: |
neotrinity
(Member)
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Once Upon a Bonded Tyme Department:
With the announcement re the imminent arrival of a new 007 adventure, nothing would whet one’s anticipated appetite than experiencing John’s latest musical take on the series (and genre) he so seminally transformed from here beyond eternity. Yet, when it comes to
51.
Director: Guy Hamilton.
this opus is usually regarded as the weakest of the Barry Bonds (tho it also goes without saying – which’ll never stop us from doing it, anyway – it’s still head and shoulders over, say, the utterly underwhelming “GoldenEye”).
Evidently, Our Man from York had the most asinine amount of composing time to deliver his score – wot wuzzit, two weeks or some ridiculous framework? – and, considering the absurd pressure that must’ve been, the result proves our previous point (re “Tamarind”) that the definition of a PRO is someone who doesn’t (and, above all, can’t) have the naive luxury to wait around for “inspiration” but hasta produce to the best of their skillful craft and foundational inventiveness.
Which is what occurs here.
Granted, the lackluster storyline (it was woefully apparent the Bond series was seriously outta anything resembling the sort of inspired inventiveness that had distinguished the series previously) would’ve been hard-pressed to ignite any memorable response, yet the overall music still suffices and doesn’t lack – albeit at a considerably muted level – the expected musical flourishes part and parcel of the Bond brigade.
A’course, Lulu could’ve been better served
with the song she hadda sing (hardly in the upper echelons
vis-à-vis some of her more Thunder-ous predecessors  ).
As to that, there’s still enough of general likability (in the MUSIC, we mean )
tho, all things being unequal, occasionally everyone has an off-day
(even with those things beyond their – or Q’s - qualified control) … 
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Posted: |
Jun 22, 2009 - 10:31 AM
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By: |
neotrinity
(Member)
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Here we have one of the most sheerly exuberant and energetic efforts in the JayBee composing canon:
52.
Director: Charles Jarrott.
Based on the adventurous true-life experiences of Robin Lee Graham, who spent five years singlehandedly sailing around the world at age 16 (the then-youngest ever to do so),
the film was also produced by
[ What’s also of historical note is this was the first project co-star Deborah Raffin was connected to which benefited from John’s musical palette,
something she and husband Michael Viner (who also started Dove Audio Books) would memorably remember later in the decade when they utilized the Son of York in her most impressive acting stint in the television film, “Willa”. But we’re getting ahead of ourselves … ]
Blessed with an enchanting song, “Sail the Summer Winds”
beautifully interpreted by Lyn Paul
(equally adorned by some of Don Black’s most evocative lyrics)
the music has a flowing freedom and magical lightness that’s pretty much impossible to resist.
Whether it’s the utterly beguiling “Hitch-Hike to Darwin” to the thrilling “Here There Be Dragons” (our two favorites) or the playful “Porpoise Escort”,
it’s wonderfully without quibble the material touched a royally receptive chord with the composer – and the result is as enthusiastic an ode to Life and Living as anyone could wish.
As to that, it’d make a helluva heavenly double-bill teamed with
(Yo, Pete, let us know if you ever decide to marry them both
as part of your showcase schedule!) ...
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Posted: |
Jun 22, 2009 - 10:49 AM
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By: |
MusicMad
(Member)
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I must confess I find Tamarind Seed a way overrated score. Barry managed to pen a memorable theme but that's it. For me, it's a lazy score with some nice moments but never among the composer's best.
Alex
Oh, how we differ: I saw this film on its original cinema run, two or three times on TV and now on the okay DVD release where the picture is good and sound fair ...
... I've recorded the sound from the TV broadcasts and produced a pretty-good DVD rip of the music (with dialogue, admittedly, but as I enjoy the dialogue that's not a problem) and, earlier, I bought a highly-priced pretty awful boot recording.
This is - without doubt (in my mind) - a fabulous highly under-rated score, having nothing in common with his JB007 scores prior or post. From the gorgeous themematic underscore (feeding into a pleasant vocal) to the highly infectious action theme which builds and builds ... brilliance from the best, IMHO!
And, yes, I'd love to have an official CD release (if possible: with the several segments of that action theme joined). Please!
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Posted: |
Jun 22, 2009 - 10:57 AM
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By: |
MusicMad
(Member)
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I'm a huge Barry fan, but I'd rather listen to Goldeneye - and it's not like he was new to Bond. It just sounds like he wasn't interested at all. The whole thing sounds tinny, as well, which is nothing to do with the short composing time. A change in recording studio, perhaps from Bayswater to Wembley?
Again, I differ: true, The Man With The Golden Gun is one of the weaker JB007 films ... but I prefer it to several of the others, such as Live And Let Die and this latest offering Quantum Of Solace, and this is partly down to the music. Not top class Barry ... but certainly better than many other composers' top class efforts.
And I like the GoldenEye score, after many repeat plays.
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