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I listened to samples online and I found this to be boring, except IIRC for a sitar and tabla track.
I guess I just don't get John Barry. I like the Connery-era Bond, The Knack, Ipcress, the Persuaders theme. And then it's a steep drop down.
Boring... Walkabout...
I respect your opinion, of course, but... oh, man... boring?
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The Walkabout CD wasn't limited in quantity, it was limited in distribution outlets.
The Round Table is the way to go.
And it's one of the greatest movie scores ever recorded in my opinion.
Cheers
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What I find most amazing about Walkabout and John Barry is that in the year 1971 Barry wrote Walkabout, Diamonds Are Forever, Mary Queen of Scots AND The Last Valley. Absolutely amazing.
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Yeah that is some impressively varied but high quality output.
Yavar
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Posted: |
Sep 25, 2018 - 5:35 PM
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By: |
OnyaBirri
(Member)
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Boring... Walkabout...
I respect your opinion, of course, but... oh, man... boring?
I should clarify: My opinion was based only on the audio samples when the album was released a few years back. Today I found a 27-minute suite on the InterTubes and listened to the whole thing.
I have never seen the film, and I'm sure the score was very effective in the film, but it is not the kind of music I would enjoy listening to on its own. Other examples of this would include Carter Burwell's scores for Cohen Brothers films, or Michael Nyman's scores for Peter Greenaway films. I like them in the context of the films, but I would never want to listen to them on their own.
A few years back, I started two threads on two composers who run hot and cold for me: Elmer Bernstein and John Barry. Others posted YouTube links to tracks for me to check out, and I judiciously did so, every one of them.
What I realized about both composers was that they tended to write very diatonic music, and that the tracks or scores I liked by these composers tended to be more chromatic. That said, I realize that a film composer is writing works made for hire and has to deliver what is requested.
I can't help but feel that Barry lost his edge sometime in the late 1960s. Maybe it was when Jane Birkin dumped him? I dunno. Mid-60s Barry tended to use more jazzy harmonies and interesting chord juxtapositions, especially with unrelated minor chords. But the "Born Free" Barry began to dominate, and I started losing interest.
What I really love about my favorite Barry stuff is the hypnotic repetition peppered by unexpected twists and surprises. It functions for me very much like my favorite downtempo electronica: It is great to work to, and has a way of engaging my brain enough to partially listen, while not distracting me from writing and editing (which is primarily what I do for my day gig).
At any rate, back to "Walkabout," I did like the track with the Moon Buggy Ride orchestration. And back to Jane Birkin, I don't blame her one bit for hooking up with Serge Gainsbourg. YMMV.
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Well, in addition to Walkabout, The Last Valley, Mary Queen of Scots, and Diamonds Are Forever throw in Murphy's War and They Might Be Giants. AND that was the year of Lolita, My Love. How the hell did he do that?
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Posted: |
Sep 25, 2018 - 6:52 PM
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By: |
bobbengan
(Member)
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In truth Barry isn't a favorite of mine (and that's Barry of any era really, especially the jazzy stuff - just not my sound), but I do love this score. It is, as said elsewhere, dreamy, evocative and achingly nostalgic. I happen to love the film a great deal, too!
I don't know why this works so well for me while OUT OF AFRICA, BORN FREE, DANCES WITH WOLVES and other scores most regard as his masterpieces just sound so sedate and lacking in vitality or genuine harmonic/melodic inspiration to my ears. Very fine music all around, but stuff I virtually never feel compelled to return to frankly.
But Walkabout...
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Posted: |
Sep 25, 2018 - 8:34 PM
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By: |
Col. Flagg
(Member)
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WALKABOUT is a brilliant fever-dream of a film. The music and movie are, for me, inseparable – much in the same way that STAR WARS isn't STAR WARS without John Williams.
For decades, the only recording available was the rerecording, and I lapped it up. Yes, it wasn't for all occasions – it's melancholy is powerful and sometimes overriding. But it was great, and I'm thankful for it.
I have the new Roundtable, and being exactly what Barry wanted, it's a first class experience I intend to return to often. But so, in its own way, is the Raine. Raine always did a good job with Barry material, so this is less about the specifics of the music for me, and more about the feel of the album experience. Like the original STAR WARS albums versus the expansions, it'll depend on the mood.
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