Or Pulp Fiction without Dick Dale’s cataclysmic surf-rock guitar. His peers laughed at him for it but I think it put him with Goldsmith as being not only a brilliant composer but innovative too.What would the movies be without music? Imagine Do the Right Thing without Radio Raheem’s blaring boombox. I think he was one of the first to employ the use of the Moog synthesizer in his scores. Of course this information probably means nothing to anybody because I can't remember the name of the show, "The Go-Getters" or something. I think it turned out being a Disco hit in the 70's. One of my favorite television themes is one he wrote for that show (I can't remember the name of it) with Roger Moore and Tony Curtis where they're played rich private eyes or something. Let's not forget his work in television as well. Do you think he would have collaborated with Daft Punk? I might be in the minority here but I thought A Veiw to a Kill was better than the Celine Dion James Horner collaboration for Titanic. His collaboration with Duran Duran for the View To a Kill soundtrack, for example, is still one of my favorites. This skill is highly sought after in the Pop world where writing everlasting "hooks" is crucial. He was so good at writing these elaborate melodies and somehow making them memorable for the media he was scoring for. I always thought of John Barry as one of the best Pop song writers who never was. May you rest in peace, the next Bond will probably be scored by worthy successors, such as Daft Punk. Good, you got it? Bring us his theme by the end of the week, as well as a new song that describes him perfectly every other year or so." And you delivered John Barry I personally discern every one of these qualities in your themes and songs that you penned for this fictional and impossible man, rendering him believable through your great talent.
The most intelligent, great looking, fearless, never-say-die, connoisseur of all, baccarat and roulette master, of impeccable taste and wit, loyal, and a man of deep feeling to boot. I mean what do you do as a composer, how do you go back home after the spotting session where they told you "we just need your music to complement, represent, and enhance this character's persona: THE man of all men and women. Most of all for me though, and perhaps expectedly, you stand alone because of your work on the Bonds. However, you will always be remembered for all the other inspired music we are so happy to have received from you, even the less talked about great scores of say 'The Specialist' - it just doesn't get any simpler while still keeping character and such feeling! Or the characteristic and magnificent 'Persuaders', and so many others. John Barry, you will not be sorely missed as your offerings for the last few decades were not exactly to your standard.
If people can't tell the difference, no amount of prose on my part is going to make the slightest. And I also was thinking about 'tob', who was going to become my latest "victim" here on the Tron thread, but I won't bother. You beat me to the tribute Paul, I was going to start a thread myself. If I give some of his scores ("Lion in Winter" being one of them) time off, I know when I fire them up again I'll enjoy them almost as much as when I first heard them. I can't think of a film score composer who over the years I've listened to more. There's a deceptive simplicity in much of his music. Same with "Enigma." I liked these scores, nonetheless.īarry's had his own sound more than most, and seemed to get his musicians in on it. "Swept from the Sea" seemed to have all the Barry elements, but the repetition that had become his style seemed listless at times. I agree that some of his later scores weren't quite up to snuff. I don't have "Walkabout," so, great, there's still one to grab hold of. I'm still looking around for "Cry, the Beloved Country." I had it on cassette, but it's long gone and I can't find it on CD.īut. A pity that there are no more.Īnother good one from the "Lion in Winter" times is "The Last Valley." Have you heard it? It also has a fine, long melody. With the advent of Itunes, it has been a pleasure to go back and pick up the Barry soundtracks I'd missed. I remember seeing "Midnight Cowboy" and being really drawn in to the simple theme.
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