 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
In my opinion, the 60s through 1971 were the best Barry years.
He had many, many great years during this timespan. In 1968 he scored The Lion in Winter, Deadfall, Petulia, Boom!
In 71: Mary, Queen of Scots, Walkabout, The Last Valley, Diamonds Are Forever, The Persuaders, and Lolita, My Love.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 22, 2021 - 1:58 PM
|
|
|
|
By: |
Tall Guy
(Member)
|
In my opinion, the 60s through 1971 were the best Barry years.
He had many, many great years during this timespan. In 1968 he scored The Lion in Winter, Deadfall, Petulia, Boom!
In 71: Mary, Queen of Scots, Walkabout, The Last Valley, Diamonds Are Forever, The Persuaders, and Lolita, My Love.
I’d agree absolutely with that. Not that the quality dropped away after then, but most of my fondest JB scores are from that era.
|
|
|
|
|
|
I'd say Goldfinger through to The Day Of The Locust was Barry's solid gold period, a heck of a run of film scoring in which he could do no wrong.
Like you said, it's not that his music dropped off a cliff or anything after that, but that period was solid gold.
He had what I consider to be an inconsistent period from after The Day Of The Locust to just before Somewhere In Time, where brilliant stuff like King Kong was mixed up with shaky stuff like Game of Death.
And then from Somewhere In Time to The Living Daylights he had a renewal where, again, he could do little wrong (except the odd thing like Bells), but his music was more 'in a groove' by this time.
Goldfinger to The Day Of The Locust remains his golden period.
Cheers
|
|
|
|
|
|
|
|
|
|
Well, I like Game of Death too, but I'm known around these parts for being at the far end of John Barry fanaticism and therefore not representative of the mean, median or mode.
I have to concede that most people consider scores like Game of Death to be, well, not great.
Welcome to my club though.
Cjeers
|
|
|
|
|
|
I agree with The day of the Locust, but I'd backtrack from Goldfinger to include From Russia With Love and Zulu.
|
|
|
|
|
|
|
|
|
|
The music is great. What I really love is the witty, insightful dialogue between King and Queen.
When I watch the film I liken it to a ( quality) soap. With all the bickering amongst themselves. It positively crackles with heat lines.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Nov 23, 2021 - 6:30 PM
|
|
|
|
By: |
MusicUnite
(Member)
|
I'd say Goldfinger through to The Day Of The Locust was Barry's solid gold period, a heck of a run of film scoring in which he could do no wrong.
Like you said, it's not that his music dropped off a cliff or anything after that, but that period was solid gold.
He had what I consider to be an inconsistent period from after The Day Of The Locust to just before Somewhere In Time, where brilliant stuff like King Kong was mixed up with shaky stuff like Game of Death.
And then from Somewhere In Time to The Living Daylights he had a renewal where, again, he could do little wrong (except the odd thing like Bells), but his music was more 'in a groove' by this time.
Goldfinger to The Day Of The Locust remains his golden period.
Cheers
I would be more generous than Stephen in regards to Barry's prime-time. I would say from 1960-1974 was his best period. There was a sea change in his style after he moved to the U.S. in 1975. I think we are in rough agreement on his 1975-1979 period. Apart from King Kong, Barry scored mostly American TV films, or worse Starcrash.
But I am afraid Barry lost me from around 1980 onward. Yes, there were flashes of his old self in things like the Bond films, but overall there was a sameness to his music.
Jay
|
|
|
|
|
|
|
The Lion In Winter is one of the best. I vividly recall playing the Columbia LP on my father’s turntable in my teens and being stunned by the main title.
It was a mesmerising experience—the whole album and, of course, sequences like “Chinon/Eleanor's Arrival”—the music, the choral work, the sound quality. I will never forget, and I will always enjoy playing The Lion In Winter.
Chris
|
|
|
|
|
|
|
|
|
|
Barry's best period? I would probably go From Russia With Love to Alice's Adventures In Wonderland
|
|
|
|
|
|
Oh, how modern historical epics like THE LAST DUEL could do with a score as good as THE LION IN WINTER.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Posted: |
Dec 24, 2021 - 3:18 PM
|
|
|
|
By: |
JohnnyG
(Member)
|
I'd say Goldfinger through to The Day Of The Locust was Barry's solid gold period, a heck of a run of film scoring in which he could do no wrong.
Like you said, it's not that his music dropped off a cliff or anything after that, but that period was solid gold.
He had what I consider to be an inconsistent period from after The Day Of The Locust to just before Somewhere In Time, where brilliant stuff like King Kong was mixed up with shaky stuff like Game of Death.
And then from Somewhere In Time to The Living Daylights he had a renewal where, again, he could do little wrong (except the odd thing like Bells), but his music was more 'in a groove' by this time.
Goldfinger to The Day Of The Locust remains his golden period.
Cheers
I would be more generous than Stephen in regards to Barry's prime-time. I would say from 1960-1974 was his best period. There was a sea change in his style after he moved to the U.S. in 1975. I think we are in rough agreement on his 1975-1979 period. Apart from King Kong, Barry scored mostly American TV films, or worse Starcrash.
But I am afraid Barry lost me from around 1980 onward. Yes, there were flashes of his old self in things like the Bond films, but overall there was a sameness to his music.
Jay
Considering his output after 1980 included scores like "Body Heat", "Frances", "High Road to China", "Out of Africa", "Dances with Wolves" and "The Specialist", it looks like "sameness" is a great virtue!...
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
