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 Posted:   Jan 5, 2012 - 2:24 PM   
 By:   Stephen Woolston   (Member)

Yes, this was my "disc of the year" for 2011, and is still the most spun disc in my house.

The funny thing is, I don't think it's John Barry's best score by any means.

However, I think the score works so perfectly.

And, although it is sometimes criticized as one of Barry's less inventive works, I think this CD reveals it to be much more the inventive score than people remember.

Not only does Barry create one of the most vivid, apt, memorable and with-muchos-gravitas motifs in film music ...

But he creates some great textures with synthesizer and blaster beam.

And, like you said, I think it's a very satisfying listen due to there being various themes in the material and a range of moods to capture.

A very good CD.


 Posted:   Jan 5, 2012 - 2:52 PM   
 By:   Grecchus   (Member)

Well, the disc is 'now playing.' Yes, that scintillating wrap around at the end of Closer Look is gleefully satisfying. Quick rewind. Off we go again.

I actually haven't read the liner notes yet, but, In Through And Beyond sounds very much like a formal demo. It makes me hark back to discussions about the pressure composers are under nowadays to produce . . . something. Barry seems to have been ahead of the game.

 Posted:   Jan 5, 2012 - 2:56 PM   
 By:   Stephen Woolston   (Member)

That last track is actually the end title, but just the synthesizer layers and including a "not used in the end" wind effect at the end.

It just goes to show how many synthesizer layers Barry had augmenting the orchestra.

It's surprising. And, again, proof that Barry was actually being more inventive and experimental than people gave him credit for at the time.


 Posted:   Jan 5, 2012 - 3:17 PM   
 By:   Grecchus   (Member)

All you say clicks, Stephen. He very obviously endeavoured to harmonize the orchestra and synths to his own style of writing.

Being a Disney project, I guess, the stakes were high. Now, we are here. Incredible.

 Posted:   Jan 5, 2012 - 3:30 PM   
 By:   Stephen Woolston   (Member)

It seems Barry has used synthesizers to augment orchestral sounds going way back to the 60s.

Even a score we think of as purely orchestral like The Lion In Winter actually had synthesizer augmentation to add depth and sustain to the timpani in the main title.

And as I listen to Deadfall, I'm sure I hear the same kind of augmentation. The synthesizer doesn't have it's own music, it just sits behind orchestra sounds and is literally just augmentation. But, as with The Lion In Winter, it adds depth and 'groan' to some of the sustained low notes. (Check out the scene where Michael Caine and Eric Portman review the photographic slides of the to-be-robbed house.)

I think the same may have also been true of Raise The Titanic, and might explain with the re-recording doesn't sound quite as "thick" as the OST. But I'm much less confident about that.


 Posted:   Jan 5, 2012 - 3:44 PM   
 By:   Grecchus   (Member)

I unfortunately don't have Deadfall. If the liner notes are not clear about the orchestral ratios maybe Lukas could chime in. I'm not competent enough to be able to contribute, Ed Nassour style, about definitive content.

Of course, a pro like JB would have covered everything in his long and distinguished history in the business. Your idea is intriguing, given that Goldsmith is considered the master chef of experimental blending.

Edit: The entry for Deadfall does not actually list the orchestral breakdown, therefore, your hunch has turned on the spotlight, so to speak.

 Posted:   Jan 5, 2012 - 4:11 PM   
 By:   Stephen Woolston   (Member)

He might not have used it in all tracks, but I am absolutely certain there's a synthesizer augmenting the low notes in that "The Briefing" sequence I mentioned. It's not on the CD, you'd have to hear the isolated score track on the DVD.

 Posted:   Jan 5, 2012 - 4:22 PM   
 By:   Grecchus   (Member)

Maybe the boffins will burn some midnight oil to elucidate your point. Or perhaps a very exhaustive internet hunt might pay dividends?

Edit: Here's a starting point:

But so far, all I can find is trivia upon trivia that sheds no light. You know, at the memorial concert I paid some attention to the keyboards (it's already getting hazy). I think it was Ipcress File where the keyboards were featured with prominence for the theme. I distinctly remember thinking to myself, "so that's how he did it." Why wouldn't he use them to emphasize the background too?

 Posted:   Jan 6, 2012 - 1:07 AM   
 By:   Stephen Woolston   (Member)

I wouldn't take the Memorial Concert as a guide to how Barry did things in the 60s. In the film and album recordings, the cymbalom was used. Was there one at the Memorial Concert? I can't remember but don't think so -- I think the keyboard was a substitution.

At the Jarvis Cocker concert, though, they did The Persuaders with a genuine kantele.


 Posted:   Jan 6, 2012 - 12:58 PM   
 By:   Grecchus   (Member)

Whoops. Thanks for hammering me straight. I was right at the top of the circle, looking down (and wearing my glasses.) I'm fairly certain the musician was playing the synth keyboard to effect the Ipcress File cimbalom material. He was in a swivelling position and I have a notion he turned away from whatever he had been doing beforehand and then turning to his keyboard for Ipcress (but forget what the other half of his dual role may have been.) I could see his fingers pressing on the keys quite clearly and each depression resulted in the individual notes representing the cimbalom being played out and heard. That is why I assumed JB had got his sound this way. "Over."

Edit: There's a lengthy sustain on track 22, Into The Hole that, in all my LP listening never, ever registered. It sounds like an organ accompanying the slow, swaying strings from 3:34 to 4:10. How sbout that?

 Posted:   May 19, 2012 - 8:46 AM   
 By:   panavision   (Member)

Listening to the score right now -- it gets better and better. "Into the Hole" blows me away. wink

 Posted:   Apr 25, 2013 - 3:59 PM   
 By:   BornOfAJackal   (Member)

Does anyone else who owns this get the same "prick" at 0:02 of the Main Title? Just wondering.

 Posted:   Apr 25, 2013 - 4:13 PM   
 By:   jonathan_little   (Member)

Yes, there is some sort of click there that does not exist on the LP or iTunes issues.

 Posted:   Apr 25, 2013 - 4:15 PM   
 By:   TPC   (Member)

Does anyone else who owns this get the same "prick" at 0:02 of the Main Title? Just wondering.

IIRC, according to Intrada it's a harp player either plucking a string or preparing to do so. Some people here believe it's a glitch. I think there's a discussion about it earlier in this thread.

 Posted:   Apr 29, 2013 - 7:19 AM   
 By:   Josh "Swashbuckler" Gizelt   (Member)

Yes, it was a room sound that was mixed out of the original album but retained in the Intrada (if you listen very closely, you can hear it has a sonic presence in the room).

 Posted:   Apr 29, 2013 - 11:24 AM   
 By:   Bill Carson, Earl of Poncey   (Member)

Dont tell me this got released?!!!
Damn, missed it.

 Posted:   Apr 29, 2013 - 11:57 AM   
 By:   Yavar Moradi   (Member)

It's an unlimited release; you haven't missed it at all!


 Posted:   Apr 29, 2013 - 12:19 PM   
 By:   Jason LeBlanc   (Member)

Dont tell me this got released?!!!
Damn, missed it.

 Posted:   Apr 29, 2013 - 1:32 PM   
 By:   jfallon   (Member)

Damn this score is good.

 Posted:   Apr 29, 2013 - 1:51 PM   
 By:   BornOfAJackal   (Member)

Barry out-Warred Williams and out-Trekked Goldsmith with greater economy and more style and panache. Anyone who claims this is a "minor" Barry score doesn't know what they're talking about.

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