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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.
Amen. This was a super grail for me. I was so excited when this came out I bought two. I was lucky enough to meet Ernie Borgnine at a convention a few months before he passed away and I remember presenting him with the CD cover to sign and he looked at it and said real loud, "There's a record for this now??" Good times.
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For me, its a good score, but like all of his non-Bond score features a lot of dull underscore connecting the memorable presentations of the robust main theme. I suspect the lack of availability for so long has elevated this score higher than it deserves. It also sounds remarkably like the space music he did for Midnight Cowboy and Moonraker.
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When it comes to underscore, IMO, Barry is one of the very best. Atmospheric, moody, sparking gorgeous cues in score after score.
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Oh the irony, Bill
You lot are sharp on merseyside, Thomas. Youre off the street!!
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I consider the track INTO THE HOLE one of Barry´s finest compositions.
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INTO THE HOLE is certainly a splendid composition, but I personally prefer the more moody cues.
THE BLACK HOLE isn't everybody's cup of tea, but those of use who love it (and there are lots of us), tend to love it a lot.
It's like you either don't get it, or you really get it.
Still one of the most spun discs in my house ...
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INTO THE HOLE is certainly a splendid composition, but I personally prefer the more moody cues.
Stephen, you're spot on. I'm just as enthusiastic about "Pretty Busy" and "Can You Speak?" as I am about the most majestic parts of the score.
Leave it to Barry to take a tram cruising scene or an encounter with a "robot" and turn it into a great expression of mystery or humanity.
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I've never understood how any film music enthusiast could NOT appreciate this score. Even referring to it as one of Barry's "lesser efforts" doesn't make sense to me. It's rich with melody and mood, as good as any of his fine scores. I don't see it as bargain-basement Barry in the slightest, or for any composer! It's one of the greats of that era and is SO expressive and dark and heavy. It's a masterpiece in my humble opinion.
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It's a mystery score with sci-fi flourishes. The music is about the story unfolding, so it is full of intrigue and attempts to instill the film with empathy for the crew of the Cygnus. I feel the score works so much better in expanded form because it is so much about pulling you into the story, and the additional cues add more of a sense of narrative.
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What I love about this score is Barry scores it in three stages ...
Part one he sees as a Marie Celeste story — the mystery wreck, the ghost ship
Part two he sees as a desperate, running gun battle which flips between "gunfight at the o.k. corral" and a "you're surrounded, you're f**ked" seige
Part three is Faust
It's a fascinating way to see the film. Much more thoughtful than just pasting drum machines, the crash-bang-wallop orchestra and the great grand choir of the apocalypse all over it.
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What I love about this score is Barry scores it in three stages ...
Part one he sees as a Marie Celeste story — the mystery wreck, the ghost ship
Part two he sees as a desperate, running gun battle which flips between "gunfight at the o.k. corral" and a "you're surrounded, you're f**ked" seige
Part three is Faust
It's a fascinating way to see the film. Much more thoughtful than just pasting drum machines, the crash-bang-wallop orchestra and the great grand choir of the apocalypse all over it.
Extremely well put!
Oh, well, those were the days of perfect soundtracks...
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Certainly all music now isn't soulless, but I agree with you that a smaller percentage has soul.
Yavar
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Soul in music is hard to describe and certainly subjective.
But a greater variety in style is definitely missing.
Not the fault of the composers, of course. Only due to studios, producers and directors who want just the one Zimmer-sound.
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