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Movie on uk TCM thisafternoon
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A very thoughtful article, the gist of which, I believe, was to show that these 3 scores on top of several preceding them showed growth on Barry's part.
The praise is measured and justified. Caps never gushes. And his critiques have merit.
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Yes, I love that Caps article too.
Naturally, as the board's insane John Barry nut, I disagree with the notion that John Barry was a minor composer of mere frivolities and trivialities apart for his historical triptych.
I, of course, find his scores for the James Bond films, the Bryan Forbes films, the Richard Lester films, Midnight Cowboy, Walkabout, Monte Walsh, etc., to be quite brilliant and quite mature.
However, Caps' appreciation of how the historical triptych are crowning among his works, and garnering of the attention of even the most serious and stuffy film music critics, is well stated.
In many ways, MARY is the unique one in the set in that it is the most intimate of the three.
Cheers
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There were a few other reviews of these scores at their time of release.
The American Record Guide had an article called: John Barry--Movie Music You Can Listen To, which reviewed The Lion in Winter and Deadfall. Very positive reviews.
The notorious Page Cook reviewed individually all three scores of the historical scores. In general, not a Barry fan, Cook had mixed words The Lion in Winter, the highest praise for Eleanor's Arrival, which he called "stunning.'
The Last Valley he thought creative, but of course had reservations. "The Plague Pit" cue he described in detail and said that the writing was "complicated."
He did not like Mary Queen of Scots.
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It was a new transfer of the album master, and for the full mono score I located 1/4" tapes with some of the score on it. We didn't have that at the time the Blu-Ray was done; that iso-track used a music stem.
Mike, for the mono tracks, are the track titles official titles on the 1/4" tapes? Or are they your own?
"Queen of England by Right..." and "Antic Hay" seem to have interrupted openings (as they do in the film and on the iso-tracks).
Nevertheless the new mastering is superb, and reveals the complete film score in a new light.
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Neil. Thank you for Mary, Queen of Scots.
You know how much I love this stuff.
Cheers.
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This is no doubt one of John Barry's most beautiful scores. I got the Quartet release, even though I was perfectly happy with the previous release. Indeed, so far, I have only listened to the original album stereo takes, but it will be interesting to listen to the film tracks.
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This is no doubt one of John Barry's most beautiful scores. I got the Quartet release, even though I was perfectly happy with the previous release. Indeed, so far, I have only listened to the original album stereo takes, but it will be interesting to listen to the film tracks.
I'm the opposite, Nicolai, I haven't gotten around to listening to the album yet.
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Years ago a friend got in my car. He was not a film music fan. I was playing The Last Valley, one of the more barbaric cues. He remarked that it sounded "like James Bond music from Hell."
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Can't remember much about movie or score, but here's a question about two that do remain vivid for me:
What does MARY have in common with JUAREZ (1939) and KHARTOUM (1966)?
Costume designer or cinematographer?
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Mike, for the mono tracks, are the track titles official titles on the 1/4" tapes? Or are they your own?
The track titles come from the legal cue sheet. The 1/4" tape box was unlabelled. Fun!
Neil
It dawned on me that they were official titles when I came across Jon Burlingame's list in the corresponding chapter in Jon Burlingame/Jeff Leonard/Pete Walker's recent book "Music by John Barry" (p. 280). Burlingame renders the complete title of track 40 as "The Lords Surround Hermitage" / "Mary Locks Bothwell In" / "Abdicate" -- quite a long title for a 1 minute 14 second medley!
I agree with Burlingame's choice of 14 additional minutes from the previously unreleased cues that should have been incorporated into the original LP, lasting "just under 43 minutes, a common length for albums of that era."
"Vivre et mourir (Reprise)" is simply a repeat of the last half of the opening LP track.
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Neil. Thank you for Mary, Queen of Scots.
You know how much I love this stuff.
Cheers.
Hi Stephen -- I came across this post you made back in 2019 about the Australian LP release; rather than bump-up that thread up I thought I'd just paste it into this discussion...
To be honest, I keep expecting Quartet to reissue Mary, Queen of Scots, but they haven't done so far.
Incidentally, most of you will know that the Australian LP contained two tracks not on other releases and since they are not listed, one assumes they were included unintentionally. Maybe the guy supervising the preparation of the album went for a pee and let the tape run on too long.
But it begs a question, though. How?
One assumes that these tracks were not on the album master, otherwise Intrada would surely have included them on their CD.
On other other hand, why would the Australian LP be from anything other than the album master?
If it was not from the album master, what was it from?
If anyone does reissue the Mary Queen of Scots album programme, how about a vinyl rip of those two extra tracks as a bonus?
Cheers
I've been thinking about this lately as well. Someone made me a cassette dub of the Australian LP back in the 1990s -- I'll have to dig that out!
I was hoping this new release might possibly include those two cues. No criticism of Neil or Quartet intended (they've done a stellar job on all fronts -- in fact this is my favorite release from the past several years) but I'd love to see those cues tracked-down someday. I'd pay for for a mere download of those two tracks!
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I've asked Chris Malone is work on this latest edition sheds any light on those two extra tracks on the Australian LP. I imagine not, though. How those two tracks came to be on that LP remains a mystery.
Cheers
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