I'm positive there must be previous threads on this, but the search engine doesn't work. I get 30 pages worth of hits, many of which have nothing whatsoever to do with the search words. Also, Google search didn't help either. So I'm reluctantly starting a new thread, even though it goes against every fibre of my body.
In any case, I sought this "non-film score film score" out after it being mentioned in the "ethereal cityscapes" thread. I really liked it! Most of you know my critical attitude towards Barry, although I've warmed somewhat up to him in recent years. Re-listening to ACROSS THE SEA OF TIME (which was also mentioned in the aforementioned thread), my old skepticism was reinforced -- it was rather static and situated around the same grating notes throughout. However, AMERICANS was a different beast altogether: Elegant, jazzy and with melodic dynamic.
I love how I discover bits and pieces of Barry that I enjoy these days. Not expecting an 'explosion' of new titles, like I had after Morricone's death (with 80-90 new titles in my collection), but a gradual discovery and appreciation of his work.
Americans is an album recorded in Los Angeles in November 1975, soon after Barry left UK. Top session musicians were used such as Dick Nash on trombone and Ronnie Lang on piano.
I'm positive there must be previous threads on this, but the search engine doesn't work. I get 30 pages worth of hits, many of which have nothing whatsoever to do with the search words. Also, Google search didn't help either. So I'm reluctantly starting a new thread, even though it goes against every fibre of my body.
In any case, I sought this "non-film score film score" out after it being mentioned in the "ethereal cityscapes" thread. I really liked it! Most of you know my critical attitude towards Barry, although I've warmed somewhat up to him in recent years. Re-listening to ACROSS THE SEA OF TIME (which was also mentioned in the aforementioned thread), my old skepticism was reinforced -- it was rather static and situated around the same grating notes throughout. However, AMERICANS was a different beast altogether: Elegant, jazzy and with melodic dynamic.
I love how I discover bits and pieces of Barry that I enjoy these days. Not expecting an 'explosion' of new titles, like I had after Morricone's death (with 80-90 new titles in my collection), but a gradual discovery and appreciation of his work.
Come on, which of you jokers has figured out Thor’s password?
For me "Americans" is John Barry's last great work written in the 70s - it ends the best period of his career. None of Barry's 1976-79 filmscores (maybe except of "Moonraker") comes close to this concept album.
If you enjoy "Americans", try also "Petulia" - partially melancholic, partially extremely pleasant and elegant. One of Barry's more influential works from the 60s. You'll find echoes of "Petulia" in "Diamonds are Forever" and "Indecent Proposal".
Thor, I'm pleased to read that you enjoyed Americans! Yesternight Suite alone is packed with melodies and different moods and styles. It also features some rare upbeat and warmhearted sections.
For me "Americans" is John Barry's last great work written in the 70s - it ends the best period of his career. None of Barry's 1976-79 filmscores (maybe except of "Moonraker") comes close to this concept album.
If you enjoy "Americans", try also "Petulia" - partially melancholic, partially extremely pleasant and elegant. One of Barry's more influential works from the 60s. You'll find echoes of "Petulia" in "Diamonds are Forever" and "Indecent Proposal".
I second this. Petulia is one of Barry's lesser known jazz gems. What a score.
A year or so ago I put together a list of 15 (for me) indispensable John Barry albums, not scores. On that list were Americans and Petulia/Alice's Adventures in Wonderland.
To follow up, I've heard PETULIA now. You're right -- very lovely (except maybe "Highway 101", which is rather irritating).
I really like AMERICANS. The coolest jazz licks and typical John Barry off beat...eh..beat. I had been a Barry fan for many years without ever hearing it. Or of it. Had it been a jazz score to a film, I think it would have been more known, played and appreciated. It is kind of forgotten in Barry`s oeuvre.
Petulia is a fruit from the same John Barry-tree. As is Follow Me, and parts of Diamonds Are Forever. Fun City from Midnight Cowboy is similar in style. And Dance with Reality from another concept album, Beyondness of Things is a modern take on the same style of composition.
Many. There is a fantastic jazz cut on The Whisperers called "All or Nothing Jazz" featuring a very nice baritone sax solo (soloist unknown). Funny thing is: in the context of the slow and melancholy Whisperers album, the track sounds like a bolt of lightning. On its own, its just a very nice medium tempo solo showcase.
I've always perceived Beat Girl as one of Barry's most underrated scores. Sure, some of the songs have dreadful singers, but every single cue has something to offer. It could easily be organized as a stand-alone jazz/rock album.
Some may crucify me for saying this, but Beat Girl is like the rock score Alex North never wrote.
Funny enough, 'Highway 101' is one of my favorite cues in the album.
Yeah, that's interesting psychology. It's that particular sound of Barry's that I can't stomach. It's almost as if it grates on a biological level somehow. Whereas you have it as a favourite. Fascinating!
