John Barry: 3 November 1933 – 30 January 2011

Very sad news that John Barry has died suddenly following a heart attack. He was 77. Barry managed to be an impressively self contradictory composer (in the best possible way), becoming famous through his band, the John Barry Seven, yet you'd never imagine based on those records that it could be the same composer who could write Dances with Wolves or The Lion In Winter. Yet, perversely, his style was so distinctive that you could pretty well always tell a Barry score after only a few notes.

Perhaps embarrassingly, I was not originally enamoured of Barry's music; even more strange as he's one of those cult film composers with far wider appeal than the 37 people on the planet who love film music. However, with some gentle persuasion and a sampling of his finest scores, notably Dances With Wolves, it didn't take too much time for me to change my mind. Even worse, however, his Bond scores took a bit longer for me to get into, but they were certainly worth it. Where today's action scores can be so frantic, Barry rarely let his music get too busy. Even the later Bonds had a level of class and elegance that one rarely hears any more.

I had the pleasure of seeing him conduct the City of Birmingham Symphony Orchestra about a decade ago, confirming his position as one of those rare composers who can fill a two hour concert programme with nothing but hits, most of which even the casual listener would recognise. I am sure that more dedicated and knowledgeable fans will write plenty in the days to come, but Barry's legacy was cemented years ago and having composed some of the best known music for cinema over 40 years, he won't be forgotten any time soon.

For those fans who are yet to indulge in some of cinema's lushest and most memorable music, you could do worse than to pick up the composer conducted compilation Moviola, which is just about the most sumptuous sounding film music compilation ever released. For a more extensive and varied starting point, Silva's John Barry: The Collection - 40 Years in Film Music is hard to beat, From Zulu to Enigma, it samples a surprisingly large proportion of his work. The music itself is, of course, wonderful, but it's rare to hear a composer's style evolve so organically over their career.

Good night JB. 

Film Music Free Friday

At the risk of promising a regular feature, I decided that Friday should be Film Music Free Friday for Soundtrack Express as an antidote to FSM's usual Friday news slot (the item formerly and oddly known as This News Friday). In fairness, it won't be entirely devoid of film music content (but calling it Mainly Film Music Free Friday is clearly ridiculous...). Topics may or may not include:

Non-film music albums - At the old site, I did used to review the odd thing by other artists (mostly the Divine Comedy, my favourite band) and composers. However, in this case it'll be more general recommendations and thoughts about other music that I like.

Classical - I don't (honest guv) want to start arguments over what James Horner has or hasn't pilfered from the classics, but there's a world of classical music that has been used as, um, "inspiration" for a lot of film music. A few are well known, but plenty are quite obscure, so hopefully might be of interest. Film music is a great starting point for discovering the classics, as my own experience attests, even though I've reached a bit of a wall lately in terms of new composers, but the joy of discovery is quite exciting.

Movies. Films. Flicks. Motion Pictures. And some TV - Maybe a review, maybe a general rant/love fest on the state of cinema going today; something of that ilk. Plus any TV shows I happen to have seen and feel deserve some kind of recognition, even if they are a bit old - I am tempted to write a bit about Battlestar Galactica, but realise it's a bit old news now. Oh well, it's my column and I'll write what I want to (you would too, if you were writing it... too).

Miscellaneous Ranting - As per last week's entirely unannounced column, some will just be about random spleen venting on the tangential aspects of film music, films or TV but not actually about the music or visual pleasures themselves. Of course I might just rant about the state of the UK rail service (it's shit and expensive).

You - If there's anything you'd like me to write about (as if), drop me a line and I'll consider it. However, that's on the proviso that I may know sod all about whatever it is you want me to opine on so may have to pass, so don't come crying to me if I have to politely decline.

Ponyo on the Cliff by the Sea - Joe Hisaishi

Bloody hell, Miyazaki films are awesome. Really gosh, darn (haha) wonderful. Even one that looks as cute and potentially vomitous as Ponyo on the Cliff by the Sea (Ponyo for brevity) is superb. A variation on the Little Mermaid fairytale, it's a far more original take than Disney's and, in many ways, more interesting (which hasn't aged as well as Beauty and the Beast and others of the time, delightful though it is). Rather than merely change the story to fit with expectations, as Disney did, Miyazaki changes many aspects and the lead duo are kids rather than princesses and princes. It doesn't even have a traditional villain, merely Ponyo's concerned father. The animation is typically stunning; the sequence as Ponyo runs over huge, rolling waves is astounding.

If they have such things in Japan, Joe Hisaishi should be deemed a national treasure. He never fails to write anything but tuneful, memorable and instantly delightful scores, the best of which are invariably for Miyazaki. Needless to say, Ponyo is no exception, indeed it's perhaps his most memorable since Spirited Away. The main Ponyo theme is instantly catchy, its spirited musical lineage immediately obvious. Plenty of secondary themes provide typical thematic richness, but it's the main theme that holds it all together.

The aforementioned sequence of Ponyo running over rolling waves receives the most upbeat appropriation of Wagner ever heard. Ride of Valkyries is given the Hisaishi treatment; the Valkyries' theme is changed to the Ponyo theme and all the terrifying thunder of the original is turned into tumultuous, exuberant delight. If you're going to plunder the classics, this is the way to do it; turn something well known into something new and delightful, not just shoehorn it into your score because you've run out of ideas (or been pushed onto the temp track by the producers). A score that scarcely needs more recommendation and one of the most delightful hours of music you'll hear (apart from most of Hisaishi's other scores, of course). See the film too, easily the best traditional animated film since... well the last one from Miyazaki.

Film Music Free Friday: Message Boarding - I'm Spartacus!

Message Boards can be scary places. I'm a rather infrequent poster and even less frequent reader.  When film music fan friends say "did you read about such and such on the FSM/Filmtracks/Other board?" I'll invariably say "what now?" Just for shits and giggles I had a look through the FSM message boards. Wow, I didn't realise that Varese's uber boxed set of Spartacus got shat on from such a great height. It never occurred to me that it was overtly pricey; it is, after all, an extremely well produced set. I bought it without hesitation. Maybe I'm just lucky in that I can afford such spontaneous luxuries. That would certainly explain the 3,924 hand made, fine china plates with paintings of kittens and puppies that I have surrounding me at Chez Tom.*

To my shame I've only actually listened to the stereo presentation of Spartacus. Being a child of the late 20th century, mono is hard work and takes me out of the experience of the music itself. I'll get round to it one day, I promise. However, I can only see myself listening to the 61,257 versions of the love theme once (I can't even remember how it goes - that is rubbish of me - maybe after that disc I will), same goes for the bonus tracks. Indeed, same goes for most bonus tracks, although at least most such albums get the bonus tracks at the end of the disc.

Since reading the various threads regarding this amusing fracas, I have started looking through the FSM board more regularly, although it can be annoying trying to find the intelligent comments in amongst the brief "yeah, I agree" type responses and the occasional nutter writing all manner of impressively ill informed reckoning. Quite how it gets to this type of conversation on a film music form, but the FSM board has "reliably" informed me that global warming is a myth and physical media will be around forever.

Anyone who thinks CDs and DVDs will be around forever is living on another planet. Or at least ought to be. I always imagined in the future it'd be like Star Trek where the crew of the Enterprise/Voyager/DS9 can access any recording from the ship's computer. Of course, in reality, it'll be more like a better version of Spotify where you access whatever you like via the interweb. Sure, there are quality issues at the moment, but streaming lossless encoded music is doable right now. Indeed, streaming lossless 5.1, 6.1, 7.1 surround sound with a recording of a dying giraffe on top is possible now, but sadly the download stores do still insist on lossy formats. Morons.

I think I'll continue to read the message boards, although working out the interesting/intelligent posters is the first route to message board happiness. Even on topics on which you have no interest, the informed forum poster can proffer something new, but some dickhead ranting about why every Hans Zimmer score should be released with every note of music he (and his minions) wrote on a 32 disc boxed set made of pure antimatter won't enlighten you, even if you are Hans' Number One Fan. On the note, I'm going to start threads listing every single bit of Prokofiev in James Horner's oeuvre and 435 reasons why Tyler Bates is the new John Williams.**

*Possible lie

**I'm not really, I don't have the time. Does anyone?

The King's Speech - Alexandre Desplat

Every year has its Oscar bait picture (or three) but 2010's was most definitely The King's Speech. Indeed, it is an especially fine film, with superb acting from both Firth and Rush, although the former is getting most of the acclaim for his performance as stammering King George VI. Alexandre Desplat has become the go to composer for this kind of film and he never disappoints, even if there is the risk of him getting into a bit of a rut.

The King's Speech is one of those lovely, but not quite outstanding scores. It has a theme that is exactly what you imagine it should be; a pleasing piano melody, most notably in the titular second track. Orchestrations are generally string based  with a little woodwind here and there and with a distinct melancholy at times, atlhough Desplat rarely lets a score drown in its own self importance and his touch remains light.

The finale speech itself is underscored with the slow movement from Beethoven's 7th Symphony. Fans have expressed annoyance that Desplat wasn't "allowed" to score it, but the composer has explained that it was a joint artistic decision with the director. One can't fault the choice, the grave ebb and flow of the Beethoven is perfect on screen and makes a nice coda to the album. Not a Desplat score that shines out amongst his best, but classy and perfectly poised.


Acquire from Amazon.com.

The Tempest - Elliot Goldenthal

As one of film music's more "serious" composers, Elliot Goldenthal hasn't released anything for the silver screen of late, instead concentrating on concert works, notably his opera, Grendel. However when the wife (OK, partner) comes calling for her latest film then you have to call. Mind you, at the moment she's busy firefighting on the stupendously expensive Spider-Man musical that's limping to opening night on Broadway. However, she's found time to do another Shakespeare adaptation for cinema, The Tempest.

Their last Shakespeare, Titus, ran the gamut from thumping great choral and orchestral passages to wild rock. The Tempest is a bit more coherent, but at the rock/indie end of the spectrum. Some of the wild, Goldenthal riffing is evident and the album includes a couple of Goldenthal co-composed songs, but the overall impression is that it's all a bit incidental. Goldenthal has never been a tunesmith in the traditional sense but his scores usually have some hooks to latch onto, but aside from the rockier sensibility it all just kinda passes by. Maybe it's an album best appreciated after the film.

Please release me (let me go) - Part 4

This is fun! New things keep coming out of the woodwork, although it'd be nice to get some suggestions from one of my 9 loyal readers (assuming it's that many), so do e-mail them in to the usual address (whatever that is):


The Hunt for Red October - Basil Poledouris

Another Poledouris score that surely deserves more than the paltry 30 minutes afforded on the original album. Indeed, generally considered one of the composer's classic scores it seems oddly neglected. In fairness, it might help improve my view of the score as I never liked it as much as anyone else, but I wonder if the somewhat tinny sound on the original album doesn't help. With Robocop having had a couple of re-releases (seemingly adding one or two tracks at a time) and Conan being re-recorded, this and Starship Troopers definitely deserve the luxury, expanded treatment.

Killing Me Softly - Patrick Doyle

Despite sounding like a shoddy soft porn flick, Kiling Me Softly stars Joseph Fiennes and Heather Graham. It's not one of Patrick Doyle's best known entries, but it's a genuinely good score. The wise guys at FSM noted it for having some of the best sex music outside of Basic Instinct; indeed I've never quite got the hoopla over Basic Instinct (it is a great score, just not sure it's that great, sorry) and Killing Me Softly certainly has the same icy, erotic charge to it. On the flip side, it has an understatedly romantic main theme, which balances with the thriller elements. Doyle has a pretty good hit rate when it comes to getting his stuff on CD, but Killing Me Softly is definitely a gem that slipped through.

Spider-Man 3 - Christopher Young (with a little help from Danny Elfman)

For some reason, the producers of Spider-Man 2 decided to cause a shit storm when making the follow up to Sam Raimi's excellent first movie version (still surprising it took Spider-Man so long to get to the cinema) and pissed Danny Elfman off enough for him to walk, something he'd never done before and hasn't since. The replacement music by John Debney isn't bad, but it's obviously not Elfman. Mind you, John Debney's music often isn't obviously John Debney; there's two composers whose originality is separated by a vast gulf. As a result of this debacle, it was unlikely Elfman would return for part 3 so Christopher Young took over. Even if Young is a fine composer in his own right, it's surprisingly grating when his own material suddenly stumbles into the opening titles of Spider-Man 3 like a mad, old, drunk aunt at a wedding, before stumbling out again to leave Elfman's material finish the credits. The rest of Young's material is more expertly handled and his score is surprisingly entertaining, even if it's still not as iconic as Elfman's. Chances of a release are slim to zero given the contentious nature of the music to the series. Same goes for expanded versions of Elfman's first two efforts, but it would be rather jolly. With great music comes great responsibility. I'm pretty sure that's true.


Stuart Littles 1 and 2 - Alan Silvestri

Alan Silvestri is perhaps the greatest scorer of films starring mice alive today. OK, flippancy aside, he has done three mouse films; this, Stuart Little 2 and Mouse Hunt, all of which are delightful. Mouse Hunt could, perhaps, benefit from a little more than the 30 minute release it already has, but Stuart Little could do with a proper release. The original album has only a couple of cuts from Silvestri's score, a 30 minute promo has done the rounds and contains a perfectly proportioned sample from the score. Admittedly, the official album does contain the best cue, the Boat Race, a terrific piece of light hearted action/adventure scoring. Part 2 is more of the same, of course, but no less enjoyable, so even a single disc release of the best of both wouldn't go down badly. I mean, who doesn't love tuneful scores for a lovable mouse who has been adopted by Dr House? Who? I ask you.

Batman (Complete) - Danny Elfman

Batman by Danny Elfman is one of his finest scores, one of the most well regarded superhero scores and the breakthrough effort that put him well and truly on the map. Therefore, if you don't own it already, shame on you. Still, you can atone for your oversight by acquiring La-La Land's lovely expanded version containing both the original album, the music as heard in the film and a few additional bits and bobs. In fairness, Batman shows just what a really good editor can do for a soundtrack album since most of the excised music is actually short phrases here and there which reduce repetition within a track or cut a short noodle before the real meat of the cue starts. By that token, it is mildly disconcerting to hear the album track you know and love to appear from some previously unfamiliar few bars or for it to go off on a brief tangent for 20 seconds.

Sure, there are a few completely new tracks, notably the additional action passages towards the end, although again, they don't really add much to the material previously released. Perhaps a little disingenuously, the track listing marks every cue from the film version as being previously unreleased. I don't deny the listing being factually accurate, but it's more that they are different takes and/or mixes than being entirely different. For example, the Main Title, Descent into Mystery, Finale and End Credits are basically the same music, just different mixes; the choir in Descent into Mystery is mixed further back in the film version, but is otherwise the same. Still, the liner notes do helpfully explain the differences, while relating the music to the film itself. I'm being fussy, of course, but don't expect it to be startlingly different.

The music itself remains memorable and exciting; while I'm very enthusiastic about Elfman's Spider-Man scores, Batman is certainly a lot more upfront in its aspirations and melody. There's less of the arrangement clutter that makes the Spider-Man main titles (for example) seem rather busy, even though in many ways, it's really just a good deal more sophisticated than Batman. The remixing of the original album does give it a little more punch, which is saying something as the original album sounded pretty marvellous, highlighting the expert performance of the Sinfonia of London. I guess if you're equipped with the original album and aren't a die hard Elfman fan, it's not an essential expansion given the rather limited amount of truly unreleased material, but for everyone else, yeah, go buy it. Great stuff.

Please Release Me (let me go) - Part 3

So, yes, why aren't these on CD, hmmm? Well?! A bit of a Goldsmith fest with a few of his finest and most enjoyable efforts that could do with releasing or expanding:

Star Trek: The Motion Picture - Jerry Goldsmith

The existing expanded edition is a very fine album, gratefully received after years of the original album only being available as an expensive and incomplete, import. However, it's a seminal Goldsmith score and one that is not only brilliant music, but kept the film it was written for afloat (in space?). Like its distant relatives by John Williams for George Lucas' space opera, the music tells the story on its own. You can sit and listen, imaging Kirk, Spock, McCoy et al staring at amazing, but slow moving visual effects for minutes on end. There are also some alternate takes on certain cues to be heard, most notably The Enterprise, which was written before the now famous main theme was written and originally sounded quite different (if equally grand and impressive) as the cue that now goes down as one of Goldsmith's finest ever. Some expansion of his more recent Trek scores would be nice, but The Motion Picture is where it's at, an epic that needs an epic treatment.

Gremlins - Jerry Goldsmith

Director Joe Dante and Jerry Goldsmith had a terrific working relationship and Gremlins still remains their most memorable collaboration. Gremlins 2 got a fine 40 minutes on disc, but to date the original has received short shrift in a handful of cues on the original album (and currently going for an eye watering $75 second hand on Amazon, perhaps there are people mistakenly thinking it's the full score). The fine 7 minute suite from one of the composer's early self conducted compilations features some of the best music, notably the eerie prologue, the witty Late for Work music and, of course, the Gremlin rag. However, there's plenty missing, notably the creepy interpolation of Jingle Bells as one of the lead characters describes how her father got trapped in the chimney dressing up as Santa. For a comedy score, it's surprisingly touching in places but one of his most memorable and off the wall efforts.


Small Soldiers - Jerry Goldsmith
Joe Dante never quite recaptured the success of Gremlins with his later films, despite their evident quality, but he still got the chance to make plenty of entertaining suburban, subversive fantasies. Small Soldiers didn't quite perform fully to expectations but was a great antidote to Toy Story as a tale of real toys coming to life through technology and going all Cylon by attacking their creators. Released during the dark days of the 30 minute soundtrack album, there's plenty of great material left off the official album which gives the whole thing a broader scope. Goldsmith's action always seems more enjoyable when there's some kind of hook, in this case, that it's a kids' movie. Plus he always went that extra mile for his friend Dante and it's no exception here.

Mulan - Jerry Goldsmith
I remember being quite disappointed when Mulan was released. I even remember the day I got it, I was moving out of my second year accommodation at university. Bloody hell I feel old. After all the hype of it being Goldsmith's first score for a big Disney animation, the album was quietly underwhelming. Then again, for the paltry five cues (the sixth is a suite largely made up of the song melodies, albeit arranged by Goldsmith) it's perhaps not that surprising that it wasn't a score to remember. However, for anyone who's been crafty enough to track down the Academy promo (nominated, but yet again, he didn't win - alas, alas) will know that is truly is an alternately gorgeous and barnstorming score. Goldsmith scores it as though it were a serious, epic drama and it's all the better for all that. All it needs now is an epic release, but again, it's Disney, so what are the chances? Bugger all probably. Alas, alas.

Star Trek V: The Final Frontier (Complete) - Jerry Goldsmith

All I ask for is a tall ship and a star to sail her by, although what I actually want is a starship to travel to the centre of the galaxy to find god. The sad thing is, the concept of The Final Frontier is pretty sound, very much in keeping with Star Trek lore and aspects of it are very well rendered. However, the kind of concepts it dealt with are perhaps better within the confines of TV; one can imagine Sybok having taken control of the Enterprise and set course for Sha Ka Ree as an end of season cliffhanger. It would be every bit as exciting as Picard turning up as Locutus. Also, the rather talky resolution would be far more acceptable to a TV audience than those expecting an exciting battle on the big screen. Alas, it was not to be. The film has plenty of other problems, but I still have a bit of a soft spot, although maybe Goldsmith's music just made it seem better than it was. Entirely possible.

One comment I made in my review of the Star Trek: Nemesis (the last and most disappointing Next Generation movie) score was that Star Trek no longer had spectacle. I don't mean amazing space ship battles, more an attempt at awe and wonder. V'Ger in The Motion Picture might have been on screen for way too long, but it oozed atmosphere. Same goes for the Enterprise. She seems like a real, huge star faring ship, not just an impressive effect. So it is with Goldsmith's Nemesis score, it's a perfectly robust action/adventure score, but little else. The Final Frontier may not have been the best movie, but it had bold ideas and ideals, plus at least some attempt at spectacle. God was never going to look amazing on an effects budget of £9.23, but Goldsmith writes as though we're witnessing something as eye popping as Avatar or Lord of the Rings, even when it's clearly a patch of dirt, some plastic rocks and god (i.e. some alien) looking like a PowerPoint presentation.

Goldsmith doesn't just reserve his awe and wonder for god, but also for the natural splendour of Yosemite where Kirk is (somewhat unrealistically) mountain climbing. The opening is rightly held as another of Goldsmith's finest moments, a gorgeous trumpet melody that could so easily have been fairly non-specific and throwaway. You just don't get that kind of compositional thought very often. Naturally, the action scoring is excellent, some of his finest. The raid on Nimbus III deftly weaves the various themes into some prototypical 5/4 action measures. This expanded release expands some of this, notably Without Help which has a few more dramatic pauses than the original album.

One nice thing about expanded discs such as this is you get those short cues that often never make it to a 40 minute album, the short passages for the Enterprise's departure at the start have some lovely versions of the main theme woven in. Again, awe and wonder, giving the Enterprise a mystical quality rather than just being a hunk of metal and implying a grandeur which (if we're honest) isn't really there in the effects. Star Trek V has long been one of my most desired expanded releases and La-La Land have la-la lavished  (there's a gag I can only use once) their usual level of expert production. Comprehensive liner notes, great sound (not that the original had any issues), the complete score as in the film (more or less), the original album presentation, plus some additional tracks to fill out a nice package. As it were. Goldsmith does old school Trek movie. You really ought to have it, so what are you waiting for? A tall ship? Pfft!


Purchase it from La-La Land or Screen Archives.

How to Train Your Dragon - John Powell

How to Train Your Dragon (not to be confused with the entirely fictitious remake of the Clint Eastwood musical How to Paint Your Wagon) is one of Dreamworks' most entertaining films and gets an equally entertaining score. Imagine manic ceilidh (pronounced cay-lee for those not of a north of the border persuasion) music performed by a 693 piece (more or less) orchestra and you have a fair idea of what much of How to Train Your Dragon. It's especially suitable for action music as its inherent energy ensures the music gallops along. The quiet moments are not to be forgotten, they are sweet without being cloying, but it's definitely the high voltage material that sticks in the mind the longest, albeit more as an overall impression than individual melodic ideas.

Having seen Powell conduct a suite from the score at the Royal Albert Hall, the orchestra did look like they could do with a long lie down in a darkened room afterward. It was a stonking performance though and the orchestra did a fantastic job. Naturally the studio recording has a bit more polish, but I can't help wonder if some of the brass players had a minor cardiac arrest when they first saw the music, realising they were going to be playing what is essentially fiddle music on a trumpet with virtually zero practise. Yeah, those studio musicians are startlingly good. Still, it sounds stupendous and gets an impressively lucid recording for something that could sound hopelessly muddled. A Sigur Ros on prozac song by lead singer Jonsi (don't skip it, it's good) rounds out another winning entry from Powell.


Acquire it from Amazon.com.