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Topic: John Barry (composer)

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	John Barry (composer) - Wikipedia, the free encyclopedia
		John Barry, OBE (born John Barry Prendergast on November 3, 1933 in York, England) is considered one of the "Big Four" of modern film composers (the others being John Williams, Jerry Goldsmith, and Henry Mancini).
		Barry and the JB7 were hired and the result would arguably be the most famous signature tune in film history, the 'James Bond Theme'.
		Barry told the court he had been given a music manuscript of a work by Norman (intended to become the theme) and that Barry was to make a musical arrangement.
	en.wikipedia.org /wiki/John_Barry_(composer) (861 words)

	BBC - h2g2 - John Barry - Film Composer - A598908
		John Barry Prendergast was born on 3 November, 1933, to a cinema-owning father and a classically-trained pianist mother in York, England.
		John Barry was responsible for the scores of all of the films up to The Living Daylights and wrote the majority of the title songs for these, in collaboration with lyricists such as Leslie Briscusse and Don Black.
		As is often the case with Barry, it is the intrusion of the brass section (he was a trumpeter himself) which signals the change in mood.
	www.bbc.co.uk /dna/h2g2/alabaster/A598908 (2245 words)

	SoundtrackCollector: Composer Details: John Barry
		Critics have marvelled for decades at the Barry touch - a remarkable ability to capture the mood and flavour of every kind of movie, from the fanciful adventure of a James Bond thriller to the epic romantic visions of today's leading filmmakers, while retaining a style that is uniquely his own.
		Barry's experiments with string arrangements (notably on his original album Stringbeat), his arranger producer credits for EMI artists, and his long held desire to compose using a broader musical canvas, soon led to a series of assignments for low budget films.
		In June 1999, John Barry was named an Officer of the British Empire by Queen Elizabeth II for his outstanding achievements in music.
	www.soundtrackcollector.com /catalog/composerdetail.php?composerid=80 (1274 words)

	John Barry - Wikipedia, the free encyclopedia
		John Barry (1745-1803), officer in the Continental Navy, Father of the American Navy
		John Barry (VC) (1873–1901), recipient of the Victoria Cross
		John Barry (composer) (born 1933), composer of film scores
	en.wikipedia.org /wiki/John_Barry (128 words)

	The John Barry Resource: Monty Norman's "James Bond Theme" Lawsuit (Site not responding. Last check: 2007-11-07)
		John Barry, who was a pop star in the UK with his instrumental rock-and-roll band, was brought into the project to help with the new theme.
		Barry was surprised that Norman had been chosen to score the film as he was basically a song writer rather than a composer of film scores.
		Barry said that the vamp used in the "James Bond Theme" had been used many times and originated from Artie Shaw's "Nightmare." There was a vamp on the manuscript Norman had given him but the style of it on the recording was due to Barry.
	www.geocities.com /jaoll/barry/lawsuit.htm (7574 words)

	Scamp Passport - John Barry
		Scamp presents a three volume collection spanning Barry's career from the early rock-a-billy styled Volume One to the stringbeat hipness of Volume Two and finishing with the ultra suave soundtrack era of Volume Three.
		Barry's music has touched the lives of so many, and now you can bare witness to Barry's rockin' roots on Scamp's first collected volume.
		It begins at a time when his group, the John Barry Seven, were considered one of the top instrumental acts of Britain's early rock'n'roll era - "the beatiest group in the country" as they were described.
	www.chaoskitty.com /t_chaos/scamp/scjbarry.html (541 words)

	John Barry - film composer
		John Barry (born in York in 1933 as John Barry Prendergast) will forever be associated with those magnificent and exciting Bond scores, but has an enormous reputation for delivering the musical goods in any number of film genres.
		Harmonically, Barry's music is primarily straightforward major and minor, with occasional use of chromaticism and unusual scales for effect and colour.
		And needless to say, John Barry's position as the sound of James Bond is still recognisable despite its modernisation under the helm of the current Bond tunesmith David Arnold.
	www.mfiles.co.uk /composers/John-Barry.htm (1128 words)

	Enigma - John Barry (Site not responding. Last check: 2007-11-07)
		The composer obviously feels the need to be greatly inspired before signing to a film these days and I imagine that the pitch of Enigma sounded just about right.
		The two main themes are typically lyrical Barry, the love theme being a plaintive and fairly restrained piano and strings melody.
		Barry's contributions are rounded out with the wonderful End Credits suite which will hopefully become a Barry concert staple.
	www.soundtrack-express.com /osts/enigma.htm (346 words)

	Composer Soundtracks ... John Barry ... Vienna Online Ezine
		John Barry is undoubtedly one of the most well known movie soundtrack composers of the twentieth century.
		Jonathan Barry Prendergast was born on Nov 3 1933, in York, England.
		In June 1999, John Barry was made an Officer of the British Empire by Queen Elizabeth II for his outstanding achievements in music.
	www.viennaonline-ezine.com /soundtracks/st0402.html (635 words)

	Transcript: John Barry 03/04/99
		The track's not very profound, but the John F. Kennedy one is. The CD ends with "Dance with Reality" because at the end of the day you have to end with reality, I wanted to have a happy, joyous dance with reality.
		All the Broadway composers to the Gershwins, Berlin, Richard Rodgers, Jerome Kern.
		John is an extraordinary composer, the most charming man you ever met in your life, but subtle and talented as hell.
	www.time.com /time/community/transcripts/1999/030499barry.html (3140 words)

	Filmtracks: Cry, The Beloved Country (John Barry)
		Cry, The Beloved Country: (John Barry) The Alan Paton novel about the relationship between culturally different fathers in South Africa who bond after their sons are both killed in the apartheid struggle has been adapted onto the stage and screen several times.
		Composer John Barry was no stranger to composing for the cultural ills of the world, and especially for Africa.
		At the height of the composer's activities, in the 1960's, speckled throughout his James Bond scores were a handful of pieces that Barry had written specifically for African subject matter, a few of which recognized for awards.
	www.filmtracks.com /titles/cry_beloved.html (855 words)

	Midnight Cowboy - John Barry
		Throughout the movie is a certain ambience which is difficult to describe, coming in part from the geographical and historical setting (firmly rooted in the late 60s yet strangely timeless) but also due in no small part to the music which seems to permeate its soul.
		The driving force being this music is none other than John Barry the British composer most famous at that time for his work on the Bond films.
		Barry had two roles to fulfil in the creation of this soundtrack.
	www.mfiles.co.uk /reviews/john-barry-midnight-cowboy.htm (907 words)

	James Bond Film Soundtracks
		John Barry is currently ranked as one of the most talented and sought-after (and thus expensive) film composers in the world.
		John Barry learns to fully incorporate the "James Bond Theme" in his orchestral arrangements, a strategy he will use in all of his scores.
		Barry's love theme variation of Armstrong's song, however, is easily the best romantic theme of the series, featuring beautiful strings and Barry's first consistent use of the flute.
	www.klast.net /bond/soundtr.html (3939 words)

	John Barry
		Jonathan Barry Prendergast was born on a Friday, November 3 1933.
		At this time, he was already composing to the movies he showed.
		Barry was asked to arrange the title-tune for the very first James Bond-movie: Dr.
	www.filmmusic.dk /barry2.html (782 words)

	Filmtracks John Barry Tribute
		Barry and Monty Norman went to court at the end of the century over the ownership of the James Bond theme, and Norman won the right to receive royalties for that theme in a nasty, mud-slinging legal battle.
		Nevertheless, Barry wrote many of the popular title songs that followed, and his themes for these films can be heard on hundreds of compilations, as well as corporate videos and supermarket jingles.
		Of his own scores, Barry's favorites are The Lion in the Winter, the massive, 1968 Academy Award winning score, Zulu, with a theme that was re-used in 1995's Cry, The Beloved Country, and his Academy Award winning efforts for Out of Africa and Dances with Wolves.
	www.filmtracks.com /composers/barry.shtml (2320 words)

	Amazon.co.uk: Enigma (John Barry) [Soundtrack]: Music (Site not responding. Last check: 2007-11-07)
		Barry makes full use of his techniques for generating mystery and suspense, shifting effortlessly from a warm romantic piano theme to the literal enigma underlying the story represented by changes of key and an insistent xylophone motif.
		John Barry's last new release was the wonderful jazz score, 'Playing by Heart' in April 1999.
		There are those who complain that recent Barry scores are just retreading old ground but this music suits the film perfectly and is beautifully crafted by one of the true greats of late 20th/early 21st century music.
	www.amazon.co.uk /exec/obidos/ASIN/B00005OC0B (745 words)

	John Barry
		Born on November 3, 1933 in York, England, John Barry studied piano and composition with the music master of York Minster (cathedral) and Bill Russo, one of Stan Kenton's arrangers.
		After his discharge, Barry and several of his fellow military band mates formed the John Barry Seven, an instrumental group that created an odd hybrid of Dixieland, mood music, and early experimentations in electronics.
		After writing soundtracks and incidental music for a number of now-forgotten films, Barry got his big break when he was hired to write the score for the first James Bond movie, "Dr. No." Barry introduced elements of rock into his music, most memorably in the guitar line (played by Vic Flick) for the opening sequence.
	www.spaceagepop.com /barry.htm (564 words)

	John Barry - Moviola Soundtrack Reviews @ Movie Music . com (Site not responding. Last check: 2007-11-07)
		The trouble with compilation albums is that by their very nature they tend to feature the best of a composer's work (fair enough) and this means the regular collector will probably have most of the collected tracks and may not be so keen to pay for a disc of what's familiar.
		So this is a recording that I'd recommend to relative newcomers to John Barry's music rather than the regular Barry listener, because with the exception of the track "Moviola" there isn't anything here that the regular Barry listener won't have already heard or have on other discs and some of it many times.
		Barry was quoted as saying that he was going to include a suite from Raise the Titanic but found he just couldn't get into it.
	www.moviemusic.com /comments.asp?id=johnbarrymoviola&author=0&rn=1 (488 words)

	Barry: The Ipcress File
		John Barry's numerous achievements and Oscars will never disguise the fact that to many, he is the sound of James Bond and little else.
		Through the 1960s, Barry was absolutely at the peak of his game, imbuing each film on which he worked with a unique and indelible score.
		The point of this rather lengthy rambling is that while this music may be monothematic (and the eleven tracks on this album are all variations on the main theme), it is so dramatically astute as to astound.
	www.moviewave.net /titles/ipcress_file.html (365 words)

	Robert Farnon Society
		He emerged at a time when the score of a movie was seldom recorded for the album market, and when the musical arranger, for all his importance to the end product, was a comparatively anonymous part of the film-making process.
		Barry's career has spanned the years in which there has been this increasing awareness of the importance of this role.
		Rock 'n' rollers are likely to consider the John Barry Seven as one of the most innovative pioneers of the pre--Beatles British music scene, while pop historians would probably highlight his distinctive pizzicato string arrangements for Adam Faith's phenomenally successful records as the definitive John Barry sound.
	www.rfsoc.org.uk /jbarry.shtml (311 words)

	Amazon.com: Dances With Wolves: Original Motion Picture Soundtrack: Music: John Barry (Site not responding. Last check: 2007-11-07)
		John Barry's Academy Award-winning score for actor/director Kevin Costner's nouveau western, Dances with Wolves, is nothing short of a modern classic by a film scoring master.
		Barry's rich music is living proof that the art of orchestral film scoring is still alive and surprisingly vital in the '90s.
		John Barry's haunting "John Dunbar's Theme" and majestic "Buffalo Hunt" are the main reasons for purchasing this soundtrack alone.
	www.amazon.com /exec/obidos/tg/detail/-/B000002AXM?v=glance (1162 words)

	Film composer John Barry (Site not responding. Last check: 2007-11-07)
		Barry scored them all with form, energy and craft but though he seemed inspired on some works he seemed merely industrious on anothers.
		Barry re-invented himself with Somewhere In Time in 1980 and went on to write a string of superior scores that tumulted with the Oscar winning Out of Africa, one of his most romantic, expressive and listenable film scores.
		Barry renewed two strengths and found another in the 80s and has worked almost exclusively with them since — personal, emotional music; period; and jazz.
	www.steve-w.me.uk /barry.html (1116 words)

	007 Soundtrackpages - Artists: John Barry
		It is said Barry already was involved in the first 007 soundtrack "Dr. No" although Monti Norman was the official composer and is also credited on the cover of the "Dr. No" releases.
		According to some press articles John Barry even claims to have done the main work on the famous James Bond Theme (always credited as Monty Norman's James Bond Theme).
		In 1987 John Barry had a small role in the "The Living Daylights" playing a conductor.
	www.bondmusic.de /english/artists/art_barry.html (152 words)

	Eternal Echoes by John Barry @ Cinemusic Online (Site not responding. Last check: 2007-11-07)
		Barry has has his share of personal ups and downs, including a near-fatal illness in the late '80s, and he seems to have taken all of that to the table with Eternal Echoes.
		While a note or two from John Barry isn't necessary (and their absence doesn't hurt the quality of the music) the idea behind each piece would have taken out some of the lingering mystery.
		Nothing here is incredibly unique from what John Barry has written before -- but this album really is for his fans, and while the average age of the Barry-phile continues to increase, I'm wondering how this music will appeal to younger collectors.
	www.cinemusic.net /reviews/2001/eternal_echoes.html (837 words)

	Enigma by John Barry
		John Barry has provided a suitable-yet-unremarkable score for Michael Apted’s World War 2 suspense-drama.
		Barry has not provided any music that is particularly evocative of the time period—and there is, perhaps, something positive to be said of that, Barry’s music on the whole, does have a sense of timelessness about it.
		Barry’s gentlest moments in the Main Title (track 1) are revisited too often (tracks 6 and 10, for example) in similar manners to be particularly effective.
	www.tracksounds.com /reviews/enigma.htm (567 words)

	High Road to China by John Barry
		Granted it preceded many of Barry’s better known scores, yet as film music fan’s we are subject to the order of release as we form our impressions and opinions of a score.
		For John Barry collectors, this release is a must.
		At the same time, for those who have a substantial Barry collection and might be waiting for something a little more a-typical from the composer, High Road to China probably won't be the fit they are searching for.
	www.tracksounds.com /reviews/highroad.htm (633 words)

	About John Barry
		Barry has won five academy awards and numerous other prizes during his forty years as a mainstay of the film music industry.
		Barry completely re-invented himself with Somewhere In Time in 1980 and went on to write a string of superior scores that tumulted with the academy award winning Out of Africa.
		The remarkable thing about John Barry is that could pretty much select any one of his many soundtracks and be assured of a good listen.
	www.sw.supanet.com /barry.html (880 words)

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