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Elfman/Burton box is now sold out... and delayed until FEBRUARY! .... However, those of us insane enough to have ordered one of the first 1000 copies are to receive a bonus 17th disc. This will only be shipped to those who ordered via Warner, and not Amazon, Best Buy...etc...





Created EXCLUSIVELY for the now sold-out Numbered, Limited Collector's Edition of 1000, this BONUS DISC will feature special musical content. Only those who already purchased the COLLECTOR'S EDITION will receive this rare 17th Disc as an addition to the set's 16 CD collection.


To make your holidays even brighter, this bonus gift disc will be AUTOGRAPHED BY DANNY ELFMAN!


Thank you again for your support and patience.



No word on the contents of the bonus disc.



Those who still want the set can order a second pressing. Same contents, and yes - same $499 price - but lacking the certificate and, obviously, this new 17th CD of music.

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Nobody said I'D get his squiggle either. It's a nice surprise as many felt, given the price, it should have included something signed in the first place. To have a 17th disc of even more content is especially exciting. The artwork for each disc sleeve is for the score it represents, and the disc 17 image is a Nightmare Before Christmas sketch, so it may well be even MORE Nightmare material, or it was just chosen because the bonus cd is being sent out as a Christmas gift to fans who ordered.


I'd be surprised if it is more Nightmare material to be honest. Disc 5 is dedicated to that score, and discs 15 and 16 feature even more.


on disc 5 (expanded soundtrack/score):



1. Overture

2. Opening — Narration by Patrick Stewart

3. This Is Halloween — Performed by the Citizens of Halloween

4. Post Party*

5. Jack’s Lament — Performed by Danny Elfman

6. Doctor Finklestein/In The Forest

7. What’s This? (Singing Elf mix)* — Performed by Danny Elfman

8. Sally’s Lament/Wandering Jack*

9. Jack Returns*

10. Town Meeting Song Intro*

11. Town Meeting Song — Performed by Danny Elfman and Cast

12. Jack And Sally Montage

13. Jack’s Obsession — Performed by Danny Elfman and Cast

14. Work In Progress*

15. Kidnap The Sandy Claws — Performed by Paul Reubens, Catherine O’Hara and Danny Elfman

16. Bunny*

17. Making Christmas Intro*

18. Making Christmas — Performed by Danny Elfman and the Citizens of Halloween

19. Nabbed

20. Oogie Boogie’s Song — Performed by Ken Page with Ed Ivory

21. Big Send-Off*

22. Sally’s Song — Performed by Catherine O’Hara

23. Christmas Eve Montage (extended film version)*

24. Poor Jack — Performed by Danny Elfman

25. To The Rescue

26. Back To Business*

27. Finale/Reprise - Performed by Danny Elfman, Catherine O’Hara and the Citizens of Halloween

28. Closing — Narration by Patrick Stewart

29. End Title



Tracks 4, 7, 8, 9, 10, 14, 16, 17, 21, 23, 26


*Previously unreleased


on disc 15 (joining more material from Corpse Bride & Charlie):



1. Opening (Danny Elfman vocal version)

2. This Is Halloween (demo)

3. Jack’s Lament (demo)*

4. What’s This?

5. Town Meeting Song

6. Jack’s Obsession (demo)*

7. Kidnap The Sandy Claws (demo)

8. Making Christmas (demo)

9. Oogie Boogie’s Song (demo)

10. Sally’s Song (instrumental demo)*

11. Poor Jack (demo)*

12. Finale/Reprise (demo)*

13. This Time (unused electric song — demo)*

14. This Is Halloween (Italian version)

15. Jack’s Lament (German version)

16. Oogie Boogie’s Song (Italian version)

17. Sally’s Song (German version)

18. Poor Jack (French version)

19. Closing (Danny Elfman Vocal version)



on disc 16 (joining even more material from Corpse Bride & Charlie):



1. Opening (orchestra-only version)*

2. This Is Halloween (orchestra-only version)*

3. Jack’s Lament (orchestra-only version)*

4. What’s This? (orchestra-only version)*

5. Town Meeting Song (orchestra-only version)*

6. Jack’s Obsession (orchestra-only version)*

7. Kidnap The Sandy Claws (orchestra-only version)*

8. Making Christmas (orchestra-only version)*

9. Oogie Boogie’s Song (orchestra-only version)*

10. Sally’s Song (orchestra-only version)*

11. Finale/Reprise (orchestra-only version)*

12. Closing (orchestra–only version)*



There can't be any more Nightmare stuff left, surely? Gutted I won't have all of the above to listen to this Christmas I must admit.

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Superb final batch of 2010 releases from LaLaLand Records begin shipping next week:






Music by James Horner

Limited Edition of 3000 Units

SPECIAL LaLaLandRecords.com SALE PRICE: $14.98


Presenting the world premiere release of acclaimed composer James Horner’s (ALIENS, GLORY, TITANIC, AVATAR) score to the 1995 Paramount Pictures feature film JADE, starring David Caruso, Linda Fiorentino and Chazz Palminteri, directed by William Friedkin. Previously unavailable in any format, this release of Horner’s erotically charged, Asian-tinged score finally takes its place in his soundtrack canon of notable 1990’s works. 1995 proved to be an especially successful year for Mr. Horner, having released scores to such films as CASPER, BRAVEHEART, APOLLO 13, JUMANJI and BALTO. This release of JADE now fills the hole in one of his most important years as a composer!


Produced for La-La Land Records by Dan Goldwasser and mastered by Mike Matessino from ½ inch Paramount vault materials, this release contains bonus tracks that include Loreena McKennitt’s “The Mystic’s Dream” and the classical piece “Le Sacre du Printemps,” both of which are featured in the film’s score. Exclusive, in-depth liner notes by Daniel Schweiger feature comments from the film’s director, William Friedkin. Art direction is by Mark Banning.




1. Main Title / The Murder Scene / Drive to the Airport (3:59)

2. Walk To The Governor's Office /

Katrina Gets Matt's Flowers* (2:07)

3. Flight to Pacifica / Walk Into Chinatown / Chinese Opera Chase (2:38)

4. Car Flip / Second Trip To Pacifica (2:50)

5. Matt Gets Turned On* (4:45)

6. Stalking Patrice* (3:59)

7. Pier Pressure / Governor's Boy Visits (1:40)

8. Home Video #2 (2:57)

9. Piece Of The Puzzle / Katrina In Park House* (1:58)

10. Hargrove Dies / Final Surveillance** (2:10)




11. Chinese Parade Sequence (Traditional) (4:37)

12. Purple Bamboo (Traditional) (3:36)

13. Step By Step Up (Traditional) (2:47)

14. Le Sacre du Printemps (3:35)

Excerpt from Le Sacre du Printemps, Seconde Partie: Le Sacrifice : Action Rituelle des Ancêtres

Composed by Igor Stravinsky

Performed by The London Philharmonic Orchestra/Kent Nagano

15. The Mystic's Dream (7:43)

Written and Performed by Loreena McKennitt

* - different versions contained in film

** - not contained in film


Total Score Time: 26:46

Total Disc Time: 51:19




Music by Danny Elfman

Limited Edition of 3500 Units



La-La Land’s Expanded Archival Collection returns to Gotham for this 2CD remastered and expanded presentation of Danny Elfman’s magnificent score to the 1992 Warner Bros. motion picture blockbuster BATMAN RETURNS, starring Michael Keaton, Michelle Pfeiffer and Danny DeVito, directed by Tim Burton. Composer Elfman (BATMAN, MARS ATTACKS, WANTED, ALICE IN WONDERLAND) revisits his iconic theme and expertly weaves it into a sumptuous musical experience, bringing to life the film’s breathtaking action and rich emotional and psychological underpinnings. Produced by Neil S. Bulk, Dan Goldwasser and MV Gerhard and mastered by James Nelson from Shawn Murphy’s first generation three-track digital mixes, this limited edition release features more than 30 minutes of previously unreleased music, including alternate cues. The in-depth, exclusive liner notes are by John Takis and the art direction is by David C. Fein. This release is limited to 3500 Units.





Disc One: Total Time: 68:08


1. Birth of a Penguin/Main Title (5:38)

2. Penguin Spies* (1:09)

3. Shadow of Doom*/Clown Attack*/Introducing the Bat** (5:01)

4. Intro*/The Zoo**/The Lair (6:00)

5. Caught in the Act*/Uh-Oh Max* (1:58)

6. Kitty Party*/Selina Transforms** (5:30)

7. Penguin’s Grand Deed* (1:50)

8. The List Begins* (:45)

9. The Cemetery (2:56)

10. Catwoman Saves Joan*/The New Woman* (2:03)

11. Penguin’s Surprise (1:43)

12. Bad, Bad Dog**/Batman vs. Circus/Selina’s Shopping Spree** (5:42)

13. Cat Chase** (2:12)

14. Candidate Cobblepot* (:58)

15. The Plan*/Kidnapping* (2:32)

16. Sore Spots/Batman’s Closet* (3:22)

17. The Plot Unfolds* (1:15)

18. Roof Top Encounters** (4:49)

19. Batman’s Wild Ride** (4:19)

20. Fall From Grace** (4:17)

21. Revealed*/Party Crasher* (3:18)


Disc Two: Total Time: 71:27


1. Umbrella Source/The Children’s Hour/War** (7:53)

2. Final Confrontation**/Finale (9:15)

3. A Shadow of Doubt**/End Credits** (6:15)

4. Face to Face (4:18)

- performed by Siouxsie and the Banshees




5. The Zoo (alternate)** (1:00)

6. The List Begins (alternate)* (:45)

7. Cat Chase (alternate ending)** (2:13)

8. Roof Top Encounters (original)** (4:49)

9. Fall From Grace (alternate ending)** (4:17)

10. The Lair, Part I (:57)

11. The Lair, Part II (4:51)

12. Selina Transforms, Part I (1:12)

13. Selina Transforms, Part II (4:15)

14. Batman vs. The Circus (2:35)

15. Cat Suite (5:43)

16. A Shadow of Doubt (alternate)**/End Credits (alternate) (7:02)




17. Super Freak* (3:23)

- composed by Rick James and Alonzo Miller

* previously unreleased

** contains previously unreleased material


Album Total Running Time: 139:35




LLLCD 1157

Music by Jerry Goldsmith

Limited Edition of 5000 Units



La-La Land Records, in association with Sony Music and Paramount Pictures, presents the expanded 2CD-SET of Jerry Goldsmith’s (PATTON, THE OMEN, FIRST KNIGHT, THE EDGE) rousing orchestral score to the 1989 Paramount Pictures motion picture STAR TREK V: THE FINAL FRONTIER, starring William Shatner, Leonard Nimoy and DeForest Kelly, directed by William Shatner. Produced for La-La Land Records by Lukas Kendall, Mike Matessino, and Didier C. Deutsch, supervised by Bruce Botnick and Ken Hall, and mastered by Vic Anesini at Battery Studios, this comprehensive presentation of Goldsmith’s score features more than 45 minutes of previously unreleased music, including alternate cues. The original 1989 soundtrack release is also included here. In-depth, exclusive liner notes by Jeff Bond and Lukas Kendall take you behind the movie and its music. Bruce Botnick also contributes exclusive comments. Art direction is by Mark Banning. This is a limited edition of 5000 Units.




Disc ONE - The Film Score


1. Nimbus III 2:01

2. The Mind-Meld 2:43

3. The Mountain [Main Title]* 4:53

4. The Big Drop 0:26

5. Raid on Paradise 2:43

6. Not Alone 1:11

7. Target Practice 1:52

8. A Tall Ship 1:43

9. Plot Course 1:46

10. No Harm 2:13

11. Approaching Nimbus III 2:59

12. Open the Gates 3:01

13. Well Done 1:16

14. Without Help 4:55

15. Pick It Up 2:31

16. No Authority 0:30

17. It Exists 1:47

18. Free Minds 3:18

19. The Birth 3:53

20. The Barrier* 2:52

21. A Busy Man 4:41

22. An Angry God 6:57

23. Let’s Get Out of Here [part 1] 3:42

24. Let’s Get Out of Here [part 2] 3:07

25. Cosmic Thoughts 1:16

26. Life Is a Dream [End Credits]* 3:57

Total Disc Time: 73:07


Disc TWO - The 1989 Soundtrack Album


1. The Mountain* 3:50

2. The Barrier* 2:51

3. Without Help 4:18

4. A Busy Man 4:40

5. Open the Gates 3:00

6. An Angry God 6:55

7. Let’s Get Out of Here 5:13

8. Free Minds 3:17

9. Life Is a Dream* 3:57

10. The Moon’s a Window to Heaven † 4:00

Total Time: 42:22


Additional Music

11. The Mountain [Main Title] (alternate)* 4:45

12. A Busy Man (alternate) 4:42

13. Paradise Saloon (source) 2:42

14. The Moon’s a Window to Heaven

(film version) 1:10

15. Vulcan Song/

Row, Row, Row Your Boat

(Instrumental source) 1:33

16. Synclavier Effects 1:54

Total Time: 16:46


Total Disc Time: 59:28

Total Two-Disc Time: 131:51


Music Published by Sony/ATV Melody BMI

* Contains “Theme From Star?Trek (TV?Series)”

Composed by Alexander Courage

Published by Bruin Music Company BMI

† Performed and Arranged by Hiroshima

Produced by Dan Kuramoto




Music by John Williams

Limited Edition of 3500 Units



Presenting the remastered and expanded release of renowned composer John Williams’ (JAWS, STAR WARS, RAIDERS OF THE LOST ARK, 1941) orchestral score to the 1990 holiday classic 20th Century Fox feature film HOME ALONE, starring Macaulay Culkin, Joe Pesci, Daniel Stern and Catherine O’Hara, written and produced by John Hughes and directed by Chris Columbus. Produced by Nick Redman, Mike Matessino and Didier C. Deutsch, through arrangement with Sony Music and 20th Century Fox, and remastered by Mark G. Wilder and Maria Triana at Battery Studios, this expanded release arrives just in time for the film’s 20th Anniversary and features more than 20 minutes of previously unreleased music, including bonus tracks. Exclusive, in-depth liner notes by Mike Matessino take you behind-the-scenes of one of filmdom’s most indelible holiday scores. This release is limited to 3500 Units. Art direction is by Jim Titus (UNSTOPPABLE, HUMAN TARGET).


A note to completists: The recordings of "Have Yourself a Merry Little Christmas," "Please Come Home For Christmas" and "White Christmas" which are included on the 1990 soundtrack album for HOME ALONE were not licensed for this release.





1. Somewhere in My Memory † 3:24

(Lyrics: Leslie Bricusse) Chorus & Orchestra

2. Star of Bethlehem

[Orchestral Version] 2:54

3. Home Alone (Main Theme) 1:27

4. Go Pack Your Suitcase/ Introducing

Marley/In Good Hands * 1:51

5. Banished to the Attic 1:07

6. We Slept In/Hard Count * 1:20

7. Making the Plane :54

8. The Basement 2:18

9. Target Practice/Sledding

on the Stairs ** 1:31

10. Lights On/Guess Who’s Home/

Paris Arrival * 3:18

11. The Man of the House/

Police Check ** 1:22

12. The Bookshelf 1:10

13. Phone Machine/Drug Store/

Escape Across the Ice ** 3:06

14. Follow That Kid! 2:12

15. Listening to Carson * :44

16. Cleaning Clothes/Kitchen * 1:39

17. Scammed by a Kindergartner 2:10

18. Walking Home (Somewhere in My Memory) † 1:06

(Lyrics: Leslie Bricusse) Chorus & Orchestra

19. O Holy Night 2:51

(Composer: Adolphe Adam) (Translation of

Lyrics: John S. Dwight) Chorus & Orchestra

Arranged by John Williams. Published by

Fox Film Music Corp. (BMI) *

20. Star of Bethlehem † 3:00

(Lyrics: Leslie Bricusse) with Children’s Chorus

21. Carol of the Bells 1:27

(Translation of Lyrics: Peter Wilhousky)

Chorus & Orchestra

22. Setting the Trap 2:31

23. The Attack Begins 1:30

24. Marv Enters the Basement/

A Hot Hand/Sore Head * † 2:50

25. Paint Cans 2:06

26. Clothesline Trapeze /

Marley to the Rescue ** 4:13

27. The Next Morning/

Mom Returns/Finale 4:26

28. We Wish You a Merry Christmas/

End Title (Somewhere in My Memory) † 4:19

(Lyrics: Leslie Bricusse) Chorus & Orchestra


Additional Music

29. Walking Home [Without Chorus] 1:05

30. Clothesline Trapeze

[Film Version Insert] * :23

31. Jingle Bells * 1:02

32. Christmas Carol Medley * 7:43

33. Finale [Alternate – O Holy Night] * 1:34

34. We Wish You a Merry Christmas/

End Title (Somewhere in My Memory) †

[Original Soundtrack Version] 4:15

(Lyrics: Traditional/Leslie Bricusse) Chorus & Orchestra


total disc time: 78:48


* Previously Unreleased ** Contains Previously

Unreleased Material † Published by Fox Film Music Corp.

and John Hughes Songs (BMI)


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Thought you soundtrack buffs might like to checkout Jon Hopkins soundtrack to a 2010 film titled 'Monsters'. I just gave it a listen this evening & I'm very impressed. This is some really breathtaking stuff. I've been a big fan of his since his debut 2001 release but this is the first time I've heard any of his soundtrack work. For all I know it may be his first. Anyway check it out on itunes: http://itunes.apple.com/gb/album/monsters-original-motion-picture/id405984746


I believe that links to the UK itunes store but its available in the US as well.

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Hans Zimmer discusses the forthcoming Inception iPhone app that knows where you are, what time of day it is and creates a mix of the score in reaction to what you're doing and your environment:


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Film Score Monthly have today announced their two-disc release of Goldsmith's wonderful score to Poltergeist:


Goldsmith’s score flows effortlessly between hard-core, dissonant modernism and some of the most lyrical, humanistic music he ever wrote. It is both a marvel of musical construction and a visceral listening experience. Composed over an uncharacteristically long period of fifteen weeks, the music for Poltergeist evokes both child-like simplicity and sheer terror. The complete presentation of the score on Disc 1 includes several passages that were not used in the film.


Mike Matessino restored Goldsmith’s Poltergeist score from the three-track stereo film mixes for this release; Bruce Botnick, the film's original recording supervisor, did the digital mastering. The deluxe 28-page booklet features an informative and perceptive essay on the film and score—incorporating remarks by the composer—and a complete cue-by-cue analysis by Matessino.


As a bonus, disc 2 also includes the re-recorded suite of cues (including one previously unreleased) from Goldsmith’s The Prize (1963). Originally recorded for MGM LP, four of these tracks were included on FSM’s CD of the complete score (FSMCD Vol. 5, No. 16), but all five have now been remixed for superior sound quality from newly-discovered ½” three-track masters.


The CD booklet also includes a personal reminiscence from Bruce Botnick about the 1982 Poltergeist recording sessions, as well as the original LP notes by Steven Spielberg. In the legendary producer’s words, “Jerry’s music conjures many classical impressions of ferocious drive and at the same time, cathedral beauty. So…let the imagination wander. Pleasant dreams.”


10,000 copies.



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I just listened to all the tracks by A.R. Rahman on the 127 Hours soundtrack. Very nice work! I really need to see that movie.


(the other non-Rahman tracks are "album only" and not included on my Zune pass, and I'm too cheap to spring for the whole album)




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Nobody said I'd get Elfman's squiggle.





Got the signed bonus disc today! Heavenly. It contains a mix of opening and end title sequences from the films represented in the set, plus the three minute music box suite of his Burton film themes that you'll hear upon physically opening the box itself. :lol: Effectively turned out to be a preview of the set itself to make up for the delay, and actually serves as a really great single disc celebration of Elfman and Burton's work together. Sound quality is just superb (even Alice in Wonderland sounds better for some reason)... So excited about the prospect of finally owning the Pee-Wee score. It's an utter joy to finally have the Beetlejuice opening titles with Elfman's opening vocal too.

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Utterly miserable at the news of John Barry passing away at the age of 77 this morning. One of the greats, one of my favourites. He effectively ceased writing for film in the late 90s, only to score one last picture in 2001 (Enigma). Brad Bird offered him the role of composer on The Incredibles but Barry did not stay with the project as he wasn't too interested in revisiting the 007 sound Bird wanted - hence Giacchino's score being such a love letter to Barry's Bond work. He was outspoken throughout his career against the increasing lack of quality material available to encourage him to work on movies. He continued to work on projects outside of film in the last decade of his life.


A lovely write up over at Filmscore Monthly:


You probably know by now that John Barry, one of the legendary composers who brought much popularity to film music, has passed away.


As you probably also know, Barry was born John Barry Prendergast in York in 1933, son of Xavier, who owned theatres and cinemas in the north of England. This, told Barry, is where he remembered being taken to see Mickey Mouse and falling in love with all things cinema. The story tells romantically, like a real life Cinema Paradiso experience.


Barry had an unconventional musical education, which probably explains why his music stands out as different. It's a journey that includes an Army band (the Green Howards), his rock n'roll combo (the John Barry seven), during which Barry discovered and launched the pop career of Adam Faith, and an apprenticeship in harmony and counterpoint at York Minster.


Though he already had a film score under his belt (Beat Girl, through the Faith connection), it was his skills as an arranger that caught the ear of Peter Hunt and got him hired onto Doctor No. The rest, as they say, is history. John Barry went on to be enormously popular through his sensational James Bond film scores, whilst also courting more serious critical acclaim through the British 'new wave' comedies, dramas and spy thrillers of the 1960s. This matured into an acceptance into Hollywood that tumulted with such major romantic film scores as Out of Africa and Dances With Wolves.


Barry was not into 'busy' music. He seemed much more interested in what could be sensually created in layers. He once told me that every layer of his famous Midnight Cowboy theme was musically very simple. It was in the interplay of those simple layers that the music came alive. Such is Barry's trademark. His style of setting simple melodies in concert with one another is evident in much of his work, most notably You Only Live Twice and Walkabout. He was also the grand master of themes. He wrote seductive, sensual, luxurious themes which worked like magic both on film, on soundtrack albums and in popular culture.


To this day, I never fail to marvel at the wondrous quality of his music. It glistens like gold.


Barry's fans include pop artists and other film composers. Even the great master Jerry Goldsmith once spoke of his admiration for Barry's unique abilities to really capture a film in music.


His song Goldfinger, written with Leslie Bricusse and Anthony Newley, should, by itself, be enough to guarantee immortality. The fact there are so many more immortal themes in his canon, from The Ipcress File to The Persuaders to On Her Majesty's Secret Service and more, only cements that. The fact that films such as Midnight Cowboy, Walkabout and Somewhere In Time exhibit the marriage of film and music in its highest, most beautiful form, should cement it even more.


Today, perhaps it's easiest to remember his penchant for sad, melancholy music. Today, I'm reminded most of what I consider to be one of his greatest pieces. It's the end of the 1982 film, Frances. Frances and Harry meet, painfully separated by love that can't be. Barry's music, beautiful and sad, yet strangely optimistic, evoked tears. That's the kind of music I'm thinking of right now.


Rest in peace.





David Arnold pays tribute:


"There's a beautiful phrase: 'If something is written from the heart, it goes to the heart. That's what it felt like when I heard John Barry's music for the first time.


I saw my first Bond movie, You Only Live Twice, when I was about eight years old. It was the moment I realised what I wanted to do - to be in a dark room and hear that sound.


It felt like it went directly to the core of who I was. I felt a kinship with it, and I am sure there are millions of others who have the same story.


It's impossible to separate James Bond from John Barry's music. They went hand in hand. He was able to show you the menace, the sexiness, the aggression and the emotion.


Everything that is cool and fabulous about James Bond is in the music. You could be stuck in a traffic jam on the M25 in a Ford Fiesta, but if you're playing a John Barry score you're in an Aston Martin. It was just an extraordinary, transfigurative thing he did. “I think John drove an Aston Martin. If he didn't he should have done”


If you think about it, Goldfinger was released in 1964 at the height of Beatlemania. It was an enormous record but it created a world of its own.


You listen to that and you wouldn't be aware of anything else that was going on in the world at that time. It was in its own universe.


Of course, John was aligned to very cool things as well - obviously James Bond and Harry Palmer - and he was having hit records with his band, the John Barry Seven.


He lived in Chelsea and I think he drove an Aston Martin. If he didn't he should have done. He had the whole thing down.


There have been other influences in my life, of course, but there was a run of John Barry scores - the Bond movies, The Ipcress File, Somewhere in Time, Mary Queen Of Scots, right through to Zulu - that were the key.


It felt like I wanted to write them myself. And I think that's what an inspiration is. You feel, 'God, I wish I could have done that.'


Luckily, I got to know John very well when I started to work on the Bond films and he was always hugely supportive and friendly.


Meeting him was like touching the hem of God's frock.


Today, everyone is saying the same thing. He was the governor and it's a sad and profound loss."







I really recommend the book John Barry: The Man with the Midas Touch

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I always forget what a big and respectful fan of film music Alec Baldwin (yes, Alec Baldwin) is. His tribute:


John Barry died on Sunday, and I wanted to take an opportunity to mourn the loss of one of the greatest composers in motion picture history.


The first time I attended the Oscars was in 1991, where my then wife, Kim Basinger, and I were asked to present the Oscar in the category of best original score, which went to Barry for Dances With Wolves. It was a great thrill for me, as I had long admired John's scores and who, at that point, had already received four Oscars (Two for Born Free, both score and song, The Lion in Winter and Out of Africa.)


Barry's career is a phenomenon. John is often cited as the composer of legendary songs and scores for the James Bond films. Beginning with earlier Bond films like Dr. No and From Russia With Love to his most memorable titles like Goldfinger, Thunderball and Diamonds Are Forever, to collaborations with rock artists like Duran Duran on A View to a Kill, Barry's music is as much a component of the Bond legend as Ian Fleming himself, and Bond actors like Sean Connery and Pierce Brosnan. You can play just the first two notes of the arrangement of Goldfinger and know right away that Shirley Bassey's famous vocals are coming.


Barry, however, is also responsible for clearly what are some of the most gorgeous, sensitive and ultimately effective scores in movie history. Films like Seance on a Wet Afternoon, Midnight Cowboy, Inside Moves, Body Heat, Frances, The Cotton Club and Indecent Proposal, all elevated by John's contribution.


In a career of such breadth, it's hard to pick a favorite. Yet, I actually can name one, and easily. Finding an appropriate musical complement to the story of Isak Dinesen and her romance with both Kenya and Denys Finch Hatton to accompany the work of Meryl Streep and Robert Redford, cinematographer David Watkin and writer Kurt Luedtke, and Sydney Pollack's incredible direction, is Barry's greatest achievement. John's score for Out of Africa is extraordinary. My favorite movie score of all. Ever.


The great John Barry passed on Sunday on Long Island. Thanks to him for his magnificent contributions to film.





Howard Shore pays (a clearly emotional) tribute on BBC Radio:




I've been drawn a lot to his score to Indecent Proposal since hearing the news. Not sure why I gravitated towards that one above others in his vast catalogue... perhaps because it's not been mentioned as much in the past 24hrs (Baldwin is amongst the few to mention it).

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So I've been listening to a few of old favorites. I've actually been revisiting Carnivale on DVD and it's gotten me in the worst mood to listen to Jeff Beal's splendid music for the series. Years later I still mourn the loss of the show and continue to hope for a future BD release. In the interim listening to the music at work is enough to remind me of how awesome it was to have a show of its caliber on TV every week.



(still my favorite piece of music from the series)

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I had a moment like that over the weekend. Was flipping through channels early one morning and a S1 episode (Battle Lines) of DS9 had just started. It sucks that there is no new Star Trek on TV right now.

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Received the scores to True Grit and How to Train Your Dragon this morning. Grit (Carter Burwell) is very pleasant, albeit short... Dragon (John Powell) is one I have been meaning to pick up for a while after reading a lot of fuss about it, and the score's recent Oscar nomination reminded me that it was supposed to be one well worth picking up. I'm a fan of John Powell in general and it truly is a fabulous score. Be lovely if he got to score the new Superman though I suspect we'll end up with something more generic.



The poster on youtube got the title of the above cue wrong. It's actually 'River Crossing'



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For those of you that enjoyed Splinter Cell: Chaos Theory soundtrack by Amon Tobin he just released a remixed edition of the album that is quite nice. Each remix being from a fellow Ninja Tune artist. Available for digital download on itunes and boomkat.

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