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John Barry: The Collection

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John Barry: The Collection album cover
Disc 1 of 4
01
Zulu - Main Theme/First Zulu Appearance and Assault
7:43
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02
From Russia With Love - Main Theme
2:15
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03
From Russia With Love - 007
3:09
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04
Goldfinger - Main Theme
2:29
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05
The Ipcress File - A Man Alone
4:02
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06
The Knack - Main Theme
1:47
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07
Mister Moses - Suite
7:52
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08
Thunderball - Main Theme
2:17
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09
The Wrong Box - Main Theme
2:46
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10
Born Free - Main Theme/The Lions at Play
5:50
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11
The Quiller Memorandum - Wednesday's Child
2:30
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12
You Only Live Twice - Main Theme/Capsule in Space
6:14
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13
The Girl With the Sun in Her Hair
2:42
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14
Deadfall - Romance for Guitar and Orchestra (Abridged Version)
10:54  
Disc 2 of 4
01
The Lion in Winter - Suite [The Lion in Winter/Eleanor's Arrival at Chinon]
8:14
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02
On Her Majesty's Secret Service - We Have All the Time in the World
3:29
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03
On Her Majesty's Secret Service - Ski Chase
4:20
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04
Midnight Cowboy - Main Theme
3:59
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05
Midnight Cowboy - Florida Fantasy
2:04
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06
The Appointment - Theme
2:19
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07
The Last Valley - Suite [Main Theme/Death of the Captain/End Title]
8:37
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08
Walkabout - Back to Nature
3:55
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09
Monte Walsh - Suite [The Good Times Are Comin'/Stocking Feet/Mustangs]
11:12  
10
Diamonds Are Forever - Main Theme
3:05
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11
The Persuaders
2:10
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12
Mary Queen of Scots - Vivre et Mourir
2:14
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13
The Man With the Golden Gun - Slow Boat from China/The Man With the Golden
2:59
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14
The Dove - Main Themes [Main Theme/Hitchhike to Darwin/Sail the Summer Win]
6:32
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Disc 3 of 4
01
The Tamarind Seed - Play It Again
2:29
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02
King Kong - Prelude and Love Theme
4:53
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03
Eleanor and Franklin - Main Theme
1:28
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04
Robin and Marian - Suite
7:38
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05
The Deep - Main Theme
4:01
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06
Hanover Street (Main Theme)
4:51
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07
The Black Hole - Overture
4:57
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08
Moonraker - Miss Goodhead Meets Bond
3:25
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09
Somewhere in Time - Main Theme
6:13
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10
Raise the Titanic - Suite
9:28
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11
Body Heat - Main Theme
4:34
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12
Frances
4:12
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13
Octopussy - Palace Fight
4:09
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14
The Cotton Club - Suite
6:34
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Disc 4 of 4
01
High Road to China - Suite [Waziri Village Attack and Escape/Love Them]
8:13
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02
A View to a Kill - Wine With Stacey/Snow Job
4:45
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03
Out of Africa - Main Theme
4:28
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04
The Living Daylights - Hercules Take Off
3:02
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05
Dances With Wolves - The John Dunbar Theme
2:30
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06
Dances With Wolves - The Buffalo Hunt
4:15
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07
Chaplin - Main Theme
2:57
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08
Moviola {Theme Originally Composed for But Not Used in the Prince of Tides)
4:08
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09
Indecent Proposal - Main Theme
4:43
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10
The Specialist - Suite [Main Title/Bogota 1984/"Did You Call Me?"]
6:29
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11
The Scarlet Letter - Love Theme
3:04
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12
Cry the Beloved Country - Main Theme
4:36
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13
Mercury Rising - The Story Ends
5:57
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14
The James Bond Theme - Symphonic Version
3:03
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Album Information

Total Tracks: 56   Total Length: 258:41

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Write a Review 3 Member Reviews

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Good...but still covers

Frostokovich

Not the original Barry recordings. Respectful arrangements, but still not quite up to what the man did in the originals.

user avatar

Great Music

von Stunmore

This is a collection of great music composed by a great composer. You just have to listen to each track again and again and none can be said to be better than the other. Unfortunately the sound quality of this recording does spoil many of the tracks and makes the actual recording a poor medium for the music. Many of the tracks have a distortion on them which spoils the enjoyment of the presentation. Some tracks are so badly affected as to be almost a write off. I am not sure why this has happened and I do not believe it is the fault of my system as other music downloaded from the site is perfect. I would warn others to be aware of this problem before naking the decision to download.

They Say All Music Guide

This is a lot of soundtrack music — 258 minutes’ worth, actually — which is understandable, as it covers approximately 40 years in the career of John Barry. The 40 years isn’t quite comprehensive, skipping past Barry’s earliest screen compositions for the films Beat Girl, Never Let Go, and The Amorous Prawn, as well as his music for The L-Shaped Room, Dutchman, Seance on a Wet Afternoon, and King Rat, in favor of the bigger films that the composer worked on during the ’60s and beyond. Beginning with his thunderous score for Zulu, represented by a seven-minute track here, the collection concentrates primarily on the international side of Barry’s career, while also offering little oddities out of his history, such as his 1968 theme “The Girl With the Sun in Her Hair,” from a commercial for Sunsilk. The collection runs right up through Barry’s music for Cry the Beloved Country and Mercury Rising, and ends with the disputed “James Bond Theme” (in what is one of the few relatively flat, unexciting performances in this set). All of this material is presented in new recordings by Nic Raine and the City of Prague Philharmonic Orchestra, accompanied on a half-dozen cuts by the Crouch End Festival Chorus. They’re spirited enough, as is Raine’s conducting, and the producers have given most of this collection (apart from obvious small-scale pieces such as “A Man Alone” from The Ipcress File) a big, lush orchestral sound that makes much of the material seem larger than life and even larger than it looms in the memory (the main title from Born Free, for example, gets a treatment akin to Mahler’s “Third Symphony”); a lot of it works brilliantly, though one isn’t too thrilled with his reworking and toning down of the music from Goldfinger. Still, the essentials are here, including perennial favorites such as Somewhere in Time (though one wishes its distant cousin, Barry’s score for They Might Be Giants, was represented here as well) and Dances With Wolves. What makes this set unusual and exceptionally edifying, however, is the fact that lesser-known Barry scores, such as his superb, lush music for Mister Moses and later productions such as Robin & Marian, Monte Walsh, and Walkabout (all films that relatively few people saw, though they were [and are] heavily written about) get more generous treatment than familiar fare such as Goldfinger and Thunderball. There’s also a decent balance between the thrillers, for which Barry — identified as he was with the Bond films for many years — is best-known, and gentle, lyrical pieces such as his waltz-like main theme for The Wrong Box. The result is a collection that opens up the less well-known aspects of Barry’s international career and thus can be appreciated even by longtime buffs. The annotation is more biographical than analytical in nature, and the sound is state-of-the-art and a delight to the ear. – Bruce Eder

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