The Beyondness of Things

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In the mid seventies John embarked to do a project in Los Angeles and spent five years living in Beverley Hills and working in Hollywood. He gradually moved from London and settled at Oyster Bay, Long Island, New York, the closest point to England. His impact and depth of emotion with feeling not sentimentality for both orchestra and voices, for a non film work (The Beyondness of Things) using his own random thoughts for the function of the music. The Lion In Winter in 1968 won John his third Oscar for Best Score as well as the British Film Academy’s Anthony Asquith Award. Set in the 12th century court of Henry II the film starred Peter O’Toole and Katharine Hepburn. Barry’s early training at York Minster in religious and choral music was tailor made for this score, making his American critics sit up and take notice. No longer was he referred to as “the guy from the pop group”.

Eternal Echoes is the name of John Barry's final solo album. It was his follow-up recording to The Beyondness of Things, an original solo album of independent material not connected to any film. The composer described the 11 pieces of Eternal Echoes as comprising "an album of sounds, of places and of objects that have always existed and always will exist. They are without beginning or end. They are infinite in our past and future." He immediately put me at ease with a dry, self-deprecating humour and extraordinary personal charm. A few days later we had the first of many epic lunches at his favourite London restaurant, Rules, in Covent Garden.A throat cancer scare in 1989 slowed Barry's work rate, but his ambition remained undimmed. In 1998 he released The Beyondness of Things, a "tone poem" unconnected to any film and which he presented as a concert piece. "It's amazing to work without film or without a director or producer," commented Barry, who was appointed OBE in 1999. "I love doing films, but it's been refreshing to work with such total freedom." It was the best part of the day for the young boy John. His own time, after the evening meal, to indulge his imagination. Although originally a classical pianist Barry also decided to learn the trumpet and started growing an interest for composing and arranging music. But it was during his National Service that he began performing as a musician. Featuring – for the first time – the film versions of ‘Mix me a Person’, ‘The Time has Come’, and ‘What a Whopper’ (slightly shortened). There’s also an unique opportunity to hear the original version of ‘Ah, Poor Little Baby’, making its premiere appearance on CD. Written in the form of extensively researched essays concentrating on one specific score, over forty are represented, from the first, Beat Girl, to the last, Enigma. Whether highly acclaimed or lower key films, each chapter sets out, clearly and accurately, the circumstances surrounding the inception and completion of the score under scrutiny and in doing so, provides fresh insights into John Barry's remarkable legacy.

After the success of Dr. No, Barry scored eleven of the next 14 James Bond films (but with Monty Norman continually credited as the composer of The James Bond Theme). Eddi Fiegel writes: I wrote to John Barry in 1997 telling him I had been commissioned to write his biography. I heard nothing for months but then, just at the point when I had almost given up hope of a reply, I got a message on my answerphone saying, "This is John Barry. I'm in London working at Abbey Road studios. Why don't you come in and we can meet?" The James Bond Suite: (James Bond Theme / From Russia With Love / Thunderball / 007 / You Only Live Twice / O.H.M.S.S. / Diamonds Are Forever) A pile of shellac records stood alongside the wind up gramophone, and he would select his favourite Sibelius or Ravel. Next would come his collection of Dinky toys, and together, both toys and music, would transport the young John to a secret fantasy world only he knew. Children in those 1930’s days knew their place, and only spoke when they were spoken to.With configurations from a 5-piece band, 13-piece band (standard line-up) and even up to a full orchestra, this is the perfect way to bring 007 music to your event or occasion, and there is simply nobody who does it better. After leaving school, John persuaded his father to allow him to join the business and to follow his musical interests privately. To enrich the music was John Barry the Conductor. Mr. Barry always conducted his own work. Watching Mr Barry conduct in recording sessions, his body swaying, his baton jabbing and coaxing, this was the fun of the game for him. To finally stand in a Studio and conduct his finished score with the detail and subtleties that only he could give his music. Whilst the world at large can instantly recognise music from the Bond suite, John’s composing abilities encompassed all styles and cultures. Five Oscars and four Grammy’s were to come his way making him the most successful British film music composer of the 20th century.

The slipcase has the logos for London Records and ffrr London; Reg. Trade Mark - THE DECCA RECORD COMPANY LIMITED, London, England - a PolyGram company However in the same position on the reverse/tray insert from the CD case, it has the Decca logo; DECCA - Reg. Trade Mark - THE DECCA RECORD COMPANY LIMITED, London, England - A UNIVERSAL MUSIC COMPANY - www.decca.comIn 1998 John had the opportunity to record an album of his memoirs. Called The Beyondness of Things, these are his thoughts at that time. Writing from one chord to another almost key changing. The melody staying in the logical sense but changes are happening like undercurrents taking the music into another mode his perfection of attach and clarity of harmonies and tone. The Beyondness of Things Suite (Solo Harmonica – Tommy Morgan*): (Beyondness of Things / The Heartlands* / Give Me a Smile / A Childhood Memory / The Day the Earth Fell Silent) Barry had never needed a career boost, but during the 1990s he found himself being feted by a younger generation of artists, including David Arnold, who had stepped into the role of James Bond's personal composer for Tomorrow Never Dies (1997). Arnold masterminded the Shaken and Stirred album in homage to Barry's Bond music, and commented that "for me the success of the Bond series was 50% Sean Connery and 50% John Barry". Barry was delighted by Arnold's enthusiasm. "I think Shaken and Stirred is terrific. David Arnold has kept all the essence of the originals, and he's cast it beautifully with all the different performers. It has a real freshness and rhythmic impetus, which sounds very now." I am glad to have this opportunity to express my great admiration and respect for John Barry's music scores.

Q The Music are a world-renowned tribute to James Bond music, performing at the smallest intimate private events, to huge production concerts in the West End of London as well as theatres throughout the UK and abroad. Jewel-case originally with an outer card slipcase. The front insert takes the form of a 7 panel (double-sided) fold-out strip. Many accolades and awards came John Barry’s way in a career spanning over forty years. July 2001 saw him proudly receive an Honorary Doctorate from the University of York. Surrounded by his wife, son, sister June and the Prendergast family, Barry was deeply touched to be honoured by his home city.Barry was to subsequently score eleven 007 films between 1962 and 1987, including Thunderball, You Only Live Twice, On Her Majesty’s Secret Service, Diamonds Are Forever, The Man With The Golden Gun, Moonraker, Octopussy, A View To A Kill, and The Living Daylights. These movies were to produce Bond songs for Tom Jones, Nancy Sinatra, Louis Armstrong, Shirley Bassey, Lulu, Rita Coolidge, Duran Duran, A-Ha, and Chrissie Hynde.