For anyone more familiar with John Barry’s 50s and 60s discography and his early scores for spy films like the James Bond series or The Ipcress File (1965), encountering his late-career work on films like Dances with Wolves (1990) and Chaplin (1992) can be a bit of surprise. Gone are the stylings of his era-defining London mod classics like “Hit and Miss” and “Beat for Beatniks”, let alone his genre-defining “James Bond Theme” (Barry's arrangement of a melody by... Read More

It has become customary for many film music old-schoolers like myself to lament the current propensity for the “Zimmerization” of movie scores: ie., the devolving of a film’s soundtrack into endless drum-circles and synthesized loops, harmonic stasis, motivic repetition, all of which have become the hallmarks of Hans Zimmer’s work of the last 20 years or so.Obviously this is a vast over-simplification, and not entirely fair to Zimmer himself, but his protégés and... Read More

John WilliamsEven within the context of his catalogue of one classic film score after another, the three films that John Williams scored for the Harry Potter franchise - Harry Potter and the Sorcerer’s Stone (2001), Harry Potter and the Chamber of Secrets (2002), and Harry Potter and the Prisoner of Azkaban (2004) - occupy a very special place. But you wouldn’t necessarily have known that to judge from the somewhat parsimonious manner in which the soundtrack scores... Read More

And as a recent perusal of the usual audiophile retail sites reveals, the latest limited edition reissue from ORG (Original Recordings Group) of this unique and spectacular record is very much in stock (even in some cases discounted), and so I felt it was the perfect time, indeed essential, to introduce Tracking Angle readers to this magical record.First, some background.The Mysterious World of Bernard Herrmann was just one of a series of records Bernard Herrmann... Read More