What I find most amazing about Walkabout and John Barry is that in the year 1971 Barry wrote Walkabout, Diamonds Are Forever, Mary Queen of Scots AND The Last Valley. Absolutely amazing. Clearly the pinnacle of Barry's career. Walkabout - The Children - Stranded - Night in the Outback - Survival Test / The Journey - The Three of Us - Together at Sunrise - The Deserted Settlement / The Final Dance - Back to Nature. John Barry - Somewhere In Time OST (1980) A truly great score can transcend the film it was written for. There are some exemplary film score composers whose music became so tied to the movie that the mere mention of the movie conjured the score in the mind's ear-- John Williams, Alan Silvestri, Ennio Morricone, and John Barry are all masters of. John Barry Walkabout (1971 Original Soundtrack). Lost hallucinogenic score from acclaimed film composer John Barry. The Walkabout soundtrack is released in.

1. The Walkabout
2. John Barry Walkabout
3. John Barry Walkabout Childrens Theme
4. Walkabout Cast

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.

Soundtrack Information

Silva America (SSD 1120)

Release Date:January 23, 2001

Conducted by Nic Raine

Performed by
The City of Prague Philharmonic Orchestra

Format: CD

Music From

• The Corn is Green (1979) [TV Movie]

Purchase Soundtrack

Track Listing

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Review: Walkabout

Once again, Silva Screen Records has released another re-recording of a classic (and unavailable) John Barry film score. This time, Nic Raine and the City of Prague Philharmonic took it upon themselves to record music from Barry's Walkabout. No didgeridoo here, this is full-on Barry at his best, with a haunting choir and lyrical themes.

Beginning with the main title, the score slowly builds tenderly into the main theme, performed (as always) by strings with flute accompaniment. Lush and dramatic, this score is poetic and at times reminded me of Gabriel Yared's similar score to The English Patient which wouldn't come about for more than 25 years. The haunting songs, performed by the Crouch End Festival Chorus, are just as melodic, but even more moving because of the lyrics, taken from the traditional children's song 'Who Killed Cock Robin'. It's a dark number, filled with plenty of classic Barry nuances. This score runs about 27-minutes long, and it flew by rather quickly due to the intricate and memorable themes used throughout.

Cues from other Barry scores are included on this album. They Might Be Giants, the modern-day Sherlock Holmes comedy, has an enjoyable main theme - but an even more enjoyable march ('The Game's Afoot'). Barry's main theme from his unused score to Prince of Tides (he withdrew from the film due to a conflict with Barbara Streisand) became his main theme for his compilation album, 'Moviola'. Heavy on the drama and grandeur, this is a wonderful and relaxing theme by Barry.

Barry takes the jazzy approach on The Chase, and a suite from Alice's Adventures in Wonderland showcases Barry's more whimsical and humorous styles. Falling slightly into cliché, The Betsy utilizes a saxophone for a sultry effect. The Corn is Green and Until September are lush romantic cues, and Barry makes no excuses for that. Séance on a Wet Afternoon allowed Barry to take the minimalist approach, with a rather percussive and almost jazzy rhythm. There's plenty of suspense in this cue, and again gives us a glimpse at some of Barry's earlier work done when he was just starting out on the Bond films.

The album runs a satiating 65-minutes long, and sounds quite good. As most of the Silva re-recordings have been, there is a concert-hall feel to some of the cues, but I think they started to close-mike the recording sessions, adding a touch of 'studio recording' to the sound. Walkabout is a great score, and is worth getting this album for alone - but the other 38-minutes of music are a nice addition as well.

The Walkabout

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John Barry Walkabout

John Barry Walkabout Childrens Theme

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Walkabout Cast