BERNARD HERRMANN on DECCA PHASE 4

From my YouTube channel

I discuss the classic records made in the 1960s and 70s by Bernard Herrmann for Decca Phase 4 Stereo.

These recordings of music from his own scores included Citizen Kane, Psycho, Vertigo, The Day the Earth Stood Still and Obsession.

I talk about the scores Herrmann recorded from his collaboration with Ray Harryhausen.

Herrmann also recorded scores by other composers like Shostakovich (Hamlet), Miklos Rosza (Julius Caesar), and Arthur Bliss (Things to Come).

So sit back and enjoy this journey through a unique legacy of classic film score recordings. And stay tuned for a fun Easter egg at the end of the video……

THEMES FOR SECRET AGENTS ( The Phase 4 Stereo Effect Part 1: James Bond, Roland Shaw, et al. )

roland-shaw-secret-agents1

Note: Where indicated, audio only tracks are transfers from original vinyl in my collection, yielding the best sound quality. Otherwise, audio tracks are from 2009 CD reissue of selections from Roland Shaw’s spy soundtrack albums (where masters are unknown).

James Bond Theme (Roland Shaw and his Orchestra):

Burt Bacharach

Burt Bacharach

Roland Shaw

Roland Shaw

Phase 4’s compilations of spy themes were entirely the province of arranger/orchestrator Roland Shaw. He was one of Decca’s principal house arrangers, working for Vera Lynn, Mantovani, Ted Heath, and the label’s principal conductor of film music, Stanley Black. He also worked on several films himself as composer, including The Great Waltz, Summer Holiday, and Song of Norway. He had a passion for motor cars, of which he owned several exotic examples over the years. These ranged from a Rolls-Royce to a Bentley and a beautiful classic red Ferrari. He competed in club meetings at Silverstone, Goodwood and Brands Hatch, where he often acted as a race marshal. In fact, it was while parking his Rolls near his home in Barnes (purchased with a royalty check from Tutti Camerata) that he got his break with Decca Records. He was approached by an admirer of the vehicle, who turned out to be Frank Lee, head of A&R at the label.

Roland Shaw - the James Bond thrillers

Monty Norman

Monty Norman

Shaw’s first spy genre album, Themes from the James Bond Thrillers, was released in 1964 to coincide with Goldfinger. It was a massive hit, spawning a series of further records of “Spy” themes.

Monty Norman had composed the music for the first film in the Bond series, Dr. No, and Shaw’s arrangements filled out the minimally orchestrated originals to great effect. In this track, Underneath the Mango Tree, the addition of rippling flute and harp, plus swirling strings, creates a sense of travelogue exotica.

Underneath the Mango Tree (Roland Shaw and his Orchestra):

 

John Barry

John Barry

However, it was John Barry’s iconic arrangement of the James Bond Theme, and his scores for Goldfinger and beyond, which defined the “Spy Sound” of the Swinging Sixties soundtrack. Barry seamlessly blended his jazz and bop background with lush romantic strings and heavy Wagnerian brass chords (interspersed with fabulous, soaring breaks that wailed over the propulsive drums and bass) to create a sound that defined the cool of Bond every bit as much as the beautiful girls, designer clothes, exotic locations and futuristic gadgets.

Every bit the epitome of Swinging London: John Barry and his wife, Jane Birkin.

John Barry epitomized Swinging London just as much as the spy whose musical identity he forged on the big screen. Barry is seen here with his then wife, actress and singer Jane Birkin

You can hear all these elements at work in this music from the pre-credits sequence in Thunderball, which culminated in Bond making his escape with a jet-pack.

Chateau Fight (Roland Shaw and his Orchestra):

 

Thunderball jet_pack_2

Record labels were jumping over themselves to create knock-off compilations of Bond and other spy music, using various Easy Listening arrangers and scratch bands. The results were frequently lacklustre, but every so often these cover versions struck gold. Such was the case with Roland Shaw’s series of albums for Decca Phase 4.

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Roland Shaw rear sleeve

In his arrangement of music from Diamonds of Forever you can hear how Shaw, while remaining true to the essence of John Barry’s original, has embellished the orchestration to highlight the Hi-Fi aspect of the recording and give it more zest.

Diamonds-are-forever-James-Bond-Poster

He has added soaring and swooning contrapuntal string lines to the original, no doubt a legacy of his arranging for Mantovani’s orchestra. Then fat, funky bass lines combine with propulsive guitar licks (even throwing in a bit of wah-wah for good measure), latin drums and stabbing brass to give the whole thing an extra tinge of pop and of the exotic. (Many Phase 4 albums highlighted unusual percussion and other sounds from world music to lend a sense of travelogue to their albums).

Roland-Shaw-Themes-From-The-J-376147

Staying with Bond, here is Shaw’s arrangement of one of Barry’s most lyrical inventions for the Bond series, You Only Live Twice.

Bond girl Akiko Wakabasyashi behind the wheel of her one-off Toyota 2000 GT convertible

Bond girl Akiko Wakabasyashi behind the wheel of her one-off Toyota 2000 GT convertible in You Only Live Twice

Interestingly, one of the theme songs that Shaw leaves more or less unchanged, is On Her Majesty’s Secret Service.  Maybe this was because the track was already one of Barry’s most exciting inventions — and why mess with perfection? It was the first title sequence in a Bond film not to feature a vocal.  Instead, to accompany visuals that recapped the previous Connery adventures in preparation for George Lazenby’s assumption of the role, Barry built a driving chase fanfare over a Moog synthesizer playing in unison with a bass guitar.

Robert Moog pictured with his invention

Robert Moog pictured with his invention

The Moog was a completely new kind of instrument, purely electronic with no acoustic elements, and sounds radically different even on Barry’s own various recordings of this theme.

ohmss title

In the wake of Bondmania, film and television companies fast-tracked numerous secret agent projects, all demanding their own John Barry-tinged music. One of the most successful of Bond imitators was the series starring James Coburn as an urbane American agent, which kicked off with Our Man Flint.

Japanese poster for Our Man Flint

Japanese poster for Our Man Flint

 

Jerry Goldsmith

Jerry Goldsmith

 

Jerry Goldsmith, one of the most distinctive film composers to emerge at that time (his credits include Planet of the Apes, Star Trek: The Motion Picture, and Alien) provided a theme which channeled the Barry sound in its guitar licks and brass stabs. But he also added his own elements (percussion and jazzy improvisations) to convey a sense of the send-up that the film encapsulated.

Our Man Flint (Roland Shaw and his Orchestra) (LP transfer):

 

Back in the U.K., a quirky TV series that combined Bondian elements with fantasy and sci-fi became a cult classic and ran for many years.

the-avengers-series

The Avengers launched the careers of several subsequent Bond girls — Honor Blackman in Goldfinger and Diana Rigg in On Her Majesty’s Secret Service. The hero, John Steed, always immaculately dressed in the finest Savile Row suits, with accompanying umbrella and bowler hat, was played by Patrick MacNee, who later featured as Roger Moore’s accomplice in A View to a Kill.

Diana Rigg and Patrick MacNee

Diana Rigg and Patrick MacNee

The Avengers had a killer theme written by Laurie Johnson.

Laurie Johnson

Laurie Johnson

The Avengers (Roland Shaw and his Orchestra) (LP transfer):

 

One of the most successful TV riffs on Bond was The Saint, which also proved to be a training ground for a future 007, Roger Moore. Based on Leslie Charteris’s series of novels about a Robin Hood-like character, the show’s catchy theme song was the work of Edwin Astley, a prolific TV composer who became a regular contributor to ITC Entertainment which produced the show. He also scored the themes for Patrick McGoohan’s iconic Danger ManRandall and Hopkirk (Deceased), and, in a different vein entirely, Kenneth Clarke’s epic documentary series, Civilisation. The theme for The Saint opened with a characterful motif for flutes, echoed woman’s voice, vibraphone and muted trumpets which would play as a halo appeared above Roger Moore’s head. It perfectly mirrors the cheeky quality of the character and show.

The Saint - Roger Moore

This kind of unusual instrumentation was typical of the genre, and is why so much of this music is such a good fit for the exotic orchestral palette of Easy Listening records. (Shaw’s arrangement dispenses with the woman’s vocal but goes to town in the blaring brass section; there’s that terrific drumming again too.)

the-saint- with car

The Saint (Roland Shaw and his Orchestra) (LP transfer):

 

A precursor to Bond was the American TV show Peter Gunn, the creation of maverick film-maker Blake Edwards, one of the most underrated talents among post-War American writer/directors, who found enormous commercial success with the Pink Panther movies.

Peter_Gunn poster

The iconic theme song, by his long-time collaborator Henry Mancini, undoubtedly influenced later composers working in the genre (including Barry).

Henry Mancini receiving the Grammy for his album of music from Peter Gunn

Henry Mancini receiving the Grammy from Peggy Lee for his album of music from Peter Gunn

Peter Gunn has been much covered, most notably by cult 80s group The Art of Noise, with Duane Eddy taking on the guitar “twanging” duties. In his version, Roland Shaw doubles that guitar line with an early synthesizer, adds some percussion pops for Hi-Fi glitter, and plays up the drums and jazzy improvised elements.

Not all spy movies of the 60s were upbeat. John Le Carre’s The Spy who Came in from the Cold offered Richard Burton one of his most celebrated roles in a gritty cat-and-mouse game set in a divided Berlin. The muted, evocative score was by Sol Kaplan.

The Spy who came in from the cold

The Spy who Came in from the Cold (Roland Shaw and his Orchestra) (LP transfer):

 

Another highly successful series that, tonally, fell somewhere between Fleming and Le Carre, was launched with The Ipcress File, starring Michael Caine as the world-weary British agent Harry Palmer. The series shared much of Bond’s DNA, not surprisingly because the producer was Harry Saltzman (half of Eon Productions), bringing with him Bond’s editor, Peter Hunt, and production designer, Ken Adam. The music was also by John Barry, who used his taste for exotic instrumentation (in this case the cimbalom) to evoke eastern menace on the streets of London.

ipcress-file- Music by John Barry

The Ipcress File (Roland Shaw and his Orchestra) (LP transfer):

 

John Barry also contributed a memorable score to The Quiller Memorandum (1966). George Segal and Alec Guinness starred in this straight ahead cold war thriller, with a script by Harold Pinter.

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Wednesday’s Child from The Quiller Memorandum (Roland Shaw and his Orchestra) (LP transfer):

 

In finest Easy Listening fashion, even Shaw was not afraid to go with a somewhat cheesy vocal arrangement when called for. Here is his take on one of Burt Bacharach’s numbers from Casino Royale. (In the film it was only used as an instrumental; this is the version with Hal David’s lyrics).

Casino Royale record cover

Note, as always, the fabulous drumming and that tight rhythm guitar. I wonder how many bachelor pads have echoed to this track at the cocktail hour…..

Martini anyone?

James-Bond-Martini

“Let the Love Come Through” from Casino Royale (Roland Shaw and his Orchestra) (LP transfer):

 

Avengers - cocktails

Twisting with James (Roland Shaw and his Orchestra):

 

Bond Connery aston martin Goldfinger