Coming soon from Windmill Records, The Stringbeat Years: Songs accompanied by John Barry, a 4-CD box-set comprising of 144 tracks, a 24-page booklet (replete with period photographs and comprehensive notes) and including ten bonus tracks (among them the CD debut of the first ever cover version of a John Barry instrumental composition).
Adam Faith fans will experience every song he recorded with John Barry, thereby 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.
The box-set is limited to 500 copies and is only £16.99 post-free in the UK (postage costs for elsewhere in the world to be determined when stock arrives), so don’t miss out! It will only be available direct from Windmill!
Please indicate your interest without commitment by emailing us and you’ll be contacted as soon as it becomes available.
Royal Scottish National Orchestra / Neeme Järvi
Chandos CHSA 5257 (82:55)
French composer Léo Delibes (1836-91) is entitled to be reviewed here as he was blessed with a natural gift for likeable, easily assimilated melodies: his music being described as having “charm, elegance, wit and grace”.
Decca 00028948504152 (73:21)
Having reviewed three previous albums by this orchestra and conductor – ‘Overtures, Preludes & Intermezzi’, ‘The Fellini Album’ and ‘Cherubini Miniatures’ – I have become something of a fan and welcome this new release; even although it does come into competition with John Wilson’s recent highly acclaimed versions of the two main works: Fountains of Rome and Pines of Rome (also previously reviewed here).
More than fifty years ago, many recordings were made [unofficially and privately, and often off-air] – by studio technicians, orchestral players and production staff – of a BBC 'house' orchestra in Manchester.
The Original Recordings with Joseph Calleja
Decca 4850894 (48.53)
When as a long time Mantovani admirer I first joined the Robert Farnon Society, his name was hardly ever mentioned. It seemed to me that he was thought of by my fellow light music enthusiasts as being too “popular”, much as some people now think of André Rieu.
Emmanuel Pahud Flute
Orchestre National De France / Desplat
Warner Classics 0190295306878(56:22)
Regular readers will know from my review of ‘Little Women’* in February this year that I regard Alexandre Desplat as second only to the great John Williams as a composer in the world of film music. Following that earlier album, we now have this further welcome selection of his work.
Philharmonic Promenade Orchestra
SOMM ARIADNE 5009 (74:03)
This is a pleasing surprise follow-up to Great Classic Film Music (ARIADNE 5006), the virtues of which I extolled in 2019. The track selection here is noteworthy for being less hackneyed than in many of the comparable albums in the catalogue.
Andrế Previn / David Rose
Like Young & Like Blue
Sepia 1348 (78:29)
In June 1958, when distinctive pianist André Previn (“Piano Magic”) met David Rose with the 25 “Lush Strings” and rhythm section of his orchestra, they got together and produced a Billboard top 20 LP: ‘Like Young: Secret Songs for Young Lovers’. Nearly two years later there was a follow-up album, ‘Like Blue’. Both have now been released on this exceptionally well-filled stereo CD remastered by Robin Cherry.
(Van Heusen; Delange)
Reg Owen Orchestra
Analysed by Robert Walton
One of the most underrated composers, arrangers and conductors of the 20th century European scene was Reg Owen (born George Owen Smith, (1921-1978). I first came across him as one of the original orchestrators for Ted Heath’s Music after WW2, with classics like Colonel Bogey, Blue Skies March, Sidewalks of Cuba, Cuban Crescendo (composer) and Village Fair.
Impressed as I was with these arrangements, there was something else he produced for which I shall be eternally grateful - The Reg Owen Arranging Method of 1956. It’s the best one of its kind easily outdoing many other big name manuals on how to orchestrate. Owen covered every aspect of arranging from the smallest combination to a full orchestra. Each instrument was thoroughly defined, including its range. His coverage of the subject was so complete that the book became my bible of music. If it hadn’t been for Owen, I would never have been so well informed and given the incentive to be an arranger.
He is mostly remembered as a ‘one hit wonder’ because of his 1958 best-selling recording of Manhattan Spiritual. His excellent film scores were also very much part of his career.
One of his non-dance band arrangements was an early 1938 Jimmy Van Heusen ballad called Deep in a Dream played by a studio orchestra in 1960. It’s a very apt title given its ethereal quality with good lyrics by bandleader Eddie DeLange. First to greet the ears are the unmistakable sounds of Flamingo even though it hadn’t been written then. A “Gordon Jenkins” type tempo accompanies a horn in a lazy start with a hint of A Nightingale Sang in Berkeley Square. This quite predictable melody creeps along at a snail’s pace sliding on to very basic chords. Time for the irresistible strings to make an entry which they invariably do. Like most arrangers who adore them, Reg Owen always kept one eye on the main chance ready to feed them in.
“Then from the ceiling, sweet flutes come stealing” giving the bridge a little stressful undertow with pizzicato strings, while taking us gently back to the main tune. Once again strings are the thing as we wander among the flamingos waking up from our serious siesta.
Guild Light Music
BBC Philharmonic / John Wilson
Chandos CHAN 20148 (57:00)
This is the release we have been waiting for: some of the very best of the kind of music we love the most. It is the second instalment in a series from our friend John Wilson, of whom it has been said that what he does not know about Eric Coates’ music is probably not worth knowing.