Omnibus: John Barry: Licence to Thrill

On the BBC last week there was a repeat of an edition of Omnibus about how John Barry became the greatest movie music maker ever. On 31st January 2011, I posted a note when I heard that he had just died, so I will not repeat what I said then. But there were a couple of interesting facts from last week's programme, and most involved his terrific guitarist Vic Flick who is standing with John at the front of the above photo.

 

They showed a clip of John singing with The John Barry Seven on "Six Five Special", a programme we never missed. It was a wise decision when John decided they should be a purely instrumental band. John composed the theme to "Juke Box Jury" (another favourite programme) called "Hit and Miss". Listening again the the guitar of Vic Flick, you can hear that influence in the theme to the James Bond movies.

 

But before Bond, Barry composed his first film music for a movie called "Beat Girl". It all happened because Barry helped Adam Faith get started, and secured him an audition for the BBC programme "Drumbeat". Barry went on to arrange the music for his succession of hit singles including the number one "What Do You Want". The pizzicato strings, although influenced by Buddy Holly's "It Doesn't Matter Anymore", are classic John Barry. When Adam Faith was to star in "Beat Girl", the film company chose Barry to compose and arrange the music. He again put Vic Flick's guitar in the lead.

 

After another three films, along came "Dr No". Monty Norman had composed the James Bond theme music, but it was John Barry whose orchestration turned it into the iconic sound that has appeared in every James Bond movie. He went into the recording studio with The John Barry Seven and a full orchestra. Barry again puts the guitar at the front, and who does he turn to? Of course it was Vic Flick. 

 

Drown, The Clothes on Their Backs and Like

I came across the author, the Pulitzer Prizewinning Junot Diaz, when he recently was given great reviews for his latest book "This Is How You Lose Her". "Drown" was his first novel, a collection of ten short stories about immigrants to the USA from the Dominican Republic, and was even more well received, if that is possible. The writing is certainly spectacular and original. They are written in the first person with lots of Spanish words thrown in. There is a Glossary of sorts at the back, but these only cover half those used. So I did find it quite alien at the beginning, but very interesting. As I progressed, I found the author's voice and the characters took on amazing shape. Very different to books I normally read, but not at all highbrow or challenging. Just stories that get to the heart of their lives.

Having enjoyed Linda Grant’s latest novel “We Had It So Good”, I was looking forward to reading her previous book. It did not disappoint. It is narrated by Vivien, the only child of Hungarian refugees, looking back from the present day to the year when she became 25 in 1977. Her parents will not tell her anything about her notorious uncle who she saw once when he visited their flat when she was ten. Alone and heartbroken, she tracks down Uncle Sandor who reveals at last, the story of their family, and his in particular. London in 1977 is the backdrop to this emotional and gripping story, and the author cleverly uses those dangerous times to explore the lives of her characters. Vivien’s family home inside the confines of Benson Court I know well. Grant is a brilliant writer and in the young Vivien we are in the engaging company of someone she now acknowledges is very different to the one thirty years on. I opened the book at random and found the rejection of Vivien’s first attempt at a book review. “Next time, try writing in the English language”. Just the opposite of how Linda Grant’s filled me with pleasure.

Sometimes, when you go back to a favourite author's first book(s), it can be a disappointment. Not that "Like" was a poor first novel, it seemed just even more fragmented, quirky and obtuse than Ali Smith's later work. She had certainly not perfected the way to write obscurely but with something that works. However, there is much to enjoy. Ali Smith has written four books of short stories, and her novels are in someways a crossover from this format. Having read all five of her novels (so obviously I'm a fan), the short stories will be next on my reading list. "Like" is in two halves, the first with the title "Amy" and the second "Ash" (short for Aisling, but everyone calls her Ash). Amy's past, and her relationship with Ash, is elusive (as with any of the writer's books, this comes later). She lives in a caravan in Scotland with her eight year old daughter Kate. It is entering the life of Kate that is quite beguiling, she is a wonderful character. Ash is a complex young woman, and so is her story, especially how she relates to Amy during their life in Cambridge. There are passages that drift away from what seems real, only to be followed by a startling and exciting description of an art heist. A fascinating book, probably one that will be better for a second reading.