Best Service Beat

The last of Quicksilver's albums before they broke up. The songwriting was getting thin by this time, as indicated by the presence of numbers like "Chicken," a traditional piece arranged by Dino Valenti, which is little more than four minutes of wasted time on a 36-minute record. This track, and Valenti's promising but ultimately disappointing "Changes," were a sure sign that the band was delivering an album, but nothing more than that, as a way of fulfilling a contract; it's even hard to visualize the group doing this material on-stage. The presence of trumpets, trombones, and saxes is also a problem, because they make Quicksilver sound more like Blood, Sweat & Tears than themselves, and Valenti wasn't David Clayton-Thomas…

Razormaid Records was formed in the mid-80s by Joseph Watt and Art Maharg in San Francisco, California as a music service for club DJs. Their goal was to offer something other than just the regular versions of the pieces of music that everyone had. They created their own special versions of songs, editing and occasionally remixing the hottest club tunes being played (or about to be played) around the world.

Razormaid Records was formed in the mid-80s by Joseph Watt and Art Maharg in San Francisco, California as a music service for club DJs. Their goal was to offer something other than just the regular versions of the pieces of music that everyone had. They created their own special versions of songs, editing and occasionally remixing the hottest club tunes being played (or about to be played) around the world.

Born John Barry Prendergast to a father who owned a cinema and a mother who played piano, all the elements were in place for John to develop his career as he did. Even when he had to do national service, he managed to secure a job as an army bandsman, so he managed to use that period to hone his craft. John first came to prominence via his recording of Hit and miss, which became the theme to the TV show Jukebox jury. Famous as his TV theme became, John's most famous hit is the James Bond theme. This particular compilation, as its title suggests, focuses on John's recordings for EMI. Many of these recordings date from the early to mid sixties, but there are a few from the nineties too. Most of the tracks are instrumentals, but there are also three Shirley Bassey tracks (Goldfinger, Mr Kiss Kiss Bang Bang, Diamonds are forever) and a Matt Monro track (Born free) in which John was involved. Two of the Shirley Bassey tracks are famous, but I'd not heard the other one before buying this CD. It was apparently intended as the theme for Thunderball but was dropped in favor of the Tom Jones song Thunderball. There are 25 tracks altogether and the CD comes with a nice booklet. By no means a definitive John Barry compilation, this does at least contain all those early sixties tracks that I particularly wanted and showcases John's versatility as a composer and arranger. Sadly, John died early in 2011 but his legacy in the history of cinematic music is assured.