Child Harold

Cool, classic John Barry soundtrack for superb Michael Anderson spy thriller starring George Segal, Alec Guinness, Max Von Sydow, Senta Berger. Music first appears on LP from Columbia label in 1966. Inspired by fresh script from Harold Pinter, drawn from Adam Hall best seller, Barry avoids James Bond style of spy music, nods instead towards atmospheric West Germany locale, bleak theme of rising neo-Nazi movement. For the record, composer produces perfect album offering majority of his score in vivid stereo sound. Haunting main waltz-theme "Wednesday's Child" anchors, suspenseful cues play in contrast. Album also features Matt Monro in vocal version of theme. Intrada CD features album program in stereo from Columbia master tapes, courtesy Sony. For album fans, original artwork features on one side of booklet, all new artwork features on other side. Take your pick! John Barry conducts.

Rockabilly's rough image can be traced to both Sam Phillips' lo-fi production ethic at Sun Records and the dangerous look of the many Elvis wannabes on the label's roster; it continued as a symbol of defiance thanks to the nouveau rockabilly look British teddy-boys sported in the '60s (greased hair, rolled-up pant leg) and the makeshift music the reconfigured teddies of punk rock made in the late '70s.

As they evolved in the 1980s, retrospective box sets tended to contain a full complement of an artist's essential recordings, plus enough rarities to suggest the artist's inspirations and ambitions. Not all box sets conformed to this outline, however. Barbra Streisand was unusual, in that she had a large base of devoted fans interested in the minutiae of her career, and in that her entire recorded catalog remained in print. She had also worked with the same record company for her entire career and maintained her status as a frontline artist …

Three part 'trilogy of comedy'. In 'This' Susan Stress, a fading sex symbol attempts to win the lead in a movie by seducing the son of a film producer only to make a fool of herself in a case of mistaken identity. In 'That' George is a depressed middle aged loner whose suicide attempt is interrupted by the arrival of a child-like hippy girl who proceeds to turn his life on its head. While in 'The Other' Harold, an avid sex film fan and taxi driver, crashes his cab after being distracted by the leggy charms of his latest passenger. Suffering a thump on the head, Harold has bizarre hallucinations and ends up being chased around a forest by shapely girls.