The film composer whose elegant James Bond soundtracks helped define the 1960s has died of a heart attack in New York. He was 77. Barry won 5 Academy Awards for his work on Born Free, The Lion In Winter, Out of Africa and Dances With Wolves. He was made a BAFTA fellow in 2005 and was given an OBE in 1999 for his services to music. Barry’s hypnotic jazz arrangements, brassy horns, and swooning strings made his sound one of the most easily recognised in the world. His scores for Midnight Cowboy, The Ipcress File and Body Heat told you everything you needed to know within their first few seconds. Barry wrote the soundtracks for 11 James Bond films including Goldfinger and You Only Live Twice.
Born in York in the north of England in 1933, Barry was schooled in church music by the organist of York Minster cathedral. He went on to form his John Barry Seven jazz band, which had several hits before he was hired to arrange Monty Norman’s famous James Bond signature tune in 1962. Don Black, who wrote the lyrics for Thunderball and several other Bond theme tunes, tells me: “John had his signature on everything he did. You listen to one of his scores and you think, that’s John Barry – just the same as when you hear Sinatra sing. He was a brilliant musical dramatist who could just lock in to the emotion on screen.”
David Arnold, the composer who inherited Barry’s mantle overseeing the Bond soundtracks said: “He was the reason why I got into film music. It’s a profound loss for everyone. He was gruff and forthright and hilarious. But it’s the musical legacy that’s astonishing. The music he wrote often transcended the film he wrote it for. James Bond would have been far less cool without John Barry holding his hand.”






Remember also his work on The Persuaders.
Thank you Sir !
In the world of musical scores he was a geniune legend. RIP.
It was actually 12 James Bond films: Dr. No (although Monty Norman was given credit for the theme, John Barry did the music for the film); From Russia, With Love; Goldfinger; Thunderball; You Only Live Twice; On Her Majesty’s Secret Service; Diamonds Are Forever; The Man With the Golden Gun; Moonraker; Octopussy; A View to A Kill; and The Living Daylights.
RIP, Mr. Barry. Your scores were as indelible as the films they appeared in.
WRONG. Barry did not score DR. No, nor did he write the James Bond Theme.
Monty Norman wrote the score and the theme— though the producers were not happy with Norman’s work and asked Barry to rearrange the theme composition— a reworking of Norman’s “Mr. Biswas” from a musical he had written— into something more exciting.
Point of fact, a few years ago Norman successfully sued The Times of London who had stated wrongly that Barry, not Norman had written the “James Bond Theme”. Again, the court found in favor of Norman.
Although Barry had nothing to do with the DR. NO score— his smashingly successful reworking of the theme landed him full composing chores for From Russia With Love, and the rest is history.
Loved his Cry, The Beloved Country score among others.
One of the last legendary composers. Such a legacy.
I am deeply touched by the passing of one of my favorite soundtrack composers.
It is almost as if I knew him, all these decades of hearing his unmistakable style.
The operatic romance of “Somewhere In Time”, the pulsing and lethal sensuality of “Body Heat” and “The Specialist”, the pensive, tension and excitement of every James Bond film he scored, each with it’s own theme but always with his signature sense of harmony and tone.
His scores for the Bond films were just as cool as Sean Connery’s on screen prescence.
Then there’s the epic sounds, “Zulu”, “Dances With Wolves”, “Out Of Africa” among others. I sometimes think that his use of harmonica on the film soundtracks “The Chase” and “Midnight Cowboy” was an influence on composer Mike Post’s “Rockford Files” television show theme.
Mr. Barry’s music is always haunting and subliminally influential for us composer “wanna be’s” and film goers alike.
He is undoubtedly among our greatest film music composers: E. Korngold, L. Schifrin, E. Morricone, V.Young, B. Herrmann, M. Rozsa, M. Steiner, J. Goldsmith, H. Mancini, J. Addison, E. Bernstein but with his own distinctive style.
I will miss him like a relative.
One more thing: David Arnold is doing a wonderful job on the Bond films. He creates John Barry like tension but in his own manner.
Thank you.
John thanks for enriching CD collection with your wonderful Bond Scores. Your Bond themes with Shirley Bassey are priceless. Us Bond fans are going to miss you.
John Barry should get an Honorary Oscar if he hasn’t already for work that is up there with the greats. Though we all know his most famous works — and I appreciate both the journalist’s and poster’s mention of Midnight Cowboy and Cry, the Beloved Country, respectively — relisten to Shirley Bassey’s Diamonds Are Forever for a classic pairing of composer and vocalist.
A musician is like a painter, moves the reality on the staff. The music world has lost one of its artists.
Extending my condolences to his family and friends at this time. What a loss to the film/music industry! His vision combined with the musicality of the score simply made all his films better. May the angels of harmony sweep him up to the heavens above!
How sad. As others have commented, he was a true legend. Brilliant composer not just of motion picture compositions but he also released fantastic albums of his own music. I would highly recommend The Beyondness of Things (1999) and Eternal Echoes (2001). Both are extraordinary.
Unbelievably talented. RIP
Raise the Titanic!
God awful movie but John’s score is one of the most moving and beautiful pieces of work he ever did.
R.I.P. John.
Les Deux Love Orchestra mourns the loss of the great John Barry.
Wow. About to fire up my 007 music via iPod in tribute to this great musical genius. I ESPECIALLY love “On Her Majesty’s Secret Service” – a lavish piece of instrumentation. R.I.P. Mr. Barry.
John Barry is as essential to the legacy of 007 as the men who played him. RIP.
His soundtrack to the 1976 version of King Kong is amazing, certainly the highlight of that lousy remake.
So glad someone mentioned this title, in particular. His love theme for King Kong is one of the most lyrical, lovely pieces of music you will ever hear…and it’s in a giant gorilla movie. Amazing. Best Bond soundtrack? On Her Majesty’s Secret Service (that opening sub-zero cool riff could be the second “unofficial” James Bond theme). Best non-Bond soundtrack? Too many to mention: Zulu, The Whisperers, The Ipcress File, many more. Truly a legend.
One of the true greats of the industry. The Bond scores will always be classics. I will always remember him for a score for a movie entitled “Somewhere in Time”. Beautiful work.
He will be missed. Rest in peace, you’ve earned it Mr. Barry. Thanks for making this world a brighter place.
R.I.P.- what a talent.He had some amazing musical scores.
Barry’s music improved a fair amount of bad movies–THE BLACK HOLE, RAISE THE TITANIC, and KING KONG, among others. Shoot, most of TBH’s emotional impact comes from the score, not the script (and certainly not the acting.
) A wonderful composer.
The steamy portrait John painted using his soaring strings on “Down Deep Inside: Theme from “The Deep”, does tell the story as much as the script did.
And the folks remaking THE BLACK HOLE would be smart to hang onto Barry’s theme.
As Streep and Redford soar over the beautiful plains of Africa it was the lilting, reflective score by John Barry that completed the magic. His movie music was always perfect.
Nobody did it better . . .
I’ve told friends when I describe John Barry’s music one word comes to mind: “flight”. I hope he is at peace now flying with the angels. God bless you John, you will be missed.
It’s funny that someone mentioned Raise the Titanic and King Kong. He scored bad movies but the music deserves no less applause. Another little known stirring Barry score was the Rob Lowe/Meg Tilly thriller “Masquerade”. As a lifelong Bond fan, half of my soundtrack collection is John Barry, and I used the “Two-Socks” theme from Dances With Wolves in my wedding. Beautiful music on his resume, and so heartbreaking at times, as with his masterful Midnight Cowboy. RIP to a legend and a true original, rare in this business.
So many incredible scores — “Somewhere in Time” sets the standard for romantic melodrama — and so many scores that are ultimately more effective than their films: “The Scarlet Letter,” “The Cotton Club,” “Indecent Proposal,” and “Chaplin” just to name a few.
What a sad day. And with Barry passing, Morricone gone, Goldsmith gone, Williams working less and less… the old guard of composers from the late 60′s, 70′s, 80′s and 90′s is vanishing.
Excuse me, Ennio Morricone is still with us!
Resist the “R.I.P.”! “Somewhere in Time” – a favorite.