John Scott - SMC Artists

Transcription

JOHN SCOTT
COMPOSER
CONDUCTOR
BIOGRAPHY
RECIPIENT OF THE GOLD BADGE AWARD
BRITISH ACADEMY OF SONGWRITERS, COMPOSERS AND AUTHORS,
IN ASSOCIATION WITH PRS FOR MUSIC
PROFESSIONAL CREDENTIALS
DISCOGRAPHY
BOOKS AND PERIODICALS
THE REVIEWS
EXCLUSIVE REPRESENTATION BY OTTO VAVRIN II
JOHN SCOTT
BIOGRAPHY
For nearly sixty years, John Scott has
established himself as one of the finest composers
working in films today, having collaborated with
foremost producers and directors worldwide,
including Richard Donner, Mark Damon, Hugh
Hudson, Norman Jewison, Irvin Kershner, Daniel
Petrie, Roger Spottiswoode and Charlton Heston,
among others. He has been an essential voice in
international scoring that thoroughly belies his
occasional over-looked stature in the midst of ‘brand
name’ composers.
Frequently associated with Hollywood’s finest composers, including
Jerry Goldsmith, Elmer Bernstein and John Williams, John Scott has created a
body of work that stands up as some of the finest music ever written for film.
Patrick John Michael O’Hara Scott was born in Bishopston, Bristol,
England. John’s musical abilities are not without precedence—his father was a
musician in the Bristol Police Band. And, like many children, John was given
music lessons—first on the violin and later on the clarinet.
When John was 14, he enrolled in the British Army as a Boy Musician
with the Woolwich Royal Artillery in order to carry on his musical studies. He
continued his study of the clarinet, and harp. John went on to study the
saxophone, and became proficient enough that when he eventually left the
military, he was able to find steady work touring with some of the top British
bands of the era. Additional instruments included the vibraphone and flute,
which subsequently afforded him international recognition as a Jazz flautist.
Upon his discharge from the army in 1952, John played vibes with the
Norman Burns Quintet. In the late-50s, he worked with Vic Ash’s Sextet,
Kenny Baker, and co-led a group with Art Ellefson, as wells as freelancing in
many other groups. He led his own group for a while, and was featured with
Woody Herman’s Anglo-American Herd in 1959. Composing and arranging
for Ted Heath, John became involved in studio, film and Television work.
As time went on, people began to notice that John Scott had a unique
ability as an arranger of music. He was hired by EMI, and began to arrange and
conduct with some of EMIs top artists. John worked with The Beatles and their
producer George Martin, and went on to record with noted artists and groups,
including Tom Jones, Cilla Black, Matt Monro, Gerry and The Pacemakers, and
The Hollies (John contributed as arranger and conductor to
their mega-hits “He Ain’t Heavy, He’s My Brother” and
“Long Cool Woman [In a Black Dress],” among others).
However, John was also a working, playing musician. He
played with The Julian Bream Consort, Yehudi Menuhin,
Ravi Shankar, Nelson Riddle, John Dankworth, John Barry,
Cleo Laine and many others.
In Barry Miles’ “The Beatles Diary Volume 1: The
Beatles Years,” it is noted that John holds the distinction of
being the first musician to have been invited to be featured on their recordings,
playing both alto and tenor flute on “You’ve Got to Hide Your Love Away.”
“For a six-pound fee (roughly $17 at the time) and no credit,
Johnnie Scott recorded tenor and alto flute parts for the song.
The Beatles gave Scott some general direction and let him
sketch out the arrangement on his own. Scott did recall that
the boys were in a fine mood at the time. ‘Ringo was full of
marital joys,’ he said. ‘He’d just got back from his honeymoon.’”—Rolling Stone Magazine, September 19, 2011
In addition to working with others, in the
60s, John was the leader of a popular jazz quintet
and the noted Johnny Scott Trio (playing flute at
right with David Snell and Duncan Lamont).
Melody Maker, the premier British Pop music
paper of the 20th Century (1926-2000), issued an
annual Jazz poll. In the 60s, John was ranked as the
best flute player for six consecutive years, and
among the top three for a ten-year period.
It was at this time that John started to play saxophone on film scores.
He played principal sax for Henry Mancini—who was a teacher and mentor in
John’s development as a film composer—on Pink Panther, Charade and
Arabesque, and was principal sax on John Barry’s Goldfinger soundtrack, and
played flute on The Lion in Winter. This exposure to film music whetted John’s
appetite for composing music for films.
His first score was for the film A Study in Terror (James Hill, dir.).
Since that ‘big break,’ John has gone on to score over seventy motion pictures
over the years. His efforts have not gone unnoticed, for he is the recipient of
four Emmy Awards and numerous industry recognitions of his work.
There is an industry recognition that John did not
receive, for which he was originally nominated—the
Academy Award for Best Song in a Motion Picture. In 1974,
John wrote the music and Arthur Hamilton the lyrics for the
song “Remembering” for England Made Me. Lana Cantrell
performed the song. However, the song became disqualified due to Ms.
Cantrell’s vocal being recorded over the motion picture title strip at the end of
the feature. The Academy subsequently notified East Coast Records, and
requested the instrumental version be nominated in its place. The label declined
in support of Ms. Cantrell. As Chairman of the Music Branch’s Executive
Committee, it was Mr. Hamilton’s responsibility to disqualify his own song.
The rule was changed the following year, and the use of a song over the end
titles became eligible —and common practice.
John has not limited his compositions to the silver screen; he has also
composed many concert works including three symphonies, three ballets, an
opera, chamber ensembles and string quartets, among numerous others. He has
also conducted other film composers’ work for release on CD, as well as having
conducted most of the London orchestras, including the London Philharmonic
Orchestra, the Royal Philharmonic Orchestra and the London Symphony
Orchestra. Other European orchestras include the Prague Philharmonic,
Munich Symphony Orchestra and the Slovak Radio Symphony Orchestra.
In May 2006, John conducted the inaugural concert of the Hollywood
Symphony Orchestra at the magnificent Royce Hall on the campus of the
University of California, Los Angeles. As founder, conductor and artistic
director, it was a thrill of a lifetime. For the past 10 years, John has been
possessed with an
obsession for a deeper
investigation into the
heritage of film music.
It is his goal to place
the best of symphonic
film music fairly and
squarely alongside the
accepted symphonic
repertoire in major concert halls. He believes it is time that great composers of
symphonic film music are given proper recognition.
As president of the Hollywood Symphony Orchestra Society, John is
developing programs to establish activities involving interaction between
schools, the orchestra and a variety of multimedia projects, to help students
explore and understand the concept and value of music for film. The Society
will be holding special competitions in the area of film music composition, and
providing mentoring from masters of the art, with grant winners performing
their work on stage, to film, with a full orchestra.
John has also founded his own record company, JOS Records, Beverly
Hills, California. JOS is unusual in that it is a
label that is run by a composer, and that it
releases the composer’s own music. This is not
unprecedented in the history of musical
recordings (e.g. Elmer Bernstein’s Film Music
Club, and some Stanyan recordings by Rod McKuen) but not on this type of
scale and for this length of time. JOS Records has released some 35 CDs since
1989! Film music fans are thankful that these scores, some of them quite
obscure, have been released at all.
Additionally, John has launched a new Web site devoted to his own
soundtrack label at www.JOSRecords.com, which contains exclusive content
and all the latest news and information about his work.
On October 16, 2013, the British Academy of
Songwriters, Composers and Authors (BASCA), in association
with PRS for Music, honored John Scott with the prestigious
Gold Badge Award, with a formal presentation at their 40th
Award Ceremony. The Awards are presented annually to
exceptional people from cross the music industry for their contribution to
Britain’s music industry.
John is a resident of London, England and Los Angeles, California.
The Annual Gold Badge Awards
HONOURING A UNIQUE CONTRIBUTION TO MUSIC
John Scott Honored For His Work
London, September 16, 2013—Each year, the British
Academy of Songwriters, Composers and Authors
(BASCA), in association with PRS for Music, celebrate the achievements of an
outstanding group of men and women who have made a special contribution to
Britain’s music industry. The 40th Anniversary Gold Badge Awards will take place at
a luncheon on Wednesday 16th October 2013 at The Savoy, London. The ceremony,
hosted by Guy Fletcher OBE, is presented by BASCA in association with PRS for
Music.
The Awards - Each year up to twelve recipients from all areas of the music industry
are recognised for their work in support of British songwriters and composers. The
awards are an opportunity for BASCA members to acknowledge and thank those who
have contributed to their career.
Past recipients include performers, session musicians, producers and engineers,
orchestrators, arrangers, publishers, managers and broadcasters. Some recipients may
also be songwriters or composers in their own right but all have supported the music
writing community through aspects of their work.
Gold Badge Awards 2013 - The 40th Anniversary Gold Badge Award Recipients
are:
Guy Barker
Stephen Navin
Johnnie Walker
Roger Dean
John Scott
Alison Wenham
Don Letts
Bonnie Tyler
James Wyllie
Jane Manning
Mike Vernon
Bill Wyman
John Scott is a musician, arranger and film composer. He played flute on The Beatles’
“You’ve Got to Hide Your Love Away,” arranged and conducted The Hollies’ “He
Ain’t Heavy, He’s My Brother,” and performed and conducted Gerry and The
Pacemakers’ “Ferry Cross the Mercey,” among many others. After playing principle
saxophone on Henry Mancini's Pink Panther score, John began composing for film,
and has since scored over 70 films. He is also the recipient of four Emmy Awards for
his work in Television.
How it all started - As the Ivor Novello Awards were nearing their 20th year the
legendary songwriter, Jimmy Kennedy, then Chairman of The Songwriters’ Guild of
Great Britain, decided a publicly recognised tribute to those who worked in support of
songwriters was long overdue and so the Gold Badge Awards were born.
The first ceremony was held as part of the Music Publishers' Association lunch in
London's Connaught Rooms on 12th September 1974. The first year included record
producer Mickie Most, musical director Vilem Tausky and Vera Lynn.
What brings them together is that each recipient has made an outstanding contribution
to Britain’s music industry.
JOHN SCOTT
COMPOSER
www.JOSRecords.com
United Kingdom
CONDUCTOR
[email protected]
United States
Citizenship: United Kingdom
United States
INDUSTRY RECOGNITION
The 40th Anniversary Gold Badge Award
Honouring a Unique Contribution to Britain’s Music Industry
British Academy of Songwriters, Composers and Authors, in association with PRS for Music
Academy Award Nominee, Best Song in a Motion Picture (Disqualified, See Biography)
“Remembering” from the Motion Picture England Made Me (Peter Duffell, dir.)
Lyrics by Arthur Hamilton, Performed by Lana Cantrell
Ivor Novello Award, British Academy of Composers and Songwriters
Best Theme, Radio and Television
Nationwide, “The Good Word,” British Broadcasting Corporation
Emmy Award
Outstanding Individual Achievement in News and Documentary Programming
Cape Horn, Waters of the Wind (Jacque-Yves Cousteau & Jacques Gagné, dirs.)
Emmy Award
Outstanding Individual Achievement in Theme and Music Direction
The World About Us: Wild Dogs of Africa (Jane Goodall & Baron Hugo Van Lawick, dirs.)
Emmy Award
Outstanding Individual Achievement in Theme and Music Direction
To the Ends of the Earth (William Kronick, dir.)
Emmy Award
Outstanding Individual Craft, Original Music
Little Vic, ABC (Harvey Herman, dir., Danny Wilson, prod.)
Best Original Film Score
Madrid International Film Festival
Horror Planet [aka Inseminoid], (Norman J. Warren, dir.)
MOTION PICTURES
MARGERY BOOTH: KNICKER SPY
Imperial Film Productions
Xavier Koller, dir.
Franz von Habsburg, exec. prod.
Tarquin Olivier, prods.
SUMMER NIGHT, WINTER MOON
Imperial Film Productions
Xavier Koller, dir.
Franz von Habsburg, exec. prod.
Tarquin Olivier, Tatiana von Saxe, prods.
TROUBLE WITH THE CURVE (Soundtrack)
Warner Bros.
Robert Lorenz, dir.
Clint Eastwood, Michele Weisler, prods.
THE WICKER TREE
Tressock Films / British Lion Film Corporation
Robin Hardy, dir.
Alastair Gourlay, exec. prod.
Peter Snell, Peter Watson-Wood, prods.
HEXENJAGD IN MAUTERNDORF (Soundtrack)
Martin Nechvatal, dir./prod.
THE LOVELY BONES (Soundtrack)
DreamWorks SKG
Peter Jackson, dir.
Fran Walsh, Carolynne Cunningham,
Aimee Peyronnet, prods.
OF TIME AND THE CITY (Soundtrack)
HanWay Films
Terence Davies, dir.
Roy Boulter, Sol Papadopoulos, prods.
THIS FILM IS NOT YET RATED (Soundtrack)
IFC Films
Kirby Dick, dir.
Nick Fraser, Alison Palmer-Burke,
Evan Shapiro, exec. prods.
Eddie Schmidt. Prod.
ROBIN HOOD (1922 Silent Version, Scored)
Douglas Fairbanks Productions
Allan Dwan, dir.
Douglas Fairbanks, prod.
THIS FILMS IS NOT YET RATED (Featured song, Roses Today
Chain Camera Pictures / BBC
)Kirby Dick, dir.
Alison Palmer Bourke, Evan Shapiro, exec. prods.
Eddie Schmidt, prod.
THE LONGEST YARD (Soundtrack)
Paramount Pictures
Peter Segal, dir.
Jack Giarraputo, prod.
GARFIELD (Featured song, Far From Home: The Adventures of Yellow Dog)
20th Century Fox
Peter Hewitt, dir.
Brian Manis, Neil A. Machlis, exec. prod.
John Davis, Michele Imperato, John Kilkenny, prods.
PETITES COUPURES (aka SMALL CUTS)
Canal Plus
Pascal Bonitzer, dir.
Douglas Cummins, Philippe Liégeois,
Jean-Michel Rey, prods.
TIME OF THE WOLF (aka THE BOY FROM WOLF MOUNTAIN) Rod Pridy, dir.
Chesler/Perlmutter Productions / ApolloMedia
Martin Barab, Alain Bordiec, Georges Campana, Lewis
Chesler, Peter Paulich, David Perlmutter,
Robert Vaughn, exec. prods.
Paco Álvarez, Andrew Somper, Frank Hübner, prods.
ZOOLANDER (Soundtrack)
Paramount Pictures
Ben Stiller, dir.
Joel Gallen, Adam Schroeder, Lauren Zalaznik, exec. prods.
Stuart Corfeld, Scott Rudin, prods.
AMORES PERROS (Soundtrack)
Altavista Films / Lions Gate Films
Alejandro González Iñárritu, dir.
Martha Sosa Elizondo, Francisco González Campeán, exec.
prods.
REMEMBER THE TITANS (Soundtrack)
Jerry Bruckheimer / Buena Vista Pictures
Boaz Yakin, dir.
Michael Flynn, Mike Stenson, exec. prods.
Jerry Bruckheimer, Chad Omman, prods.
MARRIED 2 MALCOLM
Cinerenta Medienbeteiligungs KG / Marie Hoy Films
James Cellan Jones, dir.
Rainer Bienger, Marie Hoy, Paul Luke, exec. prods.
Alex Swan, Scott Putman, Jürgen Biefang, prods.
THE BRITISH INVASION RETURNS (Soundtrack)
Image Entertainment
Larry Rifkin, exec. prod.
Harriett Unger, prod.
THE LIMEY (Soundtrack)
Artisan Entertainment
Steven Soderbergh, dir.
John Hardy, Scott Kramer, prods.
DR. JEKYLL AND MR. HYDE (1920 Silent Version, Scored)
Paramount Pictures
John S. Robertson, dir.
Adolph Zukor, prod.
MYSTERY, ALASKA (Featured song, Mr. Big Cha Cha)
Baldwin/Cohen Productions, Hollywood Pictures
Jay Roach, dir.
Dan Kolsrud, exec. prod.
Howard Baldwin, David E. Kelley, prods.
SHERGAR
Blue Rider Pictures
Dennis C. Lewiston, dir.
Brian Agnew, exec. prod.
Jeff Geoffray, Walter Josten, Brian Agnew, prods.
EVIL HERITAGE: INDEPENDENT FILM-MAKING AND THE
FILMS OF NORMAN J. WARREN (Video Documentary Short)
Starlite Video (UK)
Darren Perry, dir./prod.
THE LONG ROAD HOME
GoDigital Media Group
Craig Clyde, dir.
J. David Gowdy, Wayne Lewis, exec. prods.
Bruce Fillmore, Ray Tremblay, prods.
THE NEW SWISS FAMILY ROBINSON
Total Films (GB)
Stewart Rafill, dir.
Gerald Green, exec. prod.
Diane Kirman, Patricia T. Green, prods.
A NIGHT AT THE ROXBURY (Soundtrack)
Paramount Pictures
John Fortenberry, dir.
Robert K. Weiss, exec. prod.
Amy Heckerling, Lorne Michaels, prods.
THOMAS HARDY’S “THE SCARLET TUNIC”
Marie Hoy Films
Stuart St. Paul, dir.
William. P. Cartlidge, Tom McCabe, exec. prods.
Daniel Figuero, Zygi Kamasa, Philip Keenan,
Simon Price, prods.
WALKING THUNDER
KOAN Inc.
Craig Clyde, dir.
Joe Brady, exec. prod.
Bryce Filmore, Ray Tremblay, Troy Rohovit, prods.
RUDYARD KIPLING’S “THE SECOND JUNGLE BOOK:
MOWGLI AND BALOO”
MDP Worldwide / TriStar Pictures
Duncan “Dee” McLachman, dir.
Mark Damon, Sharad Patel, Chris Chrisafis, Stephen
Monas, Viju Patel, Mohammed Yusef, exec. prods
Stephen Monas, Peter Shepherd, prods.
TASHUNGA (aka NORTH STAR, GRAND NORD)
Federal Films / Warner Bros.
Nils Gaup, dir.
Christopher Lambert, exec. prod.
Anne Francois, Conchita Airoldi, Petter Borgli,
Dino de Dionisio, Luke Randolph, prods.
FAR FROM HOME: THE ADVENTURES OF YELLOW DOG
20th Century Fox
Phillip Borsos, dir.
Peter O’Brian, prod.
DER FALL LUCONA (aka THE LUCONA AFFAIR)
Telemünchen
Jack Gold, dir.
Gerhard Czepe, Michael Katz, exec. prods.
Manfred D. Heid, Veit Heidaschka, Herbert G. Kloiber,
Jorge Santoro, prods.
RUBY
Propaganda Films / PolyGram Filmed Entertainment
Rank Film Organization
John Mackenzie, dir.
Michael Kuhn, exec. prod.
Steve Golin, Jay Roewe, Sigurson Sighvatsson, prods.
HOMEBOYS
Action International Pictures
Lindsay Norgard, dir.
Vito Di Bari, exec. prod.
Lynn Suzanne Gould, James A. Holt, Peter Foldy, prods.
SHINDIG! PRESENTS BRITISH INVASION, VOL. 2 (Soundtrack) Trisha Wexler, dir.
Rhino Records / Rhino Home Video
BECOMING COLETTE (aka COLETTE)
Les Films Ariane / Castle Hill Productions
Danny Huston, dir.
Joe Wizan, Todd Black, Kathryn F. Galan, exec. prods.
Peer J. Oppenheimer, Heinz J. Bilbo,
Konstantin Thoeren, prods.
KABUTO (aka JOURNEY OF HONOR, SHOGUN MAYEDA)
Mayeda Productions
Gordon Hessler, dir.
Hiroshi Tsuchiya, Toshiaki Hayaashi, exec. prods.
Shô Kosugi, Ken Fujiyama, prods.
LIONHEART
Imperial Entertainment
Sheldon Lettich, dir.
Anders P. Jensen, Sundip R. Shah, Sunil R. Shah, exec. prods.
Eric Karson, Ash R. Shah, Ted Adam Swanson, prods.
KING OF THE WIND
Miramax Films
Peter Duffell, dir.
Peter S. Davis, Michael Guest, Wm. N. Panzer,
Paul Sarony, prods.
BLACK RAINBOW
Goldcrest Films / Miramax
Mike Hodges, dir.
George A. Walker, exec. prod.
Geoffrey Helman, John Quested, prods.
WINTER PEOPLE
Castle Rock Entertainment / Columbia Pictures
Ted Kotcheff, dir.
Robert H. Solo, Carol Sobieski, prods.
THE DECEIVERS
Merchant-Ivory Productions / Channel 4 Films / Warner Bros.
Nicholas Meyer, dir.
Michael White, exec. prod.
Ismail Merchant, Tim Van Rellim, Leon Falk, prods.
DIE HARD (Additional Music - Use of score from MAN ON FIRE)
Silver Pictures / 20th Century Fox
John McTiernan, dir.
Charles & Lawrence Gordon, Joel Silver, prods.
SHOOT TO KILL (aka DEADLY PURSUIT)
Touchstone Pictures
Roger Spottiswoode, dir.
Phillip Rogers, exec. prod.
Daniel Petrie Jr., Ron Silverman, Fredda Weiss, prods.
GENESIS: LIVE AT WEMBLEY STADIUM (Soundtrack)
Flattery Yukich
James Yukich, dir.
Paul Flattery, prod.
A PRAYER FOR THE DYING
Samuel Goldwyn Company / MGM
Mike Hodges, dir.
Samuel Goldwyn, Jr., Peter Snell, prods.
MAN ON FIRE (aka ABSINTHE, UOMO SOTTO TIRO)
7 Films Cinéma
Elie Chouraqui, dir.
Arnon Milchan, Robert Benmussa, prods.
THE WHISTLE BLOWER
Portreeve Limited (UK) / Hemdale Film
Simon Langton, dir.
John Kelleher, Phillip Nugus, James Reeve, exec. prods.
Geoffrey Reeve, Peter Dolman, prods.
KING KONG LIVES
De Laurentis Entertainment Group
John Guillermin, dir.
Dino De Laurentis, Ron Shusett, exec. prods.
Martha Shumacher, Lucio Trentini, prods.
DOG TAGS
Daars Productions
Romano Scavolini, dir.
Alain Adam, Dalu Jones, Charles Wang, prods.
THE SHOOTING PARTY
Castle Hill Productions
Alan Bridges, dir.
Jeremy Saunders, exec. prod.
Peter Dolman, Geoffrey Reeve, prods.
GREYSTOKE: THE LEGEND OF TARZAN,
LORD OF THE APES
Edgar Rice Burroughs / Warner Bros.
Hugh Hudson, dir.
Hugh Hudson, Stanley S. Cantor, Garth Thomas, prods.
YOR: THE HUNTER FROM THE FUTURE (aka IL MONDO DI YOR)
Gaumont / Les Films du Diamant / Columbia Pictures
Antonio Margheriti, dir.
Michele Marsala, Sedat Akdemir, Ugor Terzioglu, prods.
FIRST LOVE: EXPERIENCE PREFERRED…BUT NOT ESSENTIAL
Enigma Films / Samuel Goldwyn Company
Ned Sherrin, dir.
Christopher Griffin
HORROR PLANET (aka INSEMINOID)
Jupiter Film /Almi Cinema
Norman J. Warren, dir.
Peter M. Schlessinger, exec. prod.
Richard Gordon, David Speechly, prods.
THE FINAL COUNTDOWN
The Bryna Company / United Artists
Don Taylor, dir.
Peter Vincent Douglas, prod.
THE LITTLE CONVICT (Soundtrack)
Yoram Gross Films
Yoram Gross, dir.
Sandra Gross, prod.
NORTH DALLAS FORTY
Frank Yablans Productions / Paramount Pictures
Ted Kotcheff, dir.
Jack B. Bernstein, exec prod.
Frank Yablans, Frank Baur, prods.
THE SAINT AND THE BRAVE GOOSE
Umbrella Entertainment
Cyril Frankel, dir.
Robert S. Baker, exec. prod.
Roger Moore, prod.
THE PEOPLE THAT TIME FORGOT
Amicus Productions / MGM/UA
Kevin Connor, dir.
Samuel Z. Arkoff, Steve Previn, exec. prods.
John Dark, Max Rosenberg, prods.
EVIL HERITAGE
Monumental Pictures / Crown International Pictures
Richard Crafter, Les Young, Moira Young, prods.
THE WHITE WALL (Soundtrack)
Svenska Filminstitutet
Stig Björkman, dir.
Bengt Forslund, prod.
THAT LUCKY TOUCH (aka BLEIB MIR JA VOM LEIB)
De Grunwald Pictures (GB) / Allied Artist Pictures
Christopher Miles, dir.
Dimitri De Grunwald, Timothy Burrill, prods.
HENNESSY
American International / Orion Pictures
Don Sharp, dir.
Samuel Z. Arkoff, Peter Snell, prods.
SYMPTOMS (aka BLOOD VIRGIN)
Finiton Productions / Bryanston Films (GB)
José Ramón Larraz, dir.
Jean L. Dupuis, prod.
PENNY GOLD
Scotia-Barber Productions / Fanfare Films
Jack Cardiff, dir.
George H. Brown, prod.
STARDUST (Soundtrack)
Goodtimes Enterprises / Columbia Pictures
Michael Apted, dir.
Sanford Lieberson, David Puttnam, prods.
S*P*Y*S (European Version)
20th Century Fox
Irvin Kershner, dir.
Robert Chartoff, Irwin Winkler, Edward Joseph, prods.
CRAZE (aka THE INFERNAL IDOL)
Harbor Productions / Warner Bros.
Freddie Francis, dir.
Herman Cohen, prod.
BILLY TWO HATS
Algonquin / United Artists
Ted Kotcheff, dir.
Norman Jewison, Patrick J. Palmer, prods.
INVASION: UFO (Compilation Video, Soundtrack)
Rex Films Home Videos
Gerry Anderson, dir.
Reg Hill, prod.
HEXEN GESCHÄNDET UND ZU TODE GEQUÄLT
(MARK OF THE DEVIL II) (Co-Composer)
Atlas / Cinépix Film Properties
Adrian Hoven, dir./prod.
GIRL STROKE BOY
Hemdale Film / Virgin / London Screen
Bob Kellett, dir.
Terry Glinwood, Ned Sherrin, prods.
ENGLAND MADE ME
Atlantic Productions / Two World Film / Cineglobe
Peter Duffell, dir.
C. Robert Allen, , Stevo Petrovic, exec. prods.
Jack Levin, David Anderson, Jerome Z. Cline,
Zika Vojcic, prods.
DOOMWATCH
Tigon British Film Productions / AVCO Embassy Pictures
Peter Sasdy, dir.
Tony Tenser, prod.
ANTONY AND CLEOPATRA
Folio Films / Rank Film Organization
Charlton Heston, dir.
Peter Snell, prod.
THE JERUSALEM FILE
Sparta Films / MGM
John Flynn, dir.
Mark Greene, exec. prod.
R. Ben Efraim, Anton von Kassel, prods.
WAKE IN FRIGHT (aka OUTBACK)
NLT Productions / Group W Films / United Artists
Festival de Cannes, Autour de la Sélection 2009, Héritage Film
Festival de Cannes, Nominee, Palm d’Or
Ted Kotcheff, dir.
Howard G. Barnes, Bill Harmon, exec. prods.
George Willoughby, Maurice Singer, prods.
CONQUISTA
Michael Syson, dir.
Michael Syson, David Munro, prods.
LOLA (aka TWINKY)
Eurofilm / Rank Film Organization
Richard Donner, dir.
John Heyman, exec. prod.
Clive Sharp, Ralph Serpe, Bino Cicogna,
Norman Thadeus Vane, prods.
LISA’S FOLLY (aka HOT CARGO)
Chancellor Films / Warner Bros.
John Alderman, dir.
TROG
Herman Cohen Productions / Warner Bros.
Freddie Francis, dir.
Herman Cohen, Harry Woolveridge, prods.
CROOKS AND CORONETS (aka SOPHIE’S PLACE)
Herman Cohen Productions / Warner Bros.
Jim O’Connolly, dir.
Herman Cohen, Clifford Parkes, prods.
LOVING FEELING
Piccadilly Pictures / Universal-Marion
Bachoo Sen, prod.
THE GREEN SLIME (Soundtrack)
Lun Film / MGM
Kinji Fukasaku, dir.
Walter Manley, Ivan Reiner, prods.
AMSTERDAM AFFAIR
Trio Films / Group W Films
Gerry O’Hara, dir.
William J. Gell, Howard G. Barnes, exec. prods.
George W. Willoughby, prod.
FINDERS KEEPERS, LOVERS WEEPERS! (Soundtrack)
Eve Productions
Russ Meyer, dir./prod.
HER PRIVATE HELL
Piccadilly Pictures
Bachoo Sen, prod.
BERSERK! (aka CIRCUS OF TERROR)
Herman Cohen Productions / Columbia Pictures
Jim O’Connolly, dir.
Herman Cohen, Robert Sterne, prods.
COP-OUT (aka STRANGER IN THE HOUSE)
De Grunwald Productions / Rank Film Organization
Pierre Rouve, dir.
Anatole de Grunwald, exec. prod.
Dimitri de Grunwald, prod.
THE LONG DUEL
Rank Film Organization / Paramount Pictures
Ken Annakin, dir.
Vivian Cox, Aida Young, Frank Sherwin Green,
Ken Annakin, prod.
JULES VERNE’S ROCKET TO THE MOON
(aka THOSE FANTASTIC FLYING FOOLS)
Jules Verne Films Limited (GB)
Don Sharp, dir.
Harry Alan Towers, prod.
THE MILLION EYES OF SU`MURU
American International Pictures / Warner Pathé
Lindsey Shonteff, dir.
Harry Alan Towers, prod.
THE VIOLENT ENEMY
Group W Films / Monarch
Don Sharp, dir.
Wilfred Eades, William J. Gell, prods.
GIRL SMUGGLERS
Barry Mahon Productions
Bob Kellett, dir.
Barry Mahon, Ned Sherrin, prods.
THE HUNCH
Anvil Films / Children’s Film Foundation
Sarah Erukker, dir.
J.B. Holmes, prod.
CANABY, M.D. (aka DOCTOR IN CLOVER)
Ralph Thomas, dir.
Betty E. Box, prod.
ARRIVEDERCI, BABY! (aka DROP DEAD DARLING) (Soundtrack)
Seven Arts Productions / Paramount Pictures
Ken Hughes, dir.
Ken Hughes, Ray Stark, Richard McWhorter,
Greg Morrison, prods.
REFLECTIONS ON LOVE (THE BEATLES)
Clarendon Film Productions
Joe Massot, dir.
J. Barry Kulick, The Beatles, prods.
SHERLOCK HOLMES: A STUDY IN TERROR
Compton Films / Columbia Pictures
James Hill, dir.
Herman Cohen, exec. prod.
Michael Klinger, Henry E. Lester, prods.
FRAGMENT (Short)
Holland Park Film Studios / Mantic Films /
Anchor Bay Entertainment
Michael Craze, prod.
MY LOVE IS LIKE A ROSE (Soundtrack)
Svensk Filmindustri
Hasse Ekman, dir./prod.
ALL NIGHT LONG (Additional Music)
The Rank Organisation / Colorama Features
Basil Dearden, dir.
Micheal Relph, Bob Roberts, prods.
MOTION PICTURE – DOCUMENTARIES
RED AND WHITE: GONE WITH THE WEST (Feature Documentary)
Jules Verne Aventures
Jean-Christophe Jeauffré, dir.
Frédéric Dieudonné, Stéphanie de Saint Laumer,
exec. prods.
ST. LAWRENCE: STAIRWAY TO THE SEA
(aka DU GRAND LARGE AUX GRANDS LACS)
Foundation Cousteau / National Film Board of Canada
Jacques-Yves Cousteau, Jacques Gagné, dir.
Jacques Bobet, exec. prod.
Jacques-Yves Cousteau, John Soh, prods
100 YEARS UNDER THE SEA: SHIPWRECKS OF THE CARIBBEAN
(Feature Documentary)
exec. prods.
AMAZON TREK: IN SEARCH OF VANISHING SECRETS (Feature Documentary)
Best Feature Documentary, White Sands International
Film Festival
exec. prods.
EXPÉDITION JULES VERNE: A BORD DU TROIS-MÂTS BELEM (Feature Documentary)
Jean-Christophe Jeauffré, Stéphanie de Saint Laumer,
Frédéric Dieudonné, Nicholas Goldzahl, prods.
LES BALEINES DE L’ATLANTIDE (WHALES OF ATLANTIS) (Feature Documentary)
Jean-Christophe Jeauffré, Stéphanie de Saint Laumer,
Frédéric Dieudonné, Nicholas Goldzahl, prods.
DEVIL’S ISLAND: JOURNEY INTO THE JUNGLE ALCATRAZ (Feature Documentary)
exec. prods.
EXPLORERS: FROM THE TITANIC TO THE MOON (Feature Documentary)
Charles Delattre, Jean-Christophe Jeauffré, prods.
JACQUES COUSTEAU: THE FIRST 75 YEARS (Feature Documentary)
Foundation Cousteau
John Soh, dir.
Jacques-Yves Cousteau, prod.
CLIPPERTON: THE ISLAND TIME FORGOT
Warner Bros.
Jacques Ertaud, dir.
Jacques-Yves Cousteau, John Soh, prods
WHERE EAGLES FLY
Royal Society for the Protection of Birds
John Pattison Tompkins, prod.
TO THE ENDS OF THE EARTH*
Armand Hammer Productions
William Kronick, dir.
CONCRETE IS…
Pelican Films / Cement and Concrete Association
Paddy Hughes, dir.
John Armstrong, prod.
THE LIVING PLANET
Smithsonian Institute
Dennis Moore, dir.
Francis Thompson, prod.
BLOODY IVORY
Swan Productions
Simon Trevor, dir.
Simon Trevor, Bill Travers, prods.
IT’S SOUND SENSE
Kestrian International / Motoradio
Maxwell Jenkins, dir./prod.
Janus, Europe's Architectural Heritage
James Garrett Productions
Anthony Wilkinson, dir.
Michael Birkett, prod.
FOCUS ON SIGHT
James Hill Productions / Royal Commonwealth Society for the Blind
James Hill, dir./prod.
THE QUEEN’S GARDEN
Swan Productions
Bill Travers, James Hill, dirs./prods.
EXPEDITION: ROUGH COUNTRY
Explorer Films
Maurice Dybeck, dir./prod.
PROBLEMS OF LIVING
Cygnet Films / Berk Pharmaceuticals
Alison Taylor, dir.
Jack Grossman, prod.
PROGRESS ISLAND U.S.A.
Economic Development Administration of Puerto Rico
Jorgé Delgado, dir.
THE VITAL EARTH
Millbank Films / Central Office of Information
Ian Morrison, dir.
L. Gordon Begg, prod.
BRIDGE ACROSS THE WORLD
Millbank Films / ICI Fibres
D.H. Evans, dir./prod.
COMMUNICATE TO LIVE
Basic Films / Post Office Telecommunications
Ronnie Whitehouse, dir.
Sam Napier-Bell, prod.
ROAD TO RECOVERY
Millbank Films / Imperial Chemical Industries
David Evans, dir./prod.
THE PIRELLI CALENDAR 1974
Derek Forsyth Partnership / Pirelli Tires
Christian Marnham, dir.
Derek Forsyth, prod.
FLEETCARE
Ronald H. Riley and Associates / Shell-Mex / BP
Michael Barden, dir.
Ronald H. Riley, prod.
IRRESISTIBLE
Ford Motor Company of Latin America
Hugh Hudson, dir./prod.
THE WELCOME INN
Rayant Pictures / British Tourist Authority
Tom Williamson, dir.
John Durst, prod.
CUMBERNAULD – TOWN FOR TOMORROW
Edinburgh Film Productions / Cumbernauld Development Corp.
Robin Crichton, dir.
Lionel Cole, prod.
PENNY FOR YOUR THOUGHTS
David Evans, dir.
THE CHOICE
Ronnie Whitehouse, dir.
THE CLIMBERS
Bev Clark, dir./prod.
Jan Films
Best Climbing Film, International Festival of Exploration and Mountain Films, Trento, Italy
SKI DREAM
Jan Films
Bev Clark, dir./prod.
DEAD SAFE
Millbank Films / Imperial Metal Industries
Ronnie Whitehouse, dir
GIVE YOUR CAR A HOLIDAY
British Transport Films / British Railways Board
Ian Woolf, dir.
James Ritchie, prod.
SUGAR AS ENERGY
Edinburgh Film Productions / British Sugar Bureau
Robin Crichton, dir.
Trish Crichton, prod.
RIVERSIDE 2000
World Wide Pictures
Peter Bradford, prod.
SHELLARAMA / PUSH BUTTON GO
Shell Film Unit / Shell International Petroleum Company
Richard Cawston, dir.
Demitri De Grunwald, Roger Good, prods.
DESIGN FOR TODAY
Cammell Hudson Associates / Associated British Pathé
Hugh Hudson, dir.
David Cammell, Lionel Hoare, prods.
DRAGONFLY
F.W. McConnel
P.A. Campbell, dir./prod.
BIRDS AND PLANES
VFW-Fokker
Hugh Hudson, dir.
Herbert Phillips, prod.
MOTION PICTURES – MUSICIAN ONLY (Incomplete List)
ARABESQUE, Henry Mancini, comp.; Flute, Lead Saxophone
CHANCE MEETING, Richard Rodney Bennett, comp.;
Flute, Saxophone
CHARADE, Henry Mancini, comp.; Flute, Saxophone
DR. NO, John Barry, comp.; Lead Saxophone
GOLDFINGER, John Barry, comp.; Lead Saxophone
THE IPCRESS FILE, John Barry, comp.; Saxophone
THE LION IN WINTER, John Barry, comp.; Flute
ONE WAY PENDULUM, Richard Rodney Bennett, comp.;
The Johnny Scott Quintet
PINK PANTHER, Henry Mancini, comp.; Flute, Lead
Saxophone
REPULSION, Chico Hamilton, comp.; Tenor Sax, Flute
THE WHISPERERS, John Barry, comp.; Flute, Saxophone
WILD FOR KICKS, John Barry, comp.; Flute
VIDEOGAME
THE GODFATHER II (Soundtrack)
Electronic Arts (EA) Redwood Shores
Si Duy Tran, dir.
TELEVISION – TELEFILMS / MINISERIES / SERIES (*Emmy Award Recipient)
A TO Z
Le Train Train / NBC
Various, dirs.
Rashida Jones, Will McCormack, Bill Jones, ex. prods.
THE SIXTIES (Soundtrack)
Herzog & Company
Stephen J. Morrison, Jonathan Buss, Jenny Ewig, prods.
TOP OF THE POPS: THE STORY OF 1978 (Soundtrack)
BBC
Dione Newton, dir./prod.
THE ROTH SHOW (Soundtrack)
David Lee Roth, prod.
AMERICAN HORROR STORY (Soundtrack)
Brad Falchuck Teley-Vision / FX Network
Various, dirs.
Brad Falchuck, prod.
EASTENDERS (Soundtrack)
BBC London
Various, dirs.
Diederick Sander, John Yorke, Brian Kirkwood, exec. prods.
SIR JOHN DANKWORTH ON THE BBC (Soundtrack)
BBC London
Andy Dunn, dir.
NIP TUCK: BENNY NILSSON (Soundtrack)
Ryan Murphy Productions / FX Network
John Scott, dir.
Ryan Murphy, Sean Jablonski, exec. prods.
SPONGEBOB SQUAREPANTS (Soundtrack, Multiples)
United Plankton Pictures / Nickelodeon Network
Various, dir.
Donna Castricone, Stephen Hillenburg, prods.
20 TO 1: SCENE-STEALING SONGS (Soundtrack)
Nine Network Australia
R.P. Sekon, exec. prod.
JEFFERSON ANDERSON: VELI (aka PASILA) (Soundtrack)
Filmiteollisuus Fine
Atte Järvinen, dir.
Olli Haikka, Riina Hyytiä
LIFE ON MARS (Soundtrack, Multiples)
Kudos Film & Television / BBC Wales
S.J. Clarkson, dir.
Jane Featherstone, Matthew Graham, exec. prods.
GILES WEMMBLEY HOGG GOES OFF…TO GLASTONBURY (Soundtrack)
Pozzitive Productions / BBC
Geoff Posner, dir.
David Tyler, prod.
NUMB3RS (Soundtrack)
CBS Paramount Network Television / CBS
Dennis Smith, dir.
Barry Shindel, Ridley & Tony Scott, exec. prods.
ROSEMARY AND THYME (Multiples)
Carnival Films & Theater Limited
Simon Langton, Brian Farnham, dirs.
Brian Eastman, prod.
BURIED SECRETS (Multiples)
New Dominion Pictures / Discovery Channel
Joe Wiecha, dir.
Tom Naughton, prod.
100 GREATEST NUMBER ONE SINGLES (Soundtrack)
Channel 4 Television (UK)
Stuart Maconie, dir.
Peter A. Gordon, John Piper, prods.
HOLLYWOOD ROCKS THE MOVIES: THE EARLY YEARS
(1955-1970) (Documentary) (Soundtrack)
Foxstar Productions / Prometheus Entertainment / AMC
Edith Becker, Kevin Burns, dirs.
David Sehring, prod.
BAR HOPPING (Soundtrack, featured song, Tear It Apart)
J&J Film Company
Steve Cohen, dir.
Edward Oleschak, exec. prod.
Jonathan D. Krane, Anson Downes, Linda Favila, prods.
HEAT VISION AND JACK (Short, Soundtrack)
Red Hour Films
Ben Stiller, dir.
Steve Beers, prod.
CARTOON SUSHI (Soundtrack)
DNA Productions / MTV
Various, dirs.
Abby Terkuhle, Peter Gustafsson, prods.
THE MILL ON THE FLOSS
Carnival Films (GB)
Graham Theakston, dir.
Rebecca Eaton, David M. Thompson, exec. prods.
Brian Eastman, Laura Julian, prods.
20,000 LEAGUES UNDER THE SEA
Hallmark Entertainment
Michael Anderson, dir.
Robert Halmi, Sr., exec. prod.
John Davis, Joe Wiesenfeld, prods.
THE FAMOUS FIVE (Soundtrack)
Portman Productions / ITV Network
Various, dirs.
James Gatward, exec. prod.
Sidney Hayers, Don Leaver, prods.
DEADLY VOYAGE
Viva Films / BBC / HBO
John Mackenzie, dir.
George Faber, Danny Glover, Franc Roddam, exec. prod.
John Goldschmidt, Bradley Adams, prods.
BALLYKISSANGEL (Soundtrack)
BBC Northern Ireland
Various, dirs.
Conor Harrington, Alan Moloney, exec. prods.
KABLAM! (Soundtrack)
Flying Mallet Productions / Nickelodeon Network
Frank Gresham, dir.
Mary Harrington, Will McRobb, Chris Viscardi,
exec. prods.
ALISTAIR MACLEAN’S DETONATOR II: NIGHT WATCH
British Lion Film Corporation / New Line Cinema / USA Pictures
David Jackson, Michael Steinberg, dir.
Peter Snell, Mike Mihalic, Boris Dmitrovic, prods.
THE REN AND STIMPY SHOW (Soundtrack, Multiples)
Games Animation / Nickelodeon Network
Various, dirs.
Vanessa Coffey, David Lipman, exec. prods.
NOEL’S CHRISTMAS PRESENTS (Soundtrack)
BBC London
Guy Freeman, dir.
Michael Leggo, prod.
WITCHCRAFT (Miniseries)
BBC / 20th Century Fox
Peter Sasdy, dir.
Carol Parks, prod.
DALLAS (Multiples)
Lorimar Television / CBS
Various, dir.
Leonard Katzman, Lee Rich, Philip Caprice, prods.
BLOOD ROYAL: WILLIAM THE CONQUEROR
Britannic Film and Television
Peter Jeffries, dir.
Peter Snell, prod.
RED KING, WHITE KNIGHT
Citadel Entertainment / HBO
Geoff Murphy, dir.
David R. Ginsburg, Endre Sik, exec. prods.
John Kemeny, Jeffrey Sudzin, prods.
CHEERS (Soundtrack, Multiples)
Charles/Burrows/Charles Productions / NBC Network
James Burrows, dir.
Glen Charles, James Burrows, Les Charles, exec. prods.
ENDING UP
Thames TV (GB) / PBS
Peter Sasdy, dir.
Lloyd Shirley, exec. prod.
Peter Sasdy, prod.
CLASSIC GHOST STORIES (Soundtrack)
BBC
David Bell, dir.
Angela Beeching, prod.
HAREM
Highgate Pictures / New World Television
William Hale, dir.
Martin Manulis, exec. prod.
Michael Dryhurst, Joel B. Michaels, Frank Doelger,
Helen Verno, prods.
$50,000 A MINUTE (Theme)
Bob Stewart Productions
Bob Stewart, prod.
PRISONER: CELL BLOCK H (Soundtrack, Multiples)
Fremantle Corporation / BBC
Various, dirs.
Ian Bradley, Godfrey Philip, Reg Watson, prods.
ALFESCO (Soundtrack)
Granada Television
Stuart Orme, dir.
Sandy Ross, John G. Temple, prods.
NATIONWIDE (Theme Music, Multiples)
BBC
Various, dirs.
Mike Strong, Sue Ayling, John Williams, prods.
SUPER BOWL VI, IX, X, XIV & XV (Soundtrack, Multiples)
NFL Films
Various, dirs.
Various, prods.
HAVE I GOT YOU…WHERE YOU WANT ME (Multiples) Ronnie Baxter, dir./prod.
Granada Television
THE TREACHERY GAME: PART I, II & III
BBC Scotland / E! Entertainment Television
Ken Hannam, dir.
Bob McIntosh, prod.
THE HOSTAGE TOWER
Jerry Leider Productions / CBS
Claudio Guzmán, dir.
Simona Benzakein, Jerry Leider, exec. prods.
Burt Nodella, Peter Snell, Joel Monwood, prods.
ASSASSINATION RUN: PART I, II & III (Miniseries)
BBC Scotland / E! Entertainment Television
Ken Hannam, dir.
Bob McIntosh, prod.
THE RETURN OF THE SAINT (Multiples)
Incorporation Television Company (ITC)
Various dirs.
Robert S. Baker, exec. prod.
Anthony Spinner, prod.
COME BACK, MRS. NOAH (Multiples)
BBC
Bob Spiers, dir.
David Croft, prod.
THE QUINNS
Daniel Wilson Productions / ABC
Daniel Petrie, dir.
Daniel Wilson, prod.
NOUVELLES DE HENRY JAMES: L' AUTEUR DE BELTRAFFIOTony Scott, dir.
Scott Free Enterprises / Techisonor Production
Stephen Bayly, prod.
BARETTA
Roy Huggins-Public Arts Productions / ABC
Charles R. Rondeau, dir.
Stephen J. Cannell, Frank Dandridge, prods.
MIDWEEK NEWS MAGAZINE (Multiples)
BBC
Ned Sherrin, dir.
MOVIN’ ON
D’Antoni/Weitz Productions / NBC
Phillip D’Antoni, Barry J. Weitz, exec. prods.
MR. SHEPARD & MR. MILNE
Andrew Holmes Productions
Andrew Holmes, dir./prod.
THE MONDAY NIGHT MOVIE QUIZ (Theme, Multiples)
BBC London
Des Sissons, dir.
John Buttery, prod.
RYAN (Soundtrack)
Crawford Productions
Various, dirs.
Terry Stapleton, exec. prod.
TEDDY EDWARD (Animation, Multiples)
Q3 London / BBC
Howard Kennett, dir.
Michael Grafton-Robinson, Mollie Matthews,
Patrick Matthews, prods.
POP GO THE SIXTIES! (Soundtrack)
BBC
Stanley Dorfman, dir.
Johnnie Stewart, prod.
JOURNEY TO THE UNKNOWN (Multiples)
Hammer Film Productions / 20th Century-Fox TV / ABC TV
Various, dirs.
Joan Harrison, exec. prod.
Anthony Hinds, prod.
DR. WHO (Soundtrack, Multiples)
BBC
Douglas Camfield, Morris Barry, dirs.
Peter Bryant, prod.
SHINDIG (Soundtrack, Multiples)
ABC
Various, dirs.
Jack Good, Dean Whitmore, prods.
THE EUROVISION SONG CONTEST (Soundtrack)
European Broadcasting Union
Poul Leth Sørensen, dir.
THAT WAS THE WEEK THAT WAS (Multiples)
BBC
Marshall Jamison, dir.
Alasdair Milne, exec. prods.
Ned Sherrin, prod.
DIAMOND HUNTERS (Miniseries)
Global Entertainment Productions
Dennis Berry, dir.
Jonas Bauer, Guido & Maurizio De Angelis, exec. prods.
Jonas Bauer, Steven North, prods.
MASTERPIECE THEATRE: LORD MOUNTBATTEN- THE LAST VICEROY (Miniseries)
Brent Walker PLC / Aquarius TV
Tom Clegg, dir.
George A. Walker, exec. prod.
Judith de Paul, Mark Cassidy, prods.
THE COUNTRY CODE: WHEN IN THE COUNTRY (Public Information Filler)
Richard Taylor Cartoon Films / Central Office of Information Richard Taylor, prod.
LITTLE VIC (Six-Part Miniseries)*
ABC
Harvey Herman, dir.
Danny Wilson, Prod.
HALLELUJAH! (Multiples)
ABC Weekend Television (UK)
Jeff Milland, dir.
Ben Churchill, prod.
THIS WEEK IN BASEBALL (Theme)
Major League Baseball Productions
Larry Parker, Michael Kostel, Geoff Belinfanti, prods.
TEST CARD CLASSICS
BBC Television
TELEVISION – DOCUMENTARIES [Partial List] *EMMY AWARD RECIPIENT
COUSTEAU: MY FIRST 85 YEARS
Foundation Cousteau / TBS
Francine Cousteau, dir.
Jacques-Yves Cousteau, Pat Mitchell, exec. prod.
COUSTEAU’S REDISCOVERY OF THE WORLD II (Multiples)
Mose Richards, dir.
Jane Lippman, Richard Moses
AUSTRALIA: CONTINENT OF DREAMS (Miniseries)
Jacques-Yves Cousteau, Jean-Michel Cousteau,
Mose Richards, prods.
COUSTEAU’S REDISCOVERY OF THE WORLD I (Multiples)
Mose Richards, dir.
Jane Lippman, Richard Moses
COUSTEAU’S AUSTRALIA: THE LAST BARRIER
Cine Golden Eagle Award Recipient
Michael Deloire, dir.
Claude Otzenberger, prods.
SEA OF CORTEZ: LEGACY OF CORTEZ
Foundation Cousteau / PBS
Jacques-Yves Cousteau, dir.
Jacques-Yves Cousteau, Philippe Cousteau, prods.
THE WORLD ABOUT US: SEXUAL ENCOUNTERS OF THE FLORAL KIND
Oxford Scientific Films / BBC
Sean Morris, dir.
William Lindon-Travers, prod.
THE WORLD ABOUT US: LIONS OF THE SERENGETI
Marshall Flaum Productions / Metromedia
Jane Goodall, dir.
Marshall Flaum, exec. prod.,
THE WORLD ABOUT US: THE WILD BABOONS OF GOMBE
Swan Productions / Metromedia / BBC
Jane Goodall, dir.
Baron Hugo van Lawick, Bill Travers, prod.
THE WORLD ABOUT US: WILD DOGS OF AFRICA*
Swan Productions / Metromedia / BBC
Jane Goodall,
Marshall Flaum, exec. prod.
Baron Hugo van Lawick, Bill Travers,
James H. Hill, prods.
AMAZON: SNOWSTORM IN THE JUNGLE
Jean-Paul Cornu, dir.
Jean-Michel Cousteau, Mose Richards, prods.
NATURE: THE FACE OF THE DEEP
Oxford Scientific Film / Anglia Television
Malcolm Penny, dir./prod.
THE JACQUES COUSTEAU ODYSSEY (Multiples)
COUSTEAU: OASIS IN SPACE (Multiples)
Jacques-Yves Cousteau, Jean-Michel Cousteau, prods.
JANE GOODALL AND THE WORLD OF ANIMAL BEHAVIOR
BBC
Baron Hugo van Lawick, dir.,
Marshall Flaum, exec. prod.
Jane Goodall, James Hill, Bill Travers, prods.
COUSTEAU’S LAKE BAIKAL: BENEATH THE MIRROR
Jacques-Yves Cousteau, dir./ prod.
COUSTEAU’S AMAZON (10 One-Hour Episodes)
Jacques-Yves Cousteau, dir./prod.
COUSTEAU’S MADAGASCAR: THE ISLAND BLEEDS
COUSTEAU’S MADAGASCAR: ISLAND OF SPIRITS
CAPE HORN: WATERS OF THE WIND*
MARQUESSAS ISLANDS: MOUNTAINS FROM THE SEA
RIVER OF THE FUTURE
Jacques Cousteau, Jean-Michel Cousteau, dirs./prods.
CUBA: WATERS OF DESTINY
Jacques-Yves Cousteau, Jean-Michel Cousteau, prods.
HAITI: WATERS OF SORROW
Hedwige Bienvenu, prods.
COUSTEAU: MISSISSIPPI
TELEVISION – MUSICIAN ONLY (Incomplete List)
STINGRAY, Barry Gray, comp.; Flute, Saxophone (Multiples)
FIREBALL XL5, Barry Gray, comp.; Flute, Saxophone (Multiples)
SUPERCAR, Barry Gray, comp.; Flute, Saxophone (Multiples)
MOTION PICTURES AND TELEVISION – APPEARING AS HIMSELF
CHRISTOPHER GUNNING: CHRISTOPHER’S MUSIC (Documentary)
Wintershine Productions
Diane Kern, dir./prod.
MÚSICA DE CINE (Video Documentary)
Canal + España
Fourth International Conference of Film Music
Ubeda, Spain
SUBTERRANEAN UNIVERSE: MAKING INSEMINOID (Video Documentary)
Anchor Bay Entertainment
Norman J. Warren, prod.
HELP!
Walter Shenson Films / United Artists
Richard Lestor, dir.
Walter Shenson, prod.
ALL NIGHT LONG (Alto Sax and Flute [as Johnny Scott])
The Rank Organisation / Colorama Features
Basil Dearden, dir.
Micheal Relph, Bob Roberts, prods.
JAZZ 625 (performer, The Johnny Scott Quintet, Multiples)
British Broadcasting Corporation
Terry Heneberry, dir./prod., Robin Scott, dir.
Yvonne Littlewood, prod.
AROUND SEVEN (Telefilm)
Nick Burrell-David, dir.
SOFT LIGHTS AND SWEET MUSIC
Yvonne Littlewood, dir./prod.
THE SUNDAY BREAK
ABC Television UK
Various, dirs.
Ben Churchill, prod.
CLASSICAL WORKS
ORCHESTRA
20,000 Leagues Under the Sea, Symphonic Suite from the Motion Picture
Concerto for Guitar and Orchestra, The Celtic Kingdoms, 3 Movements
Concerto for Saxophone and Orchestra
Colchester Symphony, 5 Movements
Concerts pour l’Aventure, Les Plus Belles Musiques de Film, Festival Jules Verne
Death of Indian Nations for Percussion and Orchestra, 4 Movements
Devil’s Island, Suite for Orchestra
Double Trumpet Concerto
The Final Countdown, Symphonic Suite from the Motion Picture
Greystoke: The Legend of Tarzan Lord of the Apes, Symphonic Suite from the Motion Picture
King Kong Lives, Symphonic Suite from the Motion Picture
L’Homme qui s’en Vola au Desous de la Mer for Narrator and Chamber Orchestra
World premiere at the Jules Verne Festival 2001, narration and dialogue Barry Michlin
Moonflight un Voyage Symphonique de Jules Verne à Apollo XI, for Large Orchestra. Symphony based on Georges Méliès’ film, “A
Trip to the Moon” (1902), in honor of the 40th Anniversary of the first Moon Landing
Odyssey of the Belem, 4 Symphonic Tableaux
Pasadena Symphony
The Queen's Garden, Suite for Flute, Viola, Harp, Harpsichord and String Orchestra
Rocket to the Moon, Symphonic Suite from the Motion Picture
The Secret World of French Guinéa, Symphonic Suite
The Shooting Party, Symphonic Suite from the Motion Picture
Symposium for Jazz Orchestra based on “The Symposium of Plato”
CHAMBER
1st String Quartet, “The Mystic Tie”, 3 Movements
2nd String Quartet, “Southwestern Landscapes,” 4 Movements
3rd String Quartet, “Amazon Waters,” 4 Movements
1st Saxophone Quartet, “A Week in October”
2nd Saxophone Quartet, 4 Movements
An Inhabitant of Carcosa for Narrator and Chamber Ensemble
Concerto for Two Trumpets and Chamber Orchestra
House of Shadows, Suite for French Horn, Violin and Piano
Dr. Jekyll & Mr. Hyde for Chamber Orchestra
In Arcadia for Flute and String Quartet, 3 Movements
Moonflight un Voyage Symphonique de Jules Verne à Apollo XI, for Chamber Orchestra
Oceanic Sketches for String Quintet and Wind Quintet (Tentet), 4 Movements
Oceanic Sketches for Chamber Ensemble
A Study for Jazz Quintet, Suite in 3 Movements for Flute, Cello and Guitar
Variations for Oboe and Piano
BALLET
Cain and Abel, for Flute, Trumpet, Timpani and Organ
Orpheus and Euridice
Wind in the Willows for 13 Wind Instruments
OPERA
Twilight Beguine for Chamber Orchestra; Libretto by Barry Michlin
CONDUCTING ENGAGEMENTS (Incomplete List)
London Philharmonic Orchestra
Berlin Radio Symphony Orchestra
Philharmonia Orchestra (London)
El Paso Symphony Orchestra
Graunke Symphony Orchestra
Hollywood Symphony Orchestra
Munich Symphony Orchestra
London Symphony Orchestra
Slovak Radio Symphony Orchestra
Ljubljana Radio Orchestra
Prague Philharmonic
Orchestra du Festival Jules Verne (Paris)
Royal Philharmonic Orchestra
Prague Film Orchestra
BBC Concert Orchestra
Budapest Opera Orchestra
Hungarian State Opera Orchestra
PERFORMING ENSEMBLES (Incomplete List)
John Scott Trio
The Hollies
The Beatles
Johnny Scott Quintet
John Barry Seven
Ken Moule Music
Johnny Scott Octet
Ted Heath Orchestra
London Jazz Orchestra
The Scottmen Plus
Eddie Thompson Trio
Billy Martin Orchestra
The Scottmen
Vic Ash Sextet
Art Ellefson Quartet
Tubby Hayes Trio, Octet and Orchestra
Woody Herman’s Anglo-American Herd
Gerry and the Pacemakers
The Julian Bream Consort
Kenny Baker and His Rhythm
Johnny Dankworth
Norman Burns Quintet
Centre 42 Big Band
DISCOGRAPHY (Incomplete List)
[The following recordings include Mr. Scott’s collaborations as musician, writer, arranger, orchestrator, music director, conductor and
producer, in various configurations. The list does not include all albums that have been re-issued.]
48 Chairs / Snap It Around, Absurd Records
60s Pop - 150 Original Hits (4 Discs), Parlophone UK
100 Best British Classics, EMI
1970's Drama & Crime, APM
20,000 Leagues Under The Sea (Original Soundtrack), JOS Records
A to Z of British TV Themes, Vol. 3, Silva America
A to Z of Easy Listening, Compilation, Polydor
Alfredo Chen Singers / KMB - The Legend Of The Ninja / Silver Moon, Nippon Columbia
All Night Long - Original Music By Philip Green, Filmophone
All Night Long - The Original Motion Picture Soundtrack, Epic Records
All Night Long - The Original Motion Picture Soundtrack, Fontana
All Night Long - The Original Motion Picture Soundtrack, Harkit
All Night Long - The Original Motion Picture Soundtrack, Rank
All The Winners - Various Artists, Pye Nixa
Amusement, KPM
Amsterdam Affair / Kathleen, Spark
An Invitation To Family Favourites, Contour
Anthony and Cleopatra (Original Soundtrack), Polydor Records
Anthony and Cleopatra (Original Soundtrack), JOS Records
Archie Semple - Alex Welsh Big Four: Night People, Vocalion
Archie Semple: The Clarinet of Archie Semple, Columbia
Aspects of Nature, APM
Baseball's Greatest Hits: Take Me Out to the Ball Game & Other Sports Classics, BFM Digital
Beatles, Les: Chansons Du Film "Help!", Odeon, Odeon EMI France
Beatles, The: Help!, Apple, EMI Records
Beatles, The: Help!, Capitol, Parlophone, Apple
Beatles, The: Help!, First
Beatles, The: Help!, HÖR ZU
Beatles, The: Help!, Jugoton
Beatles, The: Help!, Jugoton
Beatles, The: Help!, Odeon
Beatles, The: Help!, Parlophone
Beatles, The: Help! (Original Motion Picture Soundtrack), Capitol Records
Beatles, The: Help! (Reissue), Apple
Beatles, The: Help! (Reissue), Apple, World Record Club
Beatles, The: Help! (Reissue), Pathé Marconi EMI
Beatles, The: Help! (Reissue), Pathé Marconi EMI, Parlophone
Beatles, The: Help! (Reissue), Odeon, EMI
Beatles, Les: Help! (Reissue), Odeon, Pathé Marconi EMI
Beatles, The: Help! (Reissue), Parlophone
Beatles, The: Help! (Reissue), EMI Electrola
Beatles, The: Help! (Reissue), Parlophone
Beatles, The: Help! (Remastered), Apple, Parlophone
Beatles, The: Help! (Unofficial Release), AnTrop
Becoming Collette (Original Soundtrack), JOS Records
Bernard Cribbins: When I’m Sixty-Four / Oh My Word, Capitol
Best Of Adventure, Cinerama/Edel
Best Of Jean-Claude Van Damme, Silva Screen
Best Of Jean-Claude Van Damme, Silva Screen/Edel Company
Best of Vulture Vinyl 2006, Vulture
Bet Lynch's Legs - The Good The Bad And The Indifferent, Absurd Records
Betty Paige: Jungle Girl, QDK Media
Betty Paige: Private Girl (Spicey Music), Normal Records
Big City Suite: KPM 1000 Series Compilation (1972-78), Vocalion
Big Hammer, Bruton Music
Big Noise, Conroy
Big Screen Little Screen, Cavendish Music Library
Bill Le Sage: Directions In Jazz In Hamburg, Philips
Bill Le Sage: Directions in Jazz, Road to Ellingtonia, Philips
Bill Russo: Pickwick, Columbia
Bill Russo: Russo In London, Columbia
Bill Russo: Russo In London and Kenny Baker Blowing Up A Storm, Vocalion
Black Rainbow (Original Soundtrack)
Blood Royal: William The Conqueror (Ver. I) (Original Soundtrack), JOS Records
Blood Royal: William The Conqueror (Ver. II) (Original Soundtrack), JOS Records
Blowin' Up A Storm, Kenny Baker and the Baker’s Dozen, Columbia
Bobby Shafto: How Could You Do A Thing Like That To Me / BabyThen, Parlophone
Boosey and Hawkes Library, Boosey & Hawkes
British Light Classics, Warner Classics
Candlelight, The: That's What I Want / The Happy Days Of Summer, CBS Records
Carol Deene: He Just Don’t Know / Up In The Penthouse, CBS Records UK
Charlie Drake: I’m Too Heavy For The Light Brigade / The Reluctant Tight-Rope Walker, Parlophone
Chris Rayburn: I Wanna Be In Love Again / Another Night Alone, Parlophone
Christine Campbell: You / Don’t You Know?, Parlophone
Christine Quaite: Your Nose Is Gonna Grow / Our Last Chance, Oriole
Cilla Black: Completely Cilla 1963-1973, EMI Import
Cilla Black: Follow Me, Parlophone
Cilla Black: Step Inside Love, Music For Pleasure
Cilla Black: Suffer Now I Must, Capitol Records
Cilla Black: You’ve Lost That Lovin’ Feelin’, Parlophone
Cilla Black: You’re My World / Suffer Now, Parlophone
Cinq Mois Sur Les Mers: L'Odyssee Atlantique Du Belem (Five Months at Sea: Atlantic Odyssey of the Belem),
Classic Film & TV, Volume 1: Spy and Sci-Fi, Bruton
Classic Film & TV, Volume 2: Matinee Mania, Bruton
Classic Film & TV, Volume 3: Radio Times, Bruton
Classic Film & TV 1, APM
Classic Rare Grooves, APM
Classics for Today, Compilation, K-tel
Cleo Laine Ridin' High: The British Sessions 1960-1971, Koch
Cleo Laine: Cleo's Choice, Nixa / Quintessence
Cliffhangers: Action and Adventure in the Movies, Compilation, Silva Screen
Cocktail Piano Time: Music In An Intimate Mood, Reader's Digest Pleasure Programs
Cocktail Piano Time: Music In An Intimate Mood, Reader's Digest RCA Custom
Colchester Symphony, A, Colchester Institute
Communication, EMI
Concerts Pour L'Aventure, Cinefonia Records
Conflict / War of Nerves, Bruton Music
Contrasts in Jazz, Vol. 1, Peer International Limited
Contrasts in Jazz, Vol. 3, Peer International Limited
Cosmopolitan Man: Dominic Behan Accompanied by Johnny Scott, Stephen George, Folklore Limited Edition
Costanzo plus Tubbs: Equation In Rhythm, Fontana / Jazz Club
Cousteau Amazon: Expedition of the Century (Original Soundtrack), Varese Sarabande
Cousteau / Amazon: Part 1 The River, JOS Records
Cousteau / Amazon: Part 2 The Indian, JOS Records
Cousteau: Cape Horn / Channel Islands (Original Soundtrack), JOS Records
Cousteau: Saint Lawrence, Stairway to the Sea / Australia, The Last Barrier, JOS Records
Cousteau: The First 75 Years / The Warm Blooded Sea, JOS Records
Cousteau's Papua New Guinea Journey (Original Soundtrack), JOS Records
Crime March / No Speed Limit / Tension / Jazz, Southern
Cult TV - Action Entertainment, APM
Dance Period, Southern Library of Recorded Music
Dance to the TV Themes with Steve Race and his Orchestra, Dutton Vocalion
Darlin Noc, Oriole
Dave Walton: After You There Can Be Nothing / Can I Get It From You, CBS Records
Deceivers, The (Original Soundtrack), RCA Victor
Deceivers, The (Original Soundtrack), RCA Victor/BMG
Deep Sleep Jazz Project, The Johnny Scott Sextet, Vol I
Deke Arlon: Little Piece Of paper / I’ve Been Away, Columbia
Delma, Peer International Limited
Dev Douglas: How Does It Feel / I Don’t Know, Parlophone
Dev Douglas: What An I Doing Here / I Got Lovin’, Parlophone
DFX2 - Emotion (Mini-Album), MCA Records
Die Hard, LaLa Land Records
Dimitri Tiomkin: The Green Leaves Of Summer, Denon Records
Directions In Jazz / Vier Celli+Jazz, Phillips
Discotheque, ABC Records
Discotheque, His Master's Voice
Doug Kennedy: Julie / Jailbreak Man, Columbia
Drama / Orchestral 3, APM
Dreaming & Dancing, Peer International Limited
Dudley Moore / Richard Rodney Bennett: The First Orchestrations, Harkit
Duffy Power: Where Am I?, Parlophone
Duet: Pete Atkins, EMI
Early Works of George Martin, The, Not Now Music
Easy Listening, APM
Easy Listening, Polydor
Eclectic Pop, APM
Eddie Thompson Trio, Vox
Eddie Thompson and Dave Lee: London Piano, Acrobat
Edward Woodward: This Man Alone, DJM Records
Elkie Brooks: All Of My Life / Can’t Stop Thinking Of You, His Master’s Voice
England, APM
England Made Me (Original Soundtrack), Much International
England Made Me (Original Soundtrack), DJM
England Made Me (Original Soundtrack), East Coast Records
Europe Goes To Hollywood, Denon Records
European All Stars, RST
Evolution, Boosey & Hawkes
Epics: The History of the World According to Hollywood, Silva Screen
Exodus, John Scott At His Best, Vol. 2, (Japanese Label)
Expédition Jules Verne, L', Cinefonia Records
Expédition Jules Verne, L', JOS Records
Fall Lucona, Der (Original Soundtrack), JOS Records
Family Favourites, An Invitation To, Contour
Fanfare, Links, Stings 3, APM
Far From Home: The Adventures of Yellow Dog (Original Soundtrack), JOS Records
Film Blockbusters, Circle of Sound
Film Busters: Classic Music From Movie Blockbusters, Denon Records
Film Themes / John Scott, Polydor Japan
Final Countdown (Original Soundtrack), Casablanca
Final Countdown (Original Soundtrack), JOS Records
Forty-Two Big Band, Columbia
Four Macs, The: Darlin’ / Come Back Silly Girl, Parlophone
Fourmost, The: Baby I Need Your Loving, Parlophone
Freddy & The Dreamers in Disneyland, Columbia
Gerry and The Pacemakers: Ferry Across The Mercy, Columbia
Giant's Causeway, Bruton Music
Girl in A Suitcase, Winchester Hospital Radio
Girl in A Suitcase Upgraded: Original Cult Classics From Film, TV and Radio, Winchester Hospital Radio
Godzilla vs. King Kong - The Monster Music Movie Album, Silva America
Goldfinger (Original Soundtrack), EMI
Good Times / Ain't That So, MGM Records
Good Word, The, Southern Library of Recorded Music
Gowers and Scarlatti, CBS
Grandiose, Impressive Panoramic, APM
Graham Bonney: Baby’s Gone / Later Tonight, Columbia
Graham Bonney: Super Girl, EMI Columbia
Graham Bonney: Super Girl / Hill Of Lovin', EMI Columbia
Graham Bonney: Super Girl / Hill Of Lovin', Capital
Graham Bonney: That Bad Day, Columbia
Great Expectations, Compilation, KPM
Great Film Composers, Polydor
Great Modern Film Themes, Polydor
Greystoke: The Legend Of Tarzan, Lord Of Apes (Original Soundtrack), Warner Bros. Records
Greystoke: The Legend Of Tarzan, Lord Of Apes (Original Soundtrack), Tarantula Records
Greystoke: The Legend Of Tarzan, Lord Of Apes (Original Soundtrack) (Reissue), La-La Land Records
Happy Hearts, KPM
Helen Shapiro: Here In Your Arms / Only Once, Columbia
Hide and Seek with Me, Portra
Hollies, The: Butterfly, Parlophone
Hollies, The: Cable Car, Parlophone
Hollies, The: Confessions of the Mind, Gramophone-EMI
Hollies, The: Dear Eloise / King Midas In Reverse, Sundazed Records
Hollies, The: Dear Eloise / King Midas In Reverse, Epic Records
Hollies, The: Follow You, Follow Me, Atlantic
Hollies, The: He Ain’t Heavy, He’s My Brother, Parlophone
Hollies, The: I Can't Tell The Bottom From The Top / Mad Professor Blyth, Odeon
Hollies, The: I Can't Tell The Bottom From The Top / Mad Professor Blyth, Parlophone
Hollies, The: King Midas In Reverse / Everything Is Sunshine, Parlophone
Hollies, The: Long Cool Woman, Parlophone
Hollies, The: Long Cool Woman / Look What We've Got, Epic
Hollies, The: Long Dark Road, Parlophone
Hollies, The: Look What We've Got, Epic
Hollies, The: Man Without A Heart / Survival Of The Fittest, Parlophone
Hollies, The: Moving Finger, Sony Special Products
Hollies, The: The Hollies Greatest Hits, Epic
Hollies, The: Too Young To Be Married, Man Without A Heart, Parlophone
Horror And Science Fiction, Milan Records
Horror World (Compilation), CBS / Sony
How Could I Ever Leave You, EMI
Impact, Compilation, KPM
Impulsion!, Polydor
Inseminoid (Original Soundtrack), Citadel Records
Inter-Relation, Peer International Library
International Jazz Workshop - Ruhr Festival of Art and Music 1965, Saba / Mercury
It's Jazz, BBC Radio Production
Jackie Lee: Love Is Now / Never Will I Be, Page One
Jackie Lee: Sleep / Space Age Lullaby, ICI Pharmaceutical Division
Jazz-Beat-Bossa Nova, Southern Library of Recorded Music
Jazz For Moderns No. 10, BBC Radio Production
Jazz For Moderns (Limited Edition Re-released), Gearbox Records
Jazz -Johnny Scott, Southern Library of Recorded Music
Jazz Jazz -Johnny Scott , Southern Library of Recorded Music
Jazz Para Gente Moderna, BBC Transcription Service
Jazz Session, BBC Radio Production
Jazz Today: Buddy Featherstonehaugh, et al, Vocalion
Jazz Workshop Band (NDR Workshop 40) Vestlandhalle, Recklinghausen, Saba
Jerry Goldsmith's Lionheart: The Epic Symphonic Score, Varese Sarabande
Jill Graham: Handsome Young Apollo, Parlophone
Jilted John: Going Steady, EMI Records
Jilted John, Rabid Records
Jilted John (John El Rechazado), EMI-Odeon, S.A.
John Barry Revisited, Ember and Future Noise
John Barry: The Whisperers (Original Soundtrack), United Artists
John Scott: A Colchester Symphony, EMI
John Scott: Hi-Flutin Boogie / Peace Pipe, Parlophone
John Scott: Hi-Flutin Boogie / Teddington Green, Parlophone
John Scott: It’s Over / Baby I Give, Portra Records
John Scott: Mock Medieval - Some Funky Jazz Bits, Southern Library of Recorded Music
John Scott: Sherwood Green / Bossa-Fuga, Spark
John Scott: They Say / How About That, Philips
John Scott & His Orchestra: Film Blockbusters, Polydor
John Scott & His Orchestra: Great Film Themes, Polydor
John Scott & His Orchestra; Love Theme / Cleopatra's Theme, Polydor
John Scott & His Orchestra: Midweek / Time Forgotten, Polydor Records
John Scott & His Orchestra: Through Road (Gathering Crowds) / Meeting Place, KPM
John Scott & His Orchestra: When The World Is Ready (Theme From The Long Duel)/Theme from Rocket To The Moon,
Polydor
John Scott Conducts His Own Favorite Film Scores, JOS Records
John Scott Orchestra, The: Great Modern Film Themes, Polydor
John Scott Orchestra, The: London Swings, Studio 2 Stereo
John Scott Orchestra, The: Sound of Silence, Polydor
John Scott Orchestra and Chorus, The: Stranger in The House / Discotheque, His Master’s Voice
John Williams: Gowers Chamber Concerto - Rare It’s Jazzy, CBS Records
Johnny Dankworth: Big Band Sound Of Johnny Dankworth, The, Roulette
John Dankworth and His Orchestra: Jazz Routes, Columbia / Roulette
Johnny Angel: Better Luck Next Time / The Power Of You, Parlophone
Johnny Devlin: Hung On You, CBS Records
Johnny Devlin: My Strength, Heart And Soul / I Can't Get You Out Of My Mind, CBS Records
Johnny Devlin: Tender Lovin' Care, CBS Records
Johnny Scott / Roger Roger, Southern Library of Recorded Music
Johnny Scott And His Orchestra: Sailing By / The Song Of The Cuckoo, Parlophone
Johnny Scott Jazz, Beat, Bossa Nova, Southern Library of Recorded Music
Johnny Scott Octet: Closer Walk / Wildcat Bossa Nova, Parlophone
Johnny Scott Orchestra: Amsterdam Affair / Kathleen, Spark
Johnny Scott Orchestra: Crime March / No Speed Limit / Tension / Jazz Link No. 8, Sinetone AMR
Johnny Scott Orchestra: Warm and Tender Moments, Southern Library of Recorded Music
Johnny Scott Quintet – 1967, Columbia
Johnny Scott Quintet: Communication, The, Columbia
Johnny Scott Quintet: Purcell's Variation for Five, Fontana
Johnny Scott: Today's Achievements - Topical Events 1971, KPM
Jules Verne’s Rocket to the Moon (Original Soundtrack), Polydor
Just Friends / London Swings, Harmonia Mundi
Just Friends: Paul Gonsalves, Tubby Hayes/London Swings: Johnny Scott Orchestra, Vocalion
Kabuto: Original Soundtrack from Shogun Mayeda, Polydor K.K.
Kabuto: Original Soundtrack from Shogun Mayeda, Intrada
Ken Moule Arranges for Jazz At Toad Hall, Vocalion
Ken Moule's Music, Decca / Vocalion
Kenny Baker Group, Nixa
Kenny Baker Group: Too Hot - The Best of British Mainstream Jazz, Castle
Kenny Roberts: Say, Do You Mean It?, Pye Records
Kiki Dee: Kiki In Clover, Fontana
King Of The Wind (Original Soundtrack), JOS Records
King Kong Lives (Original Soundtrack), MCA Records
KPM 1000 Series, Gathering Crowds, KPM
KPM 1000 Series, Great Expectations, KPM
KPM 1000 Series, Industrial Panorama, KPM
KPM 1000 Series, Vol. 1, KPM
KPM 1000 Series, Vol. 2, KPM
KPM: Impact, KPM
KPM: Love's Theme, KPM
KPM: Soft Horizons, KPM
KPM: Solid Gold, KPM
Latin Easy Listening, Southern Library of Recorded Music
Leisure, Pastoral, APM
Life's Ritual, Bruton Music
Light Movement, Southern Library of Recorded Music
Lionel Long: True True Loving / Love Is, Parlophone
Lionel Long: Come Back To Me My Love / Tomorrow, Parlophone
Lionheart (Original Soundtrack), Intrada
Lively Lounge, The, Radio Six
Liza and the Jet Set: Dancing Yet / How Could I Know, Capitol
Locomotion Groove, Bruton Music
Loguerhythms, Annie Ross and Tony Kinsey Quintet, The, Trans Atlantic Records
London After Dark, Eddie Thompson Ensemble, Vox
London Spring 1963: Tommy Watt, Forty Two Big Band, Columbia
London Swings, Columbia
London Swings, Stereo 1966
Long Duel, The (Original Soundtrack), ATCO
Love is Now / Never Will I Be, Page One
Lucona Affair, The (Original Soundtrack), JOS Records
Magic Of Christmas, The, Columbia
Magpie: 20 Junkshop Pop Ads and Themes, RPM Records
Man on Fire (Original Soundtrack), Varese Sarabande
Marc Reid: For No One / Lonely City Blues, CBS Records
Martin Carthy with Dave Swarbrick: Byker Hill, Fontana
Martin Carthy with Dave Swarbrick: Byker Hill, Topic Records
Martin Carthy with Dave Swarbrick: Byker Hill, (Reissue of Byker Hill), Fontana
Martin Carthy with Dave Swarbrick: Brigg Fair, Fontana
Matt Monro: I Love The Little Things / From Russia With Love, Odeon
Matt Monro: Just Yesterday (Mine, Your Love Was Mine), Parlophone
Maybe It's Because, Capitol
Mellow Sax of John Scott, The and The Billy Martin Orchestra, London 66
Menace, Bruton
Midnight Cowboy / The Good, The Bad and the Ugly, Polydor
Mike Sammes Singers: Sounds Sensational, Gramophone EMI
Military / War 1, APM
Mill On The Floss, The (Original Soundtrack), JOS Records
Millicent Martin: I Never Looked For You, Parlophone
Millicent Martin and David Kernan: Little Darlin’, Parlophone
Mood Mosaic 4:” Les Yper Sound”, Compilation, Yellowstone
Mountbatten, The Last Viceroy (Original Soundtrack), Movietrack Classics
Mountbatten, The Last Viceroy (Original Soundtrack), Varese Sarabande
Mountbatten, The Last Viceroy (Original Soundtrack), TER
Mountbatten, The Last Viceroy (Original Soundtrack), Wow
Music For Lovers, Taiwan Kuo Pin Records
Music For TV Dinners: The 60s, Scamp
Music From The Films Of Charlton Heston, Silva Screen
Music Of ITC, The, Network
New Swiss Family Robinson, The (Original Soundtrack), JOS Records
No Waiting, Peer International Limited
North Dallas Forty, Silver Age
North of Watford: 24 Rare Pop & Soul Classics 1964-1982, KRL
North Star, The (Tashunga) (Original Soundtrack), Touchstone
Notti De Terrore / Repulsione - Johnny Scott & Chico Hamilton, CAM
On The Radio / Fast Foot Rag (from England Made Me), East Coast Records
Original Brasso Band, The: Bright As Brass, Studio 2 Stereo
Pace-Setter, Peer Records
Parc Océanique Cousteau, JOS Records
Pentagon 2, Bruton Music
Pete Burman's Jazz Tete a Tete (Remastered), Trunk Records
Power Sway, Bruton Music
P.J. Proby: I Apologise / What’s On Your Mind?, Liberty
P.J. Proby: It Ain’t Necessarily So, Liberty
P.J. Proby: Let The Water Run Down, Liberty
P.J. Proby: Lonely Weekends, Liberty
P.J. Proby: Maria, Liberty
P.J. Proby: She Cried, Liberty
P.J. Proby: Somewhere, Liberty
Patti McCains: There Is Beauty In The World / Go To Her, CBS Records
Peter Lee Sterling and The Bruisers: You’ll Be Mine, Parlophone
Phantom Of The Sun (Original Soundtrack) (King Kong Lives Bootleg), APE Records
People That Time Forgot, The (Original Soundtrack), JOS Records
Produced by George Martin: 50 Years in Recording, Parlophone
Progress, Bruton
Punjab, Johnny Scott and his Orchestra, Maribus Music/Parlophone
Recorded Music for Film, Radio & Television, Boosey & Hawkes
Red King, White Knight (Original Soundtrack), Intrada
Reg Wale Quintet: Quintet of Modern Jazz, Vol. 1, Music De Wolfe
Road To Ellingtonia, The, Phillips
Rockin’ the British Aisles, Crystal Ball Records
Rolf Harris: All Together Now, EMI Music (Australia)
Rolf Harris: All Together Now, Music For Pleasure
Rolf Harris: All Together Now, Columbia
Rolf Harris: All Together Now, Axis
Rolf Harris: Five Young Apprentices, The, Columbia
Rolf Harris: I’ve Lost My Mummy, Columbia
Rolf Harris: Jake The Peg, EMI Columbia
Rolf Harris: Sings For Survival, EMI Columbia
Rosemary Nicholls: A Long Way From Home / Silly Questions, Parlophone
Ruben Wright: When The World Is Ready (with Don Black), Capitol
Ruby (Original Soundtrack), Intrada
Sailing By / Song of the Cuckoo, Parlophone
Saint Etienne Presents Songs for the Dog and Duck, Ace Records
Scarlet Tunic, The (Original Soundtrack), JOS Records
Scottmen Plus, The: Inter-Relation, Peer International Limited
Screen Themes - Original Soundtracks And Themes, Varese Sarabande
Screen Themes - Original Soundtracks And Themes, Colosseum
Screen Themes - Original Soundtracks And Themes, Varese Sarabande/SLC
Second Jungle Book: Mowgli and Baloo, The (Original Soundtrack), JOS Records
Sentimental Songs That Will Live Forever (Reader's Digest) Vol. 4, Readers Digest
Shakespeare at the Movies, Silva Records
Shane Fenton: A Fool’s Paradise / You Need Love, Parlophone
Shergar (Original Soundtrack), JOS Records
Sherlock Holmes: Classic Themes From 221B Baker Street, Colosseum
Sherlock Holmes: Classic Themes From 221B Baker Street, Varese Sarabande
Sherlock Holmes: Night of Terror / Repulsion, (Original Soundtracks), with Chico Hamilton
Sherwood Green / Bossa-Fuga, Spark
Songs From ABC Television's "Hallelujah", Fontana
Soul of a City, Compilation, Peer International
Sounds And Songs Of London, The, EMI/Columbia
Shirley & Johnny - I Don't Want To Know / It Must Be Love, Parlophone/Ardmore and Beechwood
Shirley and Johnny: I’m Sorry / Breakaway, Parlophone
Shirley and Johnny: Only Once / Make Me An Offer, Parlophone
Shirley Bassey: Bassey - The EMI/UA Years 1959-1979, Parlophone/EMI
Shirley Bassey: Belts The Best!, United Artists
Shirley Bassey: Seesaw Of Dreams, Galahad/Columbia
Shirley Bassey: Shirley Stops The Show and 12 Of Those Songs (2CD set), BGO Records
Shoot To Kill (Original Soundtrack), Intrada
Shoot To Kill (Original Soundtrack), JOS Records
Shooting Party, The / Birds And Planes (Original Soundtracks), Varese Sarabande
SoHo Blondes and Peeping Toms!, Croydon Municipal
SoHo Hipsters Boosey & Hawkes "Lounge Funk" 1969-1977, Boosey Media / Cavendish
Soft Horizons, Compilation, KPM
Songs of Percy Faith, The Landsdowne Jazz Group, Columbia
Sophisticat, Chapell
Soul of a City by Hans Gunther Leonhardt, Peer International
Sound Gallery, Vol. 2, Scamp
Sounds Of The Times: A Compilation of the KPM & Conway Music Library 1970-1977, Dutton Vocalion
Spike Milligan: Tower Bridge / Silent Night, Parlophone
Spy-Fi: Classic Film & TV, Bruton Music
Stereo 99, Polydor
Steve Benbow: I Travel The World, EMI/His Master's Voice
Steve Race: Take One / Dance To The TV Themes (Double Album), EMI World Record Club
Stranger In The House / Discotheque, His Master's Voice
Stravinsky: Octet, Septet / Scott: Wind In The Willows, CD Baby
Strings In Stereo, Carnival/Polydor
Strictly Breaks Volume 11, Strictly Breaks Records
Study in Terror, A (Original Soundtrack), Roulette Records
Study in Terror, A (Original Soundtrack), Screen Archives Entertainment
Susie Klee: Mr. Zero, Polydor
Suspense / Tension, Bruton Music
Suspense / Tension, APM
Suspense, Tension 3, APM
Syd Dale Orchestra: Soul Power [Hard and Fast/Mellow Moods/Miscellaneous Moods, Bosworth 145
Sydney Carter: Lord Of The Dance, Electra
Take A Look At Me, Fontana
Take It Easy Volume II, Compilation, Polydor
Tashunga (Original Soundtrack), JOS Records
Tashunga (Original Soundtrack), Sony Music
Teddington Green / Hi Flutin’ Boogie, Parlophone
Theme From "A Study In Terror", The / Punjab, Parlophone
Theme Sets and Life’s Rituals: Contemporary Soundtracks from the Bruton Music Library, Bruton Music
Theme Sets: Documentaries and Drama Suites, Bruton Music
Theme Sets: Thriller, Suite of the Hurricane, Suite of the Shark, Bruton Music
They Say / How About That, Phillips
This Is London, Compilation, EMI
Thriller / Suite of the Hurricane / Suite of the Shark, Bruton Music
Time Of The Wolf (Original Soundtrack), JOS Records
Time Of The Wolf (Original Soundtrack), Screen Archives Entertainment SAE
To the Ends of the Earth (Original Soundtrack), Prometheus
Toby Browne: Play The Music, Keep On Dancing / Child, Parlophone
Tom Jones: Greatest Love Songs, Parrot
Tom Jones: The Legendary Tom Jones - 30th Anniversary Album, Decca
Tommy Watt and His Orchestra: Watt's Cooking, Parlophone / Bethlehem
Tony Merrick: Wake Up, Columbia
Tubby Hayes: BBC Jazz For Moderns, Gearbox
Tubby Hayes: Introducing Tubbs, Epic
Tubby Hayes: Little Giant Steps, Proper
Tubby Hayes: London Pride, Jasmine
Tubby Hayes: Seven Classic Albums, Real Gone Jazz
Tubby Hayes: Spotlight On The Arranger - BBC Jazz Session, BBC
Tubby Hayes Trio, Sapphire
(Untitled Library), Conroy/Berry Music Company Limited
Varese Sarabande - 25th Anniversary Celebration - Volume II, Varese Sarabande
Various: Drama, Emotion, Southern Library of Recorded Music
Various: Easy Listening, Polydor
Various: Giants Causeway, Bruton Music
Various: Horror & Science Fiction (Compilation), Milan Records
Various: Music For Dancefloors: The Cream Of The Chappell Music Library Sessions (Compilation), Strut
Various: R'n'B Meets Northern Soul, Volume 1 (Compilation), V.O.R.
Various: SoHo Lounge Heat (Compilation), EMI Records
Various: Stereo Musicale Showcase (Compilation), Polydor
Various: The Big Hits Of Today 1 (Compilation), Polydor Special
Various: The Mood Mosaic 4 "Les Yper Sound" (Compilation), Discomagic Records
Various: Visual Impact, (Compilation) KPM Music
Vic Ash Sextet: All the Winners, Nixa
Vic Lewis: Film Themes My Way, DJM
Vikki Carr: Across The Track, Liberty
Vince Hill: I Could Have Loved You So Well, Columbia
Vince Hill: Push Push, Columbia
Vince Hill: Take Me To Your Heart Again, EMI Columbia
Voyages: The Film Music Journeys of Alan Silvestri, Varese Sarabandi
Walking Thunder (Original Soundtrack), JOS Records
War & Peace & Other Television Themes, Polydor
Warm Sensation, The: I’ll Be Proud Of You, Columbia
Warriors Of The Silver Screen, Silva America
Warriors Of The Silver Screen, Silva Screen
Watchful Eye, Bruton Music
Watts Cooking, Tommy Watts and his Orchestra, Vocalion
We Talkies: I've Got To Hold On / What Are You Waiting For, CBS Records
We Talkies: I Wanna Walk In Your Sun / Order You, CBS Records
Westway Studio Orchestra, The Scottmen, The Scottmen Plus, Westway Novelty Ensemble, Southern Library
Whistle Blower, Varese Sarabande
Whistle Blower, The, TER
Wicker Tree, The (Original Soundtrack), Silva Screen
Wildcat Bossa Nova / Closer Walk, Parlophone
Winter People / A Prayer for the Dying (Original Soundtrack), JOS Records
Witchcraft (Original Soundtrack), JOS Records
Woody Herman's Anglo-American Herd, Jazz Groove
World Of Johnny Scott 1971, The, KPM
Yor, le chasseur du future, Polydor
Yor, the Hunter from the Future (Original Soundtrack), Label X
Yor, the Hunter from the Future (Original Soundtrack), Southern Cross
Zack Laurence: Tempo Seven / Sleeve Shaker, Parlophone
Zenith, Peer International Limited
Zulu: Soundtrack and Themes, Silva Screen
BOOKS AND PERIODICALS: PUBLICATIONS CITING MR. SCOTT AND HIS WORK (Incomplete List)
14 Miles on a Clear Night: An Irreverent, Skeptical and Affectionate Book About Jazz Records (Peter Gammond, Peter Clayton)
60 Years of Recorded Jazz 1917-1977 (Walter Bruyninckx)
All Together Now: The abc of the Beatles songs and albums (David Rowley)
America’s Best, Britain’s Finest (John Howard Reid)
American Harp Journal, The, Volumes 1-3 (American Harp Society)
American Film Institute Catalog of Motion Pictures, Volume 1, Part 2
Antarctica, NHK Television 50th Anniversary Nankyoku Project (NHK Television)
Archie Semple Discography (Norman Simpson, Gerald Bielderman)
ASCAP Playback Magazine, Summer 2006
BBC London Calling, Volumes 3-4 (British Broadcasting Corporation)
Beach Boys, The: The Complete Guide (Wikipedians)
Beatles, The (Allan Kozinn)
Beatles in Scotland, The (Ken McNab)
Beatles, The: The Music And The Myth: The Music and the Myth (Peter Doggett)
Beatles Diaries, The - Volume 1: The Beatles Years (Barry Miles, Keith Badman)
Beatles Recording Sessions, The (Mark Lewisohn)
Best of Cellars, The: The Story of the Cavern Club (Phil Thompson)
Beyond Ballyhoo: Motion Picture Promotion and Gimmicks (Mark Thomas McGee)
Billboard, August 24, 1963
Billboard, October 31, 1964
Billboard, April 9, 1966
Billboard, June 28, 1971
Bob Hoskins Handbook, The – Everything You Need to Know About Bob Hoskins (Emily Smith)
Bobby Darin: The Incredible Story of an Amazing Life (Al DiOrio)
Book of Golden Discs, The (Joseph Murrells)
Bowker’s Complete Video Directory 1996, Vol. 1 (R.R. Bowker Publishing)
British Journal of Photography, The, Vol. 112 (Sir William Crooks, T.A. Malone, et al)
British Music Yearbook 1976 (Arthur Jacobs)
Broadcasting and Cable Yearbook, Volume 1 (R.R. Bowker)
Bruce Turner Discography (Michael N. Clutten, Julian Purser, Gerard Bielderman)
Bruce Willis Handbook, The – Everything You Need to Know About Bruce Willis (Emily Smith)
Cadence, Volumes 17, 20 (Bob Rusch)
Catalog of Copyright Entries (Library of Congress)
CD Review Digest Annual: Jazz, Popular, Etc. (Janet Grimes)
Cilla Black: What’s It All About? (Cilla Black)
Cinema of Basil Deardon and Michael Relph, The (Alan Burton, Tim O’Sullivan)
Cinemascope 3: Hollywood Takes the Plunge (John Howard Reid)
Clef/Verve Labels, The: The MGM Era (Leslie J. Pfenninger, Bob Porter)
Columbia Pictures Horror, Science Fiction and Fantasy Films, 1928-1982 (Michael R. Pitts)
Complete Beatles Chronicle: The Definitive Day-By-Day Guide to the Beatles’ Entire Career (Mark Lewisohn)
Composer, Issues 57-65, 1976 (British Music Information Centre)
Crescendo, January, November, December 1962
Crescendo, January, February, March, April, October, December 1963
Crescendo, April, July August, November 1964
Crescendo, July, October 1965
Crescendo, April 1966
Crescendo, February 1967
Chronicle of First Broadcast Performances of Musical Works in the United Kingdom, A, 1923-1996 (Alastair Mitchell)
Cue Sheet The, October 1992 (Cover), (Journal of the Society for the Preservation of Film Music, The)
Danny Moss Discography (Norman Simpson, Gerald Bielderman)
Decca Studios and Klooks Kleek: West Hempstead’s Musical Heritage Remembered (Dick Weindling, Marianne Colloms)
Down Beat, Volumes 30, 32, 33 (Maher Publications)
EDS [English Dance and Song] Volumes 29-31 (English Folk Dance and Song Society)
Encyclopedia of Fantastic Film: Ali Baba to Zombies (R.G. Young)
Encyclopedia of Film Composers (Thomas S. Hischak)
Encyclopedia of Popular Music, Volume 7 (Colin Larkin)
Encyclopedia of Sports Films (K Edgington, Thomas Erskine, James M. Welsh)
Encyclopedia of Television Series, Pilots and Specials, Volume 2 (Vincent Terrace)
English Television Composers (General Books)
Epic Film: Myth and History (Derek Elley)
Espionage Filmography, The: United States Releases, 1898 through 1999 (Paul Mavis)
Europe of 1500-1815 on Film and Television, The: A Worldwide Filmography of Over 2550 Works (Michael Klossner)
Film (British Federation of Film Societies 1973)
Film Daily Yearbook of Motion Pictures, The… (Film Daily)
Film Music Collections in the United States: A Guide (H. Stephen Wright, Society for the Preservation of Film Music)
Film Score Monthly, Volume 7 (Lukas Kendall)
Film, Television and Stage Music on Phonograph Records: A Discography (Steve Harris)
Filmfacts, Volume 12 (Division of Cinema, University of Southern California)
Films and Filming, Issues 411-423 (Hansom Books)
Films in Review, Volume 38 (National Board of Review of Motion Pictures 1987)
Films of James Mason (Clive Hirschhorn, James Mason, Corin Moore)
Folger Shakespeare Filmography, The (Barry M. Parker, Folger Shakespeare Library)
Folk, Issues 1-3 (E.F.D.S. Publications Limited)
George Chisolm Discography (Michael N. Clutten, Gerard Bielderman)
Gramophone, Volumes 31, 36, 37, 40, 43, 44, 45, 48, 49, 50, 59, 60 (Sir Compton MacKenzie, Christopher Stone)
Gramophone Film Music Good CD Guide (Gramophone Publications Limited)
Grande Dame Guignol Cinema: A history of Hag Horror from Baby Jane to Mother (Peter Shelley)
Great Detective Pictures, The (James Robert Parish, Michael R. Pitts)
Great Spy Pictures II (James Robert Parish, Michael R. Pitts)
Halliwell’s Film, Video & DVD Guide 1987, 2004, 2006, 2007, 2008 (Leslie Halliwell, John Walker)
Heart at Fire’s Center: The Life and music of Bernard Herrmann (Steven C. Smith)
Henry James Goes to the Movies (Susan M. Griffin)
Hi-Fi / Stereo Review, Volume 5 (Ziff-Davis Publishing)
Hi-Fi News and Record Review, Vol. 18, Issues 1-6 (Link House Publications)
High Fidelity, Volume 28, Issues 1-6 (ABC Leisure Magazines)
Historia y teoría de la música en el cine: presencias afectivas (Carlos Colón Perales, Fernando Infante del Rosal)
Hollywood Presents Jules Verne: The Father of Science Fiction on Screen (Brian Taves)
Hot Air, Cool Music (Bruce Turner)
Hot Jazz: From Harlem to Storyville (David Griffiths)
Index to Piano Arrangements of Instrumental Film and Television Musician Anthologies and Collections, An (H. Stephen Wright)
International Television Almanac 1985 (Quigley Publishing Company)
Irish Filmography: Fiction Films, 1896-1996 (Kevin Rockett)
James Mason: A Bio-bibliography (Kevin Sweeney)
Jazz, Volumes 3-4 (Jazz Press)
Jazz Discography I (Albert J. McCarthy)
Jazz Discography, The, Volumes 10, 20 (Tom Lord)
Jazz Forum, Issues 11-14 (International Jazz Federation)
Jazz in the Movies: A Tentative Index to the Work of Jazz Musicians for the Cinema (David Meeker)
Jazz Journal International, Volume 58 (Billboard Limited)
Jazz News and Review, March 1963
Jazz on Film and Video in the Library of Congress (Rebecca D. Clear)
Jazz on the Screen [2009, 2010, 2014] (David Meeker)
Jazz Records, 1942-1965: A Discography, Volumes 1, 2, 3, 4 (Jørgen Grunnet Jepsen)
Jazz Records, 1942-1980: A Discography, Volume 4, Cla-Da (Ole J. Nielsen)
Jazz Review, Volumes 1 and 2 (Kraus Reprint Company)
Jazz: A-K (Walter Bruyninckx)
Jazz: The Essential Companion (Ian Carr, Digby Fairweather, Brian Priestly)
Jazz: The Rough Guide (Ian Carr, Digby Fairweather, Brian Priestley)
Jerry Goldsmith: Music Scoring for American Movies (Mauricio Dupuis)
Joan Crawford: Hollywood Martyr (David Bret)
John Willis’ Screen World, Volume 40 (Crown Publishers)
Just Jazz 3 (Sinclair Traill, Gerald Lescelles)
Just Jazz 4 (Sinclair Traill, Gerald Lescelles)
Keeping Score: Film and Television Music, 1980-1988: with additional coverage of 1921-1979 (James L. Limbacher,
H. Stephen Wright)
King Kong: The History of a Movie Icon from Fay Wray to Peter Jackson (Ray Morton)
Kinks, The: All Day and All of the Night (Doug Hinman)
Lennie Hastings Discography (Norman Simpson, Gerard Bielderman)
Liam Neeson – Unabridged Guide (Ann Kenneth)
Life in Music, A: Chris Barber Discography 1949-2001 (Gerard Bielderman, Julian Purser)
Listener, The, Volume 70 (British Broadcasting Corporation)
London Dossier (Len Deighton, Adrian Bailey)
Lord of the Dance (Sydney Carter)
Mercury Labels, The: A Discography (Michel Ruppli, Ed Novitsky)
Mickey Rourke Handbook, The – Everything You Need to Know About Mickey Rourke (Emily Smith)
Million Selling Records from the 1900s to the 1980s: An Illustrated Directory (Joseph Morrells)
Monty Python's Flying Circus: An Utterly Complete, Thoroughly Unillustrated Absolutely Unauthorized Guide to Possibly
All the References From Arthur “Two Sheds” Jackson to Zambesi (Darl Larsen)
Motion Picture Guide, Volume 5 (Jay Robert Nash, Stanley Ralph Ross)
Movie/TV Soundtracks and Original Cast Recordings Price and Reference Guide (Jerry Osborne)
Movies Made for Television: The Telefeature and the Mini-series, 1964-1984 (Alvin H. Marill)
Movies Made for Television: The Telefeature and the Mini-series, 1964-2004 (Alvin H. Marill)
Music, Books on Music and Sound Recordings, Volume 2 (Library of Congress)
Music and Maiden Overs: My Show Business Life (Vic Lewis, Tony Barrow)
Music and Musicians International, Volume 37 (Filmtrax)
Music for the Movies (Tony Thomas)
Music from the House of Hammer: Music in the Hammer Horror Films, 1950-1980 (Randall D. Larson)
Music of James Bond (Jon Burlingame)
Music Outside: Contemporary Jazz in Britain (Ian Carr)
Music Yearbook, The Volumes 1972, 1973-4 (Macmillan)
MusicHound Soundtracks: The Essential Album Guide to Film, Television and Stage Music (Didier C. Deutsch)
Musique Fantastique (Randall D. Larson)
Not Quite All Together Now! (Tony Currie)
NYT FILM REV 1989-1990 (NY Times)
Official Razzie Movie Guide, The: Enjoying the Best of Hollywoods Worst (John Wilson)
Penguin Guide to Jazz on Compact Disc, The (Richard Cook, Brian Morton)
Play Like Elvis: How British Musicians Bought the American Dream (Mo Foster)
Pop Music in British Cinema: A Chronicle (Kevin Donnelly)
Prehistoric Humans in Film and Television: 581 Dramas, Comedies and Documentaries, 1905-2004 (Michael Klossner)
Punch, Volumes 249, 253 (Henry Mayhew, Mark Lemon, et al)
Reference Guide to Fantastic Films: Science Fiction, Fantasy & Horror, Volume 2 (Walt Lee)
Research Guide to Film and Television Music in the United States, A (Jeannie G. Pool, H. Stephen Wright)
Revolver: How the Beatles Re-Imagined Rock ‘n’ Roll (Robert Rodriguez, The Beatles)
Richard Rodney Bennett (Anthony Meredith)
Sandy Brown Discography (Gerald Bielderman, A.J.H. Latham)
Scandinavian Wood (Jørgen Mathiason)
Schwann Spectrum, Volume 6, Issue 1 (Stereophile)
Screen Enemies of the American Way: Political Paranoia About Nazis (Fraser A. Sherman)
Screen World 1968, 1969, 1993 (John Willis)
Sherlock Holmes On Screen: The Complete Film and TV History (Alan Barnes)
Sing, Volumes 3-9 (E. Winter)
Speakin’ de Cine en Jazz (Tony Dawn Senior)
Spectrum, Volume 3, Issue 1 (ABC Consumer Magazines)
Soundtrack, the Collectors Quarterly, June 1986 (Cover), (Luc Van de Ven, Mechelen, Belgium))
Spin, Volume 4
Stage Yearbook, The, Issue 35 (Carson & Comerford Limited)
Stereo Review, Volume 49 (CBS Magazines)
Strange World of Library Music (Nate Patrin)
Strings Attached: The Life and Music of John Williams (William Starling)
Stroke of Luck, A (William D. Smith)
Swing, 1920-1985, Swing / Dance Bands & Combos (Walter Bruyninckx)
Television: 1970-1980 (Vincent Terrace)
Television Drama Series Programming: A Comprehensive Chronicle, 1984-1986, Volume 6 (Larry James Gianakos)
Time Out Film Guide 2011 (John Pym)
Times TV and Video Guide, The, 1999 (David Quinlan)
Torn Music: Rejected Film Scores, A Selected History (Gergely Hubai)
Transport Salaried Staff Journal, Volumes 60-61 (Gray’s Inn Press)
Universal Sherlock Holmes, Volume 4 (Ronald Burt De Waal, George A. Vanderburgh)
U.S. Soundtracks on CD: Scores for Motion Pictures and Television 1985-1999 (Robert L. Smith)
Variety’s Complete Science Fiction Reviews (Donald C. Willis)
Variety’s Film Reviews: 1964-1967, 1975-1977 (Bowker)
Videohound's Golden Movie Retriever 2005 (Jim Craddock)
Vince Guaraldi at the Piano (Derrick Bang)
Wake In Fright: The Classic Australian Thriller (Kenneth Cook)
Who’s Who of British Jazz (John Chilton)
Who’s Who of British Jazz, 2nd Edition (John Chilton)
Women Writers Dramatized: A Calendar of Performances from Narrative Works Published in English to 1900 (H. Philip Bolton)
Woody Herman (Steve Voce)
Woody Herman and His Orchestra: 1958-1987 (Charles Garrod)
Woody Herman: A Guide to the Big Band Recordings, 1936-1987 (Dexter Morill)
Woody Herman: Chronicles of the Herds (William D. Clancy)
World Filmography 1967 (Peter Cowie)
NOTEWORTHY
John Scott led two jazz bands during the sixties: The Johnny Scott Quintet and The Johnny Scott Trio. The former consisted
of himself on flute, Duncan Lamont (saxophone), David Snell (harp), Barry Morgan (drums) and Arthur Watts (bass); the later, Scott,
Lamont and Snell.

Melody Maker, the premier British Pop music paper of the 20th Century (1926-2000), issued an annual Jazz poll. In the 60s,
John was ranked as the “Best Flute Player” for six consecutive years, and among the top three for a ten-year period.

In The Beatles Diary Volume 1: The Beatles Years, it is noted that John Scott holds the distinction of being the first musician
to have been invited to be featured on their recordings, playing both alto and tenor flute on “You've Got to Hide Your Love Away.”

“You've Got To Hide Your Love Away" was the first Beatles song to feature an outside musician (apart from "Love Me Do",
the group's first EMI recording, in which producer George Martin had engaged a session drummer to substitute for the thenuntried Ringo Starr). The basic rhythm track was recorded first, followed by George Harrison’s guitar and some extra percussion.
John Scott recorded a tenor flute in the spaces in Lennon’s vocal track and an additional alto flute part, in harmony with the first, on
the last available track of the four-track machine.”—Bob Spitz, The Beatles: The Biography

Perhaps the greatest compliment John Scott ever received for a score came from fellow composer Henry Mancini. Because
of his reputation as a versatile studio musician, Mancini asked for John when he came to London to record Charade. From then on,
they recorded a string of films. This was the genesis of John’s desire to compose for film. He was able to take note of how Mancini
fitted music to film, how he rehearsed his cues, how he utilized the studio and the engineers. Mancini was his teacher. And one day,
the student received a call from his teacher. It was Mancini saying, “John, I’ve just seen Greystoke! You have written a wonderful
score!”

In Die Hard, the final minutes were tracked with music from another Twentieth Century Fox feature. Originally a ‘temp
track’, the studio ultimately decided to leave it in the picture. The poignant music heard when McClane and Powell see each other for
the first time, is from John Scott’s original score for Man On Fire, entitled “We've Got Each Other.”

John Scott wrote the music and Arthur Hamilton the lyrics for “Remembering” for the motion picture England Made Me.
The song was performed by Lana Cantrell, and was nominated for an Academy Award for Best Song in a Motion Picture. However, it
became disqualified due to Ms. Cantrell’s vocal being recorded over the motion picture title strip at the end of the feature. The
Academy subsequently notified East Coast Records, and requested the instrumental version be nominated in its place. East Coast
Records declined in support of Ms. Cantrell. As chairman of the Music Branch’s Executive Committee, it was Mr. Hamilton’s
responsibility to disqualify his own song. The rule was changed the following year, and the use of a song over the end titles became
eligible—and common practice.

Released over 35 years ago, The Final Countdown was directed by Don Taylor (Damien: Omen 2, Escape from the Planet
of the Apes). The film's plot concerns the USS Nimitz, an American, nuclear aircraft carrier being caught in a classic dilemma when a
supernatural storm sends the ship and its crew back in time just before the Japanese assault on Pearl Harbor.
Virtually unknown outside Naval Ranks, there is something known as “breakaway music.” Breakaway music is a modern
U.S. Naval tradition used to motivate sailors upon the conclusion of underway replenishment (UNREP). When the two ships involved
in the UNREP conclude their transfer of fuels and stores, and commence their breakaway, a song (usually selected by the Captain, but
sometimes chosen by the Officer of the Deck or Navigation Officer) is played over the 1MC, the “all hands” circuit that talks to the
entire ship.
Breakaway music may sometimes be related to the name of the ship, such as the “Theme from Star Trek" (USS Enterprise),
“Theme from Rocky” (USS Boxer) and “Bad Company” (USS Forrestal). The present day breakaway music for the USS Nimitz upon
completion of UNREP? It can only be the music uniquely written for the ship—John Scott’s “Theme from The Final Countdown.”

In 2003, John Scott unveiled his new orchestral score for the 1920 silent classic Dr. Jekyll and Mr. Hyde, starring John
Barrymore, conducting the 40-piece Hollywood Symphony Orchestra at the Haugh Performing Arts Auditorium, Citrus College,
Glendora, California. The orchestra performed in synchronization to the original film.

In 2007, John Scott premiered an original score to the 1922 silent film Robin Hood, written by and starring Douglas
Fairbanks. The work was performed by the Nottingham Philharmonic Orchestra, Nottingham, England, and was performed in
synchronization to the original film. A subsequent performance was made in 2012 at London's Cadogan Hall, with the Royal
Philharmonic Orchestra.

On October 16, 2013, John Scott was honored with The Gold Badge Award presented by the British Academy of
Songwriters, Composers and Authors (BASCA), in association with PRS for Music. On this 40th Anniversary of the Award, the group
celebrated the achievements of 12 men and women who have made a special contribution to Britain's music industry.
PROFESSIONAL AFFILIATIONS
Member, Music Branch Executive Committee, Academy of Motion Pictures, Arts and Sciences
The Hollywood Symphony Orchestra – Founder, Conductor and Artistic Director
The Hollywood Symphony Orchestra Society – President
Jules Verne Adventures, Paris & Los Angeles – Honorary Board Member
THE REVIEWS
____
___
LOGBOOK.COM
THE FINAL COUNTDOWN
EXAMINER.COM
“MAN ON FIRE”
FILM MUSIC MAGAZINE
“THE WICKER TREE”
“GREYSTOKE: THE LEGEND OF TARZAN”
“MUSIC BY JOHN SCOTT”
FILM SCORE MONTHLY – AN OVERVIEW
“JOHN SCOTT: REVIEWED”
FILM MUSIC MAGAZINE
GRAMOPHONE FILM MUSIC – GOOD CD GUIDE
FILMTRACKS MUSIC FROM THE MOVIES MOVIE MUSIC DOT COM
MAINTITLES
“JOHN SCOTT ON ROBIN HOOD”
ROYAL PHILHARMONIC SILENT FILM SCORE PERFORMANCE, LONDON
REVIEW: ROBIN HOOD, NOTTINGHAM PHILHARMONIC, NOTTINGHAM
“GREAT SCOTT!”
“DR. JEKYLL AND MR. HYDE” – SILENT FILM SCORE REVIEW BY JON BURLINGAME
THE INSIDE STORY OF HOW ‘THIS WEEK IN
BASEBALL’ GOT IT’S ICONIC THEME MUSIC
SPORTINGNEWS.COM
“THE SOUND OF ADVENTURE”
FESTIVAL DU FILM JULES VERNE – CONCERT REVIEW
“THE HOLLYWOOD SYMPHONY ORCHESTRA”
FOUNDER – CONDUCTOR – ARTISTIC DIRECTOR
The Final Countdown –
music by John Scott
Rob Heyman
June 9, 2014
The Final Countdown may not have been the
thrilling time-travel spectacle its producers hoped it would be when it was
released in 1980, but it did boast a winning score that continues to be widely
praised not only for its creativity but its ability to transform a flawed movie into
something of an unlikely classic.
I admit to being a huge fan of this movie. It’s easy to
appreciate it as something of an anomaly in 1980 when
movie special effects had survived the growing pains
of Star Wars, Close Encounters of the Third Kind,
and Alien – not to mention The Empire Strikes Back, to
name just a few. Next to these Big Boys, The Final
Countdown, with its embarrassing laser storm time
portal and use of stock footage, comes across exactly as
it was to make – cheap. However, that low-budget approach and earnest
attention to story, underscored by a wonderfully propulsive score, is what gives
the movie a lasting charm.
On the whole John Scott imbues the score with incredible optimism and
purpose. At its core, The Final Countdown is a science fiction movie and Scott
opens the movie in the main titles with Star Trek-ian fanfare. Like the
Starship Enterprise, the U.S.S. Nimitz is treated like a character in the movie
with its own theme (which takes a curiously menacing turn when the Nimitz
first appears on screen and can be heard at the 2-minute mark in track 1).
There’s little in the “Main Titles” to portend the forthcoming mystery and
danger of the story. It’s a balls-out piece of heroic bombast that finds its
fingerprints all over the rest of the score. Scott gives it a beautifully fatalistic
feel in “Nimitz On Route” and a revisited heroic identity for “Splash the Zeros”.
It’s hard to ignore the very obvious Tchaikovsky influences and one may take
issue with its shameless patriotism, which makes the score feel like a marketing
piece for the Navy (the movie was in fact used as a recruiting tool for the
Navy). Despite this, the theme serves quite well what is, in essence, a very
American movie.
Scott displays his true creativity with his “Mr. Tideman” theme, which may be,
I would argue, one of the best themes ever created for a movie character. This
track is certainly worth dissecting because it’s a work of undeniable genius. The
THE LOGBOOK.COM
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nervous strings running throughout the track convey the appropriate anticipation
and mystery surrounding the Tideman character and the horns echo the more
stately and official elements of the Navy and Tideman’s relationship to it, but
it’s that quick, playful little melody heard 45 seconds in that’s at the soul of the
theme. It took me a few listens but I realized, whether intentional or not, that
Scott was tipping his hat to “Tubular Bells”, which played a significant role in
the score for The Exorcist.
Scott brings back the Tideman theme in romantic guise for the first real
personal meeting between Commander Owen and Laurel. The theme, now
stripped down and played with flute, not only underscores their budding
romance but also foreshadows their relationship to the first appearance of
Tideman earlier in the movie. The theme becomes more aggressive and fulfilled
(not to mention creepier) at the end of the movie when it’s revealed Commander
Owen is Mr. Tideman – or became Mr. Tideman, however you want to interpret
it.
Sometimes the fanfare gets to be a little too much. “The Admirals Arrive” is a
painful marching band composition and “Last Known Location,” with its overly
dramatic tympanis and strings, feels entirely mired in dated ’70s and early ’80s
adventure film scoring. I can’t say too much about Scott’s use of the Jawstheme
to underscore the approaching time storm. After all, Jerry Goldsmith used it as
well for The Omen in a key scene there. Here, Scott has time to truly play it out.
It’s yet another nice nod to another influential film score from that era, even if it
does seem like a lazy choice (even “An Hour Ago” sounds slightly derivative of
Capt. Dallas’ air shaft crawl scene in Alien, with a few sneaky notes of the
main Alien theme thrown in for good effect).
The Final Countdown is a relic of a time long since passed, when scores were
treated with incredible care and attention, especially for sci-fi and adventure
films. Call it the Star Wars Effect. Today, with emphasis and minimalism and
irony in scoring, it’s easy to
dismiss Scott’s score as dated or even jingoistic. As politically
minded as we are today, a movie like this would be (if
similarly made) filed on either side of the dividing line
between red and blue ideologies. And that’s sad. It diverts
attention from what is in essence a beautifully realized score
that serves its movie well and makes it a memorable, if flawed,
entry in sci-fi cinema.
Man On Fire (1987) Music By John Scott
Rating: Man On Fire (1987)
Music By John Scott
Varese Sarabande CD Club VCL 10121142 (Reissue)
14 Tracks - Disc Time: 36:42 Grade: B+
November 12, 2012
While most know that there was a remake of the film, Man
On Fire starring Denzel Washington, Christopher Walken,
Rhada Mitchell, Marc Anthony, Mickey Rourke and Dakota
Fanning, which was more in keeping with A.J. Quinnell's
original novel based on the character of Creasy in which he
was involved in a series of books. While the stylish remake
was directed by the late Tony Scott, seventeen years prior Man On Fire was
first adapted into a film and directed by French director, Elie Chouraqui, who
also had a hand in the screenplay. Just like the remake, the plot is almost
identical except for the film's location which is in Italy for this film and the
remake takes place in Mexico. The film revolves around a burnt out former CIA
operative Creasy (Scott Glenn) who is talked into taking a bodyguard job by his
best friend, David (Joe Pesci). Creasy is assigned to protect the daughter named
Sam (Jade Malle) of a prominent and wealthy American couple (Paul Shenar
and Brooke Adams). After a rocky start, Creasy and Sam soon develop a close
and friendly relationship to which Creasy actually feels his life getting back on
track. When Sam is kidnapped, Creasy is brutally beaten in the process and after
an painful recovery process, he vows to find Sam and bring her back home
safely while vowing vengeance and death on all of those involved with her
kidnapping.
This version of the film came and went almost at an blink of an eye and did find
some success on cable during the late 80's while the remake would be one of
Denzel Washington's more successful films along with Tony Scott's. While the
film did not live to expectations on all levels including the book's author coming
onto the set and seeing something completely different than that of what of he
had written, there is one really stand out thing about the film and that is the
musical work of John Scott. Scott who was coming off the success of
Greystoke: The Legend of Tarzan Lord of the Apes and another disaster,
EXAMINER.COM
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King Kong Lives, somehow found inspiration and energy to write one of his
more dynamic scores for that film, as well this one and has been a fan favorite
for decades. This darkly hued work which actually features some really
wonderful melodic and tender material actually made it's way into 1988's
blockbuster Die Hard ("We've Got Each Other") which attests to Scott's gift for
memorable melodies and lush orchestrations.
This darkly hued score starts out with the memorable "Man On Fire" that also
incorporates the "We've Got Each Other" theme to a lush and romantic reading
that ends triumphantly. Scott uses this wonderful theme to great effect ("Sam
Wins The Race", "Becoming Friends", "Reunited") that plays with emotion and
gusto. While Scott successfully establishes the relationship between Creasy and
Sam in a more romantic vain, the rest of the score is a dark and moody affair
that really underscores the suspense of her kidnapping ("The Ransom Drop",
"The Kidnapping") and Creasy's vengeful search for her at all costs ("Start Of
The Search", "Premature Death", "Death Of Creasy", "Rabbia Must Die"). Start
Of The Search is one of the major highlights on hand here with its terrific
orchestration and use of cool guitar work and percussion. Scott really does a
great job with a film that really does undermine him a bit and having it bomb
into oblivion, really didn't help his cause to get his exciting work noticed. While
the soundtrack was released despite it's failure, Varese Sarabande really did a
great job in keeping this gem from completely disappearing altogether. Varese
has reissued the soundtrack as part of its Vintage series and it is a deserving
reissue which once again has been out of circulation for more than two decades
and for fans of John Scott, it's a welcome back to one of his more popular scores
and for those who haven't heard it, it'll be a refreshing new experience. Man On
Fire is a great example of how memorable the music is than the film itself.this
is easily one of John Scott's finest works and kudos to Varese for reissuing it.
Highly recommended.
By Daniel Schweiger • June 25, 2012
What is it?: Nearly 40 years ago, composer Paul Giovanni
and his folk group Magnet, lured a rigidly Catholic cop to
Summerisle, reaching into England’s Celtic-Druid past for fertility
rites, bawdy, rutting ballads and ancient instruments, all combining
for a siren song that’s still the creepiest folk score in film history.
Now, original “Wicker Man” writer-turned-director Robin Hardy
finds two new lambs for the pagan slaughter in “The Wicker Tree,” sending his selfrighteous Christians to convert the old god worshipping villagers of a Scottish country
town. Composer John Scott is there to greet the visitors for this entertaining, sort-ofsequel, accompanied on a second disc by twisted tunesmith Keith Easdale. But as
opposed to “The Wicker Man”’s more stripped-down musical style, Scott and Easdale
ignite this gnarled wood in far more robust, toe-tapping fashion.
Why you should buy it?: Like original “Wicker” star Christopher Lee (who
cameos here) John Scott has lost none of his snap in his winter solstice, proving
himself better than ever at conjuring sweeping ghastliness. With a decades-long career
that’s encompassed “A Study In Terror,” “Inseminoid,” “Doomwatch” and
“Witchcraft,” Scott gets to practice his symphonic rites with terrific, youthful flair. But
perhaps even more than his horror scores, “The Wicker Tree” owes its chilling power
to Scott’s far more dramatically elegant countryside scores like “The Shooting Party”
and “Greystoke.” Having fashioned his style after such bucolic English legends as Sir
William Walton and Benjamin Britten, Scott’s rapturous celebration of strings and
horns serve as the perfect, lush talismans to entice its true believers to the rolling, green
charms of the countryside (with even country guitar thrown in for the American hicks).
But the music grows ever-darker as the villagers’ true colors are revealed, violins and
woodwinds doffing their pleasantries to give way to roaringly evil orchestra and a
pounding, percussive dance, all trumpeting with a “Die Irae”’s-like power that’s a
musical sucker punch. Yet Scott isn’t a completely heartless bastard as darkness
triumphs, conveying both the anguish of the victims’ betrayal, and some small sliver of
trembling hope at escape. When so many horror scores avoid bold themes like the
plague, one of “The Wicker Tree”’s biggest pleasures is how Scott completely revels in
immediately distinctive melodies and motifs, all entangled into the ironic musical roots
that run through the “Tree”’s sonic earth, thirsting for the pulsing, musical blood of a
devil’s dance to bring about the next harvest.
Extra Special: Songs play as integral a role to the “Tree” as the “Man,” and
Keith Easdale’s numbers are arguably even more deceptively pleasing to the ear.
Serving as a sort of pagan Greek chorus, these songs judiciously employ flute, fiddle,
organ and guitar for maximum folksy effectiveness, ranging
FILM MUSIC MAGAZINE
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from spiritual hymns to lyrical folk songs, as well as more-than-suggestive lyrics for
love in the orchard, or a trailer trash country park. It’s a combination of the pious and
the profane that are often quite moving, especially as graced by the angelic voice of
lead actress Brittania Nicol. Easdale’s tunes are no more powerful than when they’re
the pied piper voices for the beliefs of both virgin and victimizer, leading them with
absolute, spellbinding faith in what the other would label as sacrilege.
By Daniel Schweiger • October 18, 2010
GREYSTOKE (3,000 edition)
What is it?: Where the music of Tarzan movies had always
been about jungle brawn, CHARIOTS OF FIRE director Hugh
Hudson gave the mythic saga a true touch of English class with
this superior, revisionist take on the man-ape, which for my yodel stands as the
best Tarzan film yet made. With the aim of is restoring the “Lord” to its hero, in
as much of the aristocratic sense as the ape one, Hudson couldn’t have found a
more elegant composer than John Scott to realize its very British ambitions.
Why should you buy it?: A musical classicist in the best sense of the word
with his nobly-blooded melodies for the likes of ENGLAND MADE ME and
THE SHOOTING PARTY, Scott also could play rugged, fantastical adventure
with such scores as THE PEOPLE THAT TIME FORGOT and KING KONG
LIVES. Both animalistic, and posh sides brilliantly come into play here, first as
Edward Elgar-ian pomp and circumstance sends the Earl of Greystoke and his
pregnant wife on their fateful African voyage. But as opposed to going native
with the their baby boy’s new adoptees, Scott turns traditional brass and
percussion into howling, pounding savagery a la Igor Stravinsky. Yet he’s
always sure to balance this action with beautifully lush themes, making the
jungle as enchanted a place as any musical imagery that Claude Debussy
conjured in “La Mer,” let alone the numerous nature scores that Scott himself
provided for Jacques Cousteau. With this kind of rapturous talent, Scott
balances the genteel and the beastly upon Tarzan’s return to so-called Victorian
civilization, with sweeping, concert hall-style music, an unabashedly thematic
approach that’s sorely missed.
Extra Special: La La Land has been sure to make GREYSTOKE’s longawaited, official CD release sonically roar like never before, while adding
Scott’s theatrically unused Overture and End Titles to the program, all while
Jeff Bond’s liner notes smartly detail the Tarzan score with true symphonic
pedigree.
The Magazine of Motion Picture and Television Music Appreciation
“Music by John Scott”
Overview by Michael Ware
The eminent composer John Scott is a three-decade veteran of incisive,
powerfully articulated film music. From his earliest works in the late1960s for
A STUDY IN TERROR and THE LONG DUEL (when credited as Patrick John
Scott), through a sharply idiosyncratic period in the 1970s distinguished by his
masterwork ANTONY AND CLEOPATRA, blooming into the full-force
bravura works for the 1980s and beyond, Scott has been an essential voice in
international scoring that thoroughly belies his sometimes overlooked stature in
the midst of brand name composers (Goldsmith / Williams / Elfman) and more
blatant commercial acts (fill in the blanks). Whatever your personal tastes, the
sheer visceral persuasion of Scott’s personal idiom of classical mastery of form,
style, and penetrating dramatic conviction, can be argued at the least to be one
of contemporary film scoring’s vital resources.
Scott is roughly a contemporary of John Barry and Jerry Goldsmith. His
methodology as composer (stylistically consistent and with a range of
influences) struck quickly at the beginning of his career and is immediately
recognizable for its straightforward dramatic punch, gleaning out the emotional
specifics of his characters and elevating their needs to an often-Homeric level of
insight and empathetic response to the demands of being alive. Like David
Shire, he is incapable of letting an assignment fly without investing it with
redemptive compassion and dignity. Scott’s sound can be placed in the
contemporary classical / romantic genre, perhaps: “lush” orchestrations with a
warmth in the strings offset with a tonal complexity geared for any dramatic
contingency—also a penchant for bold melodic lines and a modern structural
design for a powerhouse exposition of his dramatic content, always directly
impactful of the moment at hand.
Scott is one of the few composers still willing to assert his personal
point of view. Though his style allows for insinuating intimacy that can be
piercingly lovely or actually heartbreaking, his sensibility seems unabashedly
epic. His innate romanticism has a realist’s discretion; when Scott assigns the
need for the soaring climactic uplift it is earned in the judicious, life-affirming
way of Miklos Rozsa—nearly a credible comparison, and an inspiring, blazing
gift.
FILM SCORE MONTHLY
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Here are a few John Scott CDs, hopefully available from the usual mail
order outlets where in print:
JOHN SCOTT CONDUCTS HIS OWN FAVOURITE
FILM SCORES (JOS Records)—A pristine collection of
cuttings from the better known works THE FINAL
COUNTDOWN and ANTONY AND CLEOPATRA (also
available in a full re-recording of this searing and gorgeous
score, Scott’s most passionate, on JOS), and forgotten pics like
ENGLAND MADE ME, and Scott’s tenderly empathetic treatment of macho
NFL players on the brink of destruction in the 70s jazz-fusion of NORTH
DALLAS FORTY. This disc has the only legit CD rendition of Scott’s great
1984 achievement GREYSTOKE THE LEGEND OF TARZAN LORD OF
THE APES.
THE SCARLET TUNIC (JOS)—A fine score most never
heard in 1997, for a period film based on Hardy’s THE
MELANCHOLY HUSSAR. Scott takes to the period flavor
and instrumentation for this story of a doomed love with a
shimmery tension, restraining the large emotions to a muted
desperation. The sense of urgency is more potent for the
elegance of form that lends the score a timeless quality culminating in a
finishing theme that is the kind of heartbreaking tone poem that would have
given TITANIC actual taste and literacy.
KING KONG LIVES (Japanese Victor [out of print])—One
of Scott’s most popular works that vaults well past Barry’s
succinctly simple romance of the ‘76 film, and Steiner’s
classic original, with the hugely romantic, near apocalyptic
vision Scott put to this otherwise ridiculous film. It is
insanely opulent and jammed to the brink with the splendidferous writing Scott excelled at in his Cousteau docu scores, overflowing with
inside jokes and references to both previous Kongs, Michel Legrand, Andre
Previn and Rozsa’s EL CID, for a worthy doctoral thesis in sheer sonority of
orchestral color. Scott’s rhapsodic thematic material binding his protagonists
(two large gorillas) to a new mythic stature is conveyed with melodic lines that
are blood red and strong, radiating the intrinsic nobility of great apes.
WINTER PEOPLE / PRAYER FOR THE DYING (JOS)–
WINTER PEOPLE is Scott’s take on the Missouri Breaks /
Conrack genre, more accurately his deeply compassioned
response to a story of cross-cultural conflict involving a
reasonable modern sensibility (repped by the character played
FILM SCORE MONTHLY
Page Three
by Kurt Russell) against backwoods clannish bigotry. The score is a fusion of
symphonic contemporary music with southern hillbilly textures attending the
conflicts with a resonance befitting classical tragedy, granting full voice to all
sides without slighting, or softening any of them. Scott’s approach is always
one of empathy, and the central character of an unwed mother (Kelly McGillis)
is given one of the great-impassioned play outs in a spectacular moment (“The
Sacrifice”). The disc is paired with Scott’s rejected (against the director’s
wishes) A PRAYER FOR THE DYING. Scored for rock ensemble featuring
solo guitar, augmented with Irish harp, keyboard, cello, this is an intricate
suspense score from the inside out. Makes you glad you never joined the IRA.
Brooding violence is filled out with softer melancholia that is a couple of steps
better than gorgeous. Scott is a nonsense-free composer, and his sentiment is
earned. Maybe one reason he is less popular than someone like Barry is that his
style is imposing, the violence hurts, the uplift is exhilarating and reminds you
that you are glad to be alive; Scott makes you a part of it, a member of the
family with obligations to become a better human being.
LIONHEART (Intrada [out of print])—A spectacular Kung
Fu score. Scott ignored the Van Damme surface value of this,
and crafted a fully shaped and epic work that, of course,
touches on the usual contemporary funk and rock elements of
Kung Fu scores, and complements them with a startlingly
visceral exposition of a man struggling to achieve mastery of
his soul. The immediacy of big-city violence is offset with a gradually
formulating noble “victory” theme that only reaches fruition at the climactic
fight when the protagonist achieves inner strength, rather than outer, with a
compassionate choice of action. Scott plays to the full value of a central tenet
of the Martial Arts, reconciling aggression with reflective discipline for a
balanced life in the midst of chaos. The finale is another of Scott’s habitual
statements of exhilaration and power, and a shattering burst of triumph.
©Film Score Monthly, December, 1998
“Shoot To Kill” — Reviewed by Daniel Schweiger
Between hearing the classically adventurous vine
swinging of Tarzan in GREYSTOKE, vengefully playing
Scott Glenn delivering a whole lot of whoop ass in the original
MAN ON FIRE, capturing the fury when KING KONG
LIVES or hearing the jazzy football ennui of NORTH
DALLAS FORTY, the genteel John Scott has proven he
certainly knows a thing or two about how to play macho attitudes and the great
outdoors, Both factors would figure prominently in one of his most acclaimed
Hollywood scores for 1988’s SHOOT TO KILL. Street-smart FBI agent
Sidney Poitier was the greenhorn when teamed with grizzled outdoorsman Tom
Berenger, with both trying to take down a very bad guy roaming the Pacific
Northwest.
While there’s a rugged, bucolic flavor in these woods, especially given
Scott’s mold in the symphonically naturalistic Vaughan Williams / William
Walton tradition, SHOOT TO KILL also ends up sounding as rustic as a gun
barrel on a rain-drenched night. That’s due to the hard-broiled, thematic edge
of a saxophone that runs through this terrifically exciting score. But then, as the
musician whose licks can be heard in the opening of GOLDFINGER, Scott has
always shown a talent for playing the instrument at its most dangerously
atmospheric tones. Along with electronic percussion, these hard-broiled
elements bring the wild film noir vibe of pursuing a metropolitan thug in the
great outdoors. Yet there’s much dangerously soaring beauty to be had in
SHOOT TO KILL, its bold, brass-driven action bringing images of another
forest survivalist named John Rambo to mind. As Scott’s riveting score slugs
its way through branches, bears and a psychotic mastermind, SHOOT captures
a thrilling scope that’s as that’s as big as all outdoors.
Alternate action cues show Scott at his most untamed, where two Roller
Rink source cues offer a fun respite for disco-ish jazz, all while the intrepid Jeff
Bond’s liner notes keep entertaining trek of this long-request score. It’s release
is yet another boon from Intrada’s venture with Disney Pictures, whose
SHOOT TO KILL still stands as one of the most impressive adult entries of
their Touchstone Pictures division.
FILM MUSIC MAGAZINE
JOHN SCOTT
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“North Dallas Forty” — Reviewed by Daniel Schweiger
One of the more curious composer-to-picture matchups in the 70’s was throwing John Scott, a genteel English
composer renowned for such classically lush scores as
ANTONY AND CLEOPATRA and THE COUSTEAU
ODYSSEY, into the very macho game of football—and we
aren’t talking the Euro definition of guys kicking around a
pigskin.
Yet it’s exactly that strongly thematic sense of drama that let NORTH
DALLAS FORTY make a memorable touchdown as one of America’s better
sports films. Credit Canadian director Ted Kocheff, who’d worked with Scott
on the equally unlikely Aussie thriller WAKE IN FRIGHT to let the composer
make the musical plays for the North Dallas Bulls (i.e. Cowboys)- a position
Scott’s library music had also prepped him for when it was used as a theme for
the New York Knicks.
FORTY’s carried by a jazzy, ironic melody that draws on Scott’s
nightclub days in England. Yet the score is also suffused with military suspense
that anticipates when its graying athletes’ bodies will finally break down, a dark
tone that might make you think you’ve stumbled upon a spy score, if it weren’t
for the brassy grooves that are always running disco-funk maneuvers across the
field.
Scott’s score occupies the emotional point spread of players-will-beplayers comedy and the ultimate, bone-crunching trip off the field the characters
know is coming- and fear for all of the pop swaggering that Scott knowingly
provides.
Gramophone
FILM MUSIC
GOOD CD GUIDE
Reviews of the best film music CDs you can buy
Mark Walker Editor
[Note: The Editor and reviewers made a chronological selection of 40
landmark scores from 1933-1995. Mr. Scott’s Antony and Cleopatra is
among those selected.]
Antony and Cleopatra Berlin Radio Symphony Choir
and Orchestra; John Scott (conductor). JOS Records. Review
by John Williams
John Scott’s music for Charlton Heston’s little-seen epic (who
so admired the score he mentioned it in his Actor’s Journal)
finally makes its appearance on CD in a new and much longer form than the
original version issued by Polydor. It is a wonderful score: the beautiful main
theme—one of Scott’s finest pieces—flows like the Nile, undulating gracefully
through some memorable choral writing. The battle sequences have an
excitement and style worthy of Alex North. The only letdown is a rather bland
sleeve design (which I understand is being re-vamped for future release). But
don’t be put off by the cover; this is John Scott’s classic score.
The Shooting Party and Birds and Planes Royal
Philharmonic Orchestra; John Scott (conductor). JOS
Records. Review by David Stoner
The elegiac qualities of Isobel Colegate’s novel are perfectly
taken up by Alan Bridge’s film. A sense of loss and mourning
for a time in English history when outside forces were beginning to change a
way of life forever: the last year before the outbreak of the First World War.
This amusing, but ultimately tragic film is blessed with an outstanding cast;
fortunately, it is also blessed with a superlative score by John Scott. Longlimbed, quintessentially English melodies flow with ease throughout the work.
His music is imbued with refinement and elegance, but also sympathy and
understanding for the countryside and those who live off it and for it. The is an
additional autumnal stillness that permeates the work, which points to the
GRAMOPHONE
FILM MUSIC, GOOD CD GUIDE
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immediate fate of the Gordon Jackson character, as well as the short destinies of
the other principal characters revealed to us in the closing credits. The Epilogue
is an extremely moving reprise of the Main Title, but with a fragment of The
Last Post underneath it. A lament for those lives to be lost in The Great War.
Due to budgetary restrictions, the documentary Birds and Planes was scored for
the odd combination of string quartet, piano and four double basses; such a
curious sonority alone makes the inclusion of this short suite a welcome bonus.
Winter People and Prayer for the Dying Graunke
Symphony Orchestra; John Scott (conductor). JOS Records.
Review by Mark Walker.
Both scores on this disc are built around a nucleus of seven
musicians. Winter People opens with a convincingly authentic
bluegrass ensemble consisting of a fiddle, mandolin and guitars, augmented by
synthesizers—the latter assuming a more important role as the music becomes
gradually darker. After previews of the film, it was felt that a bigger emotional
punch was required, so Scott re-scored the latter third for full orchestra; in this
case, a happy decision on the part of the producers, as Scott’s gorgeous
melodies thereby gain an extra dimension (the final cue, The Return of
Jonathan, is ravishing). The composer’s experience with Prayer for the Dying
was less happy: his score was replaced (against the director’s wishes) by one
commissioned in Hollywood from Bill Conti. Rather than let his music
languish in a drawer, Scott enterprisingly decided to record it, and use it on his
own label. This time the instrumentalists are center around Celtic harp and
cello, with electric guitar and synths contributing a harder, ‘urban’ feel. Molly
Simpson adds her own irresistible (wordless) soprano. There is plenty of
dramatic writing here, but—as with the previous score—it is the composer’s
knack for penning attractive melodies that ultimately wins the listener’s
affection. Two such diverse and unusual scores on one disc—great value by
any reckoning.
John Scott Conducts His Own Favourite Film
Scores Berlin Concert Orchestra; Royal Philharmonic
Orchestra; John Scott (conductor). JOS Records. The Final
Countdown, The Shooting Party, North Dallas Forty, England
Made Me, The People That Time Forgot, Cousteau: Amazon
Outback, Greystoke, Antony and Cleopatra. Review by Mark Walker.
GRAMOPHONE
Page Three
There is something so positively beguiling about John Scott’s music—a
succession of enchanting melodies, transparently orchestrated—that it requires
no small effort of will to actually stop listening to a disc like this. Scott’s output
encompasses a diversity of styles, most of which are represented here: from the
jazzy pre-war number “All on the Radio” (England Made Me), through the light
pop of North Dallas Forty, to the electrified modernism of Outback. Scott’s
melodic skills are really shown to best advantage, however, in the unashamed
romanticism of The Shooting Party, Greystoke and Antony and Cleopatra. The
action-packed overture to The Final Countdown is an arresting reminder of his
dramatic abilities. If you are not yet familiar with Scott’s music, this is an
excellent place to start exploring.
Cape Horn and The Channel Islands Royal
Philharmonic Orchestra; Berlin Radio Concert Orchestra;
John Scott (conductor). JOS Records. Review by Mark
Walker.
Parc Océanique Cousteau Colin Purbrook (organist)
Royal Philharmonic Orchestra; John Scott (conductor). JOS
Records. Review by Mark Walker.
These discs are just two examples of John Scott’s colourfully
illustrative music for Jacques Cousteau’s famous nautical documentaries—JOS
Records have so far released six Cousteau discs. This music is no less richly
orchestrated, dramatic and melodic than any of the composer’s ‘proper’ film
scores. Each Cousteau score presents a series of vivid tableaux, encapsulating
the adventure, danger and fun of the different voyages. The Emmy Awardwinning score on the first disc takes us to Cape Horn, with an arresting
depiction of The Violent Graveyard, followed by distinctive musical portraits of
glaciers, seals albatrosses and penguins (the Penguin Gallop is a real gem). The
Channel Islands is less turbulent, with broad orchestral themes emphasizing the
opening cue’s title, Islands of Beauty and Adventure. The undersea movements
have a real sense of the wonder and mystery of exploration. As with all of his
Cousteau scores, each cue is a fully developed portrait in miniature—able to be
savoured individually, or as part of the whole. The grace and grander of The
Blue Whale begins the second disc. Scott’s music responds with awe and
reverence: after full orchestral treatment, he introduces a lengthy solo
movement for church organ. Fire, Water, Life, as the title suggests, shifts in
mood from the drama of Volcanoes to the ethereal beauty of undersea life.
Journey to the Depths of the Ocean is a musical voyage into the unknown in
GRAMOPHONE
Page Four
which Colin Purbrook is employed once again to evoke the unfathomable
mysteries of the deep. Music for Shipwrecks is the shortest, and least
convincing suite, if only because it includes a song—”Toll the Bell”—which
unwittingly jars the listener, who has heretofore been mentally drifting beneath
the ocean, back to dry land and reality. Throughout this series, the composer’s
vivid use of his orchestral palette to illustrate each different encounter is
especially to be savoured. The absence of explanatory booklet-notes for any of
the discs is the only quibble about these attractive and highly collectible discs.
To the Ends of the Earth John Scott (Conductor).
Prometheus. Review by Mark Walker.
John Scott has carved a niche for himself composing dramatic
and evocative scores for documentaries. His Cousteau
adventures are thoroughly chronicled on his own JOS
Records; To the Ends of the Earth is the story of the Transglobe Expedition, led
by Sir Ranulph Fiennes. Director William Kronick distilled 150 hours of raw
footage into a 100-minute documentary. The composer’s brief was to be
operatic—he responded with a grandly conceived orchestral tapestry, which
spectacularly evokes the spirit of adventure and discovery. As with his
Cousteau scores, each cue is a characteristic study of dangers, thrills and
wonders. The whole is held together by an exhilarating Main Title theme,
which recurs throughout in a series of delightful variations. The journey to and
from both poles is vividly described in music, with portraits of cracking ice,
whiteouts and the long Antarctic night. Scott’s use of orchestral colour to
suggest mood and situation is once again to be marveled at. A glossy booklet,
including notes from the director and composer, is an added bonus.
© Gramophone Publications Limited 1996
Review by Christian Clemmensen
Filmtracks Recommends:
Buy it... if you want an excellent sampling of some of the best
adventure material ever composed by John Scott in his lengthy
career.
Avoid it... if you have no interest in engaging and massive
orchestral action music.
Filmtracks Editorial Review:
King Kong Lives: (John Scott) — Ten years after our favorite Kong
was machine-gunned off the top of the World Trade Center in the 1976 Dino De
Laurentiis production of King Kong, a sequel was released under the notion
that the beast survived the fall and has been hidden by the government during
the following decade. The 1986 production of King Kong Lives was another
De Laurentiis venture, opening with the final scene of the 1976 film and
featuring much of the same crew. Director John Guillermin would return for
King Kong Lives, only to see the film end a long career that included The
Towering Inferno. The script is really what sunk this sequel, with its
laughable premise and ridiculous fallacies in logic rendering the film
completely pointless.
The actors seemed to realize that they were involved in a boring
production, given their completely uninspired performances of cheesy dialogue.
The film does have the notable attraction of a brief partial nudity shot of actress
Linda Hamilton, as fans everywhere seem to have re-discovered.
One part of the original crew who would not return was composer John
Barry, despite the director's continued insistence that the score feature tragic
romance music rather than straight bombast for some of its action scenes.
Guillermin would turn to veteran composer John Scott, whose career has varied
greatly between television, documentaries, and feature films from the early
1960's through the 2000's. Even though he is still composing well into the
digital era, he will probably be forever known for scoring countless Jacques
Cousteau documentaries in the 1980s. His large-scale action scores, especially
FILMTRACKS
“KING KONG 2” – JOHN SCOTT
Page Two
in the 1980s, cannot be dismissed, however, and King Kong Lives was one
such triumph that far eclipsed the film in quality. In fact, Scott’s work for King
Kong Lives is so magnificent in scope that it adds another laughable aspect to a
film that was already trying all too hard to take itself seriously.
Scott's music for King Kong Lives is larger than life in every regard,
forcing the Graunke Symphony Orchestra to its limits of bombast. With
phenomenally engaging and powerful themes for both Kong and the hunters
after him, Scott cranks up the volume with performances of action more
interesting than the music written by Barry or James Newton Howard for the
other modern Kong films. Interludes of a love theme for Lady Kong, the Kong
baby, as well as the dumb human relationship in the film, serve as counterpoint
to the immense size of the sound that Scott provides for the rest of the score.
Hints of Golden Age sensibilities exist in the highly lyrical romanticism of the
themes, with Scott's title theme sharing similarities to John Debney's reworking
of the Disney “Phantom Manor/Haunted House” music.
The balance between sections in the orchestra is extraordinary, with
flourishing woodwinds accompanying intelligent layers of brass and strings in
every major cue. The German performers knock themselves out in King Kong
Lives, often generating more harmonic noise than even the most active John
Williams or David Arnold science-fiction efforts.
On album, the score is an outstanding listening experience, complete with the
roars of Kong at the outset of a few cues. The score (released regularly on LP)
had never established itself on commercial albums, available only in retracted
American and Japanese releases that were nearly impossible to obtain. A 1997
bootleg (unrecognized officially by John Scott) provided the King Kong Lives
score in magnificent sound quality, along with a few suites from other notable
Scott scores. The two minutes from Phantom of the Sun are intoxicating in
their merging of classical and exotic elements, and the title theme from The
Final Countdown is as lyrically heroic as you can get. These cues are also in
crisp sound quality, and given the unavailability of Phantom of the Sun on
album, its inclusion here is most welcome. Overall, bootlegs rarely hit the
mark, but this “Ape Records” album is nothing short of outstanding.
[Five ]
©Christian Clemmensen, Filmtracks On Cue, November 7, 2006
“Antony and Cleopatra” —Reviewed by Andrew Keech
Release: 1973 (CD release 2000)
Shakespeare’s work has been a prime source of screen
plays throughout the history of cinematography and the story
of Antony and Cleopatra has had more than its fair share of
interpretations, including by the Carry On team. However, the
definitive epic version for many people is the 1972 Antony and
Cleopatra starring and directed by Charlton Heston with
Hildegard Neal as the Egyptian Queen. John Scott was commissioned to score
the film, and rather than creating an epic crash-bang soundtrack, wrote
wonderful, touching and romantic music albeit interspersed with the occasional
splendid action sequence.
The ‘Overture’ and ‘Main Titles’ set the scene firmly, magnificent
flowing music containing Egyptian and Roman references, backed by gentle
choral harmonies. Although the composer’s style is overtly romantic and
poignant, he manages to maintain a wonderful courtly, majestic feel throughout
the score, which is enhanced by the use of some unusual instruments coupled
with liberal use of horns. However, it is the flowing, breathtaking romantic
string sections and the contrasting harsh brass used in heroic battle scenes that
steal the score.
John Scott has been responsible for some superb scores from the
Cousteau documentaries, The Scarlet Tunic, The Final Countdown, and
Greystoke, through to the more recent brilliant Shergar, but his score for Antony
and Cleopatra must rate among his best. This recording of the complete score
is released by the composer's own record company, and is certainly worth
searching out.
“The Final Countdown” —Reviewed by Mikael Carlsson
It has been written many times before, but I have to do
it again: John Scott is probably the most underrated film
composer of the last two decades. His rousing, colourful
orchestral scores are all stylistically strong, with roots in the
tradition of the Golden Age but always looking into the future.
The Final Countdown is yet another example of this,
combining a traditional orchestral approach with electronic experimentalism.
MUSIC FROM THE MOVIES
JOHN SCOTT
Page Two
I remember this film from my childhood. This fascinating story about
the air carrier USS Nimitz travelling back in time to prevent the attack on Pearl
Harbor was one of the first films you could rent on VHS in Sweden. I
remember my father and I looking at it over and over again. Listening to the
complete original score presented on this new CD brings a lot of the memories
back to life. Of course, the most memorable parts of the film dealt with the time
warp, and I recall that as a young teenager I found these sequences both scary
and incredibly fascinating. Without any question, John Scott's eerie music
played a vital role in these parts of the film. In three cues, 'The Approaching
Storm', 'Pursued by the Storm' and 'Into the Time Warp', all include inventive
electronic sound designs and avant-garde orchestral writing. Combining
Stravinsky-esque rhythmics with these weird sound creations, John Scott
created an unforgettable soundscape that is truly unique.
The score's thematic parts are constructed around the 'Main Title' theme,
a rousing and patriotic theme that basically is a bravura piece of Americana. It
doesn't have a specifically militaristic sound; it could belong to a Western or a
soap opera as well. Typical of John Scott, this theme is in major but is also
used in minor mode for thematic coherence during the darker parts of the score.
The Final Countdown also features a lot of exciting action music with a
lot of brass, snare drums and timpani. This music is less original than the
previously mentioned electro-acoustic stuff, but it plays an important role in the
overall picture.
This was John Scott's first Hollywood score. Today, twenty-three years
later, it remains one of the composer's most original efforts. A rich listening
experience.
“Shergar” —Reviewed by Andrew Keech
Dennis C. Lewiston’s imaginative story based on the
kidnapping of the famous racehorse Shergar by the IRA has
inspired John Scott (famous for the Cousteau scores, Mill On
The Floss, Scarlet Tunic, The Final Countdown and many
more) to write one of his most beautiful scores. The film
Shergar (1998) is not only a story of intrigue, but of the deep
bond formed between a young boy and the racehorse.
The composer attacks the score with a passion from the outset with a
wonderful melodic string theme, which paints the Irish countryside beautifully
and gives way to the suspenseful ‘Abduction’ cue, which though less melodic is
full of that big orchestral that is hallmark of John Scott scores. As the score
MUSIC FROM THE MOVIES
JOHN SCOTT
Page Three
develops, the composer demonstrates some dark and foreboding moments, but
the score contains gloriously triumphant moments (‘Shergar The Champion’
and ‘Milltown Race’), wonderful elegant and flowing string cues (‘Andromeda
and Pegasus’ and ‘Riding The Wind’) and poignant sad cues like ‘Soul Of
Shergar’. The fantastic full orchestral and almost march-like treatment given to
the ‘End Credits’ is the highlight of the album.
“The Music of John Scott”
ANTONY AND CLEOPATRA
Antony & Cleopatra was the very first John Scott score
I've heard, and, even before the first track was over, I was
hooked. This has to be the number one best John Scott score
ever!
A true epic love story, the movie is based on a tragedy
by Shakespeare, directed by Charlton Heston. What got my attention the most,
I suppose, would be the themes, and the large male and female choir. Both are
absolutely stunning, and when combined it's just breathtaking! For example,
“The Barge She Sat In” comes to an extremely huge and powerful climax of the
Cleopatra theme.
The whole score is based around two dominant themes, the Love Theme
and Cleopatra's theme, with minor themes for Antony, Caesar, and Octavia,
which help clarify most of the action. This is the case in “The Battle of
Actium,” where themes helped identify the fleets and Cleopatra's influence over
them. “Give me to drink Mandragora” is a mystical track with chimes and
creaking sound effects that would later be used in Scott's score for 20,000
Leagues under the Sea. “The Death of Antony” features both the Love Theme
and Antony's theme, treated in a most delicate way before going off into
dissonant “Pretty Worms of Nilus.” The final track, “Eternal Rest,” is not a big,
grand finale cue, but rather soft and dreamlike, featuring one of the most
haunting uses of the choir.
Everything about this score is just brilliant, there is nothing anyone
wouldn't like - it's a hauntingly thematical score with majestic moments. The
nine-minute “Overture” is a perfect suite of the score, and worthy of any
compilation.
The original score was performed by the London Philharmonic
Orchestra and Choir but was not made available until 1992. Re-recorded by the
Berlin Radio Symphony and Voices, the performance is really perfect! This is a
score that has to be in everyone's collection, whether you are a John Scott fan or
not! It's a true classic.
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“THE MUSIC OF JOHN SCOTT”
Page Two
It's truly mind-boggling why John Scott is not an A-list composer,
because he composes A-class music for movies, and Antony and Cleopatra is
the best of the best! (October 12, 2000)
FAR FROM HOME, THE ADVENTURES OF YELLOW DOG
Directed by Philip Borsos, this adventure film is about
a young boy named Angus and his dog, who are thrown
overboard during a storm at sea. The boy and the dog are
swept to an isolated island and can do nothing but survive
Mother Nature and hope to be rescued.
John Scott's adventure score to accompany the boy and dog's struggle to
survive is simply wonderful. What I like so much about this score is that it's
always interesting. There is not one dull moment - the music makes it easy to
visualize what's going on in the film, and also expresses Angus's emotions of
having and losing hope while stranded for weeks.
The main theme, which has many variations ranging from mystical to
adventurous to sad to heroic, is a symbol of the bond that Angus has with
Yellow, as they must depend on each other for survival. There is also a theme
that represents Angus's longing and love for adventure in his life.
There are so many highlights in the score, I just can't mention them all.
Some really great cues include “Storm at Sea,” which continues into “Rescue
Operation.” These great action pieces feature lots of brass and snare drums.
“Lighting the Beacon” is energetic - a great motif on stings - leading
into a victorious rendition of the main theme as Angus sees a plane flying above
and tries to call attention to himself with a self-made beacon. “The Trek” is a
darker piece with a sense of determination as Angus treks through the forest
looking for civilization, ending with a feeling of doom.
“Lost in the Wood” begins with a mournful string theme that captures
Angus' feelings of not being able to make it. As suspense builds when Angus is
confronted by obstacles in the wild, the score is filled with great action music
(“Attacked by Wolves,” “Crossing the Chasm” and the “The Lynx”).
In the final tracks, “Angus Rescued” and “A Joyous Home Coming,” the
main theme gets the heroic Goldsmith treatment, and the longing for adventure
theme gets a full rendition. The “End Title Suite” is fantastic. This CD is
highly recommended for anyone seeking a fresh musical experience or anyone
who likes adventure scores. John Scott may not be a well-known composer, but
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he has over 35 years of scoring experience, and approaches his scores with the
same maturity as Jerry Goldsmith or John Williams. Highly recommended.
(October 11, 2000)
20,000 LEAGUES UNDER THE SEA
This is John Scott's score for the film starring Ben
Cross (not to be confused with the ABC TV miniseries from
the same year scored by Mark Snow, starring Michael Caine).
I suppose by composing music for so many underwater
Jacques Cousteau documentaries, Scott had already perfected
his skills at scoring for the deep sea. This music is haunting and sets the mood
for sub-marine exploration, ranging from light and mystical to more dark and
atmospheric as the story moves deeper into the sea. The music also becomes
violent with loud action music, as heard in “Saga of the Abraham Lincoln” and
“Set Upon by Sharks.”
The main theme of the score is focused on Captain Nemo and the
Nautilus, whose characters are commanding, restless and devious. Nemo's
second theme is more like a love theme, usually played by an oboe and strings.
This theme is best heard in “Mount Atlantis,” which also features some
dramatic, opera-like female vocals.
Sophie, Ned and the war ship Abraham Lincoln each have their own
themes, which represent their characters very well. Sophie's theme also
becomes a love theme later when she has relations with Ned. The climax of the
score starts with the eerie “Monster from the Depths,” which is really sinister
and has a noticeable choir. A lush performance of Nemo's secondary theme is
heard in “Pearls.”
I recommend this to all - it's one of John Scott's most creative scores.
The haunting underwater sea music and action cues are really great, as well as
the themes for the characters. (October 11, 2000)
RED KING, WHITE KNIGHT
This thriller follows a former FBI agent's attempts to
track down an unidentified assassin in pursuit of Soviet
president Gorbachev. John Scott composed a somewhat dark
and moody underscore that occasionally erupts either into a
peaceful love theme or into violent suspense music. The
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majority of the score is low-keyed, and a number of tracks may pass by
unnoticed.
The first theme, a subtle melody for the Russian government, is played
on an eastern European string-plucked instrument backed by snare drums. This
theme dominates the first portion of the score.
The second theme, for the American FBI agent, is the highlight of the
score. It's a love theme played on strings and woodwinds and is just beautiful.
This theme appears throughout the score, but makes its best showing in the final
track, “Aftermath.”
There are a few noteworthy suspense tracks like “The Airport Killing,”
“Killer in a Crowd,” and “Clancy Strikes,” however, due to the quiet and subtle
nature of the majority of the score, it may be a little boring to some. (May 10,
2000)
LIONHEART
This action film stars Jean-Claude Van Damme (as
Lyon) and lots of kickboxing. To John Scott, the film was
more than just a typical fighting movie, unlike many other
generic films Van Damme was acting in at the time. Scott felt
this one offered a lot of variety and scored it accordingly.
For Lyon and his involvement with the French Army, and the brutal
fight sequences, Scott used the large Munich Symphony Orchestra to produce
huge and violent action music. One of my two favorite tracks includes the
opening “North Africa” (which, after a slow two minute intro, erupts into an
exciting action cue with lots of brass, as Lyon escapes from the foreign legion).
This is one of the best John Scott action cues I've ever heard. This cue also
introduces variations on the first part of the Lionheart theme.
“Fighting the Scot” is another great action cue, scored for Lyon's fight
with a Scotsman. It has a Scottish-influenced theme that battles the Lionheart
theme as the two men duke it out in a parking garage. The effect is really cool.
When Lyon arrives in New York, the music changes to more upbeat jazz
with guitars and synth cues, through which Lyon friend's theme is introduced
(“Joshua and Lyon”). Cynthia's theme is also introduced, which is a laid back
theme on woodwinds (“Meet the Lady”) that becomes a love theme when Lyon
starts dating her (“Dating the Lady”).
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Though Cynthia's theme is catchy, the contemporary sound doesn't fit
wit the large orchestral cues. But, I suppose a lot of it could be considered
source music.
The highlight of the score is the main theme. Scott chooses to divide the
theme into two parts to indicate Lyons growth of inner strength. The first part is
a heroic, four-note motif heard in the first half of the score and most of the fight
sequences. The second part of the main theme, which is more sentimental, is
used in the second half of the score, best heard in “Nicole.” During Lyon's final
fight, the two parts join together as Lyon reveals his true inner strength (“The
Wrong Bet”).
Overall, this score surprised me, since movies of the kickboxing genre
typically use synthesized and cheesy scores (especially in the early 90s), while
Lionheart uses a full orchestra and has a great main theme. Some of the jazzy
music is a hindrance, but you could get used to it, or easily program the CD for
the orchestral tracks. This would then give you a good 30 minutes of score.
Highly recommended. (November 24, 1992)
THE NORTH STAR
In this action-western set during the Alaskan gold rush,
prospectors from all nations travel across the state in search of
the treasure. A corrupt bar owner and leader of the American
Miner's Association named Shaun McLennon makes up this
false law that all claims of gold by non-Americans are invalid.
He and his posse trample camp after camp, taking over dig
sites, including local native Indian camps and caves. However, the Indians
strive to protect their most sacred cave, The North Star. Hudson, a halfAmerican, half-Indian man helps the Indians protect the cave from the intruders,
which leads to an action adventure in the coldest parts of Alaska.
John Scott approaches his score from the natives' point of view.
Inspired by a visit to the set, Scott composed a heroic main theme for Hudson
and the wilderness, as well as a minor, noble string theme for the natives. The
highlights of the score occur when these themes are combined, such as in the
“Main” and “End Titles.”
The rest of the score is set around action as McLennon and his posse
chase Hudson in and out of caves through the snow. “Man Hunt” is one of the
first and best action cues - it is loud and rhythmic and keeps up an exciting
pace. “McLennon's Gang Gives Chase” introduces a new theme, perhaps for
the posse, and “Help from the Indians” features the most heroic rendition of
Hudson's theme. Tracks 14-19 continue in the same fashion, with electronic
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drumbeats in “The Rock Maze,” through to the joyous finale in “Gold on the
Beach of Nome.” The “End Credits” feature a strong performance of Hudson's
theme over tribal percussion.
My only complaint with the score concerns the orchestra - it sometimes
seemed to be a little smaller than what was required, taking away some of the
power the score could have had. But, it's still pretty good, and I still listen to
the CD very often. I recommend it to all. (October 12, 2000)
WALKING THUNDER
This western adventure follows the Macay family as
they emigrate from New Hampshire to California in 1850.
While passing through Utah, they are confronted by a giant
Grizzly named Walking Thunder. This bear destroys their
wagon, stranding the family in the wilderness. They learn
from an old Sioux Indian named Dark Wind, that the bear is
somewhat of a mystical creature, and that he and the bear have a bond and share
the same destiny.
John Scott provides a mature and large score emphasizing the
landscapes of Utah. The “Overture” presents two themes: the first is the land
theme, and the other is for the Macay family. Since Scott wanted to set the
family against the landscape, the family theme is not the dominant of the two.
There is also a minor theme shared by Dark Wind and Walking Thunder,
due to their mystical connection, that Scott calls the fate theme. This theme
given a strong and heroic rendition in “Dark Wind Recounts the Legend.” The
gang of robbers that confront the Macays a few times, who are also out to kill
Walking Thunder, have a sort of a deliberately cheesy western theme (“The Bad
Bunch”). I found this theme to be somewhat comical and, made me imagine a
westernized version of “March of the Villains” from Superman. I assume these
robbers provide some sort of comic relief in the film.
This score is a little better than Scott's The North Star, another western
score composed the same year. Although action is not the focal point in
Thunder, both are action-adventure westerns and have strong Native American
influences. However, Thunder exceeds North Star because of a larger variety of
themes and textures. Plus, Thunder's action cues have a much larger orchestral
sound and power to them. Two of the highlight action cues are “Stranded” and
“Dark Wind Recounts the Legend” - these two tracks provide a great adrenaline
rush.
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Other highlights include “Summer 1850,” which is a love theme for
strings written for the landscape as the Macays travel through Utah. “Utah”
includes a nice solo guitar performance of the Family theme. “A New Life
(Final Reckoning)” is a ten-minute suite underscoring the film's action-packed
climax featuring a strong combination of the themes. This track also uses an
electronic male choir, which doesn't take away from the effect.
“Horsecreek Rendezvous” is the only regrettable track. It is essentially a
suite of source music by John Scott, featuring saloon music and the sound of
men laughing, drinking and playing poker. This piece also includes an
instrumental folk song and square dance music. I'm not really into these types
of music, so I always skip this track.
John Scott really has a way with action, adventure and especially themes
of all nature. They have this certain maturity to them that's hard to describe.
Additionally, his music is also very descriptive, making it easy to visualize
things outside of the film. I highly recommend this one. (October 12, 2000)
SHOGUN MAYEDA
Shogun Mayeda is a Japanese adventure film set in the
17th Century, directed by Gordon Hessler. Composer John
Scott saw the film as two movies in one: the first, a serious
account of the “Battle of Sekigahara,” which led to a
delegation being sent to Europe; the second, a swashbuckling
adventure story filmed in Spain and Morocco. This was a
perfect opportunity for Scott to write an epic action adventure, and that is just
what he did.
Shogun Mayeda opens with an adventurous main theme performed on
brass that has three variations throughout the score. First, as in the “Main
Title,” it is slow but dramatic, and builds to a grand finale. Second, as in “Inner
Strength,” the music is usually faster and swashbuckling (this version of the
theme could compare to scores like Cutthroat Island). Third, my favorite of the
three is during the sailing sequences, as in “Set Sail,” the theme is given a
soaring treatment on strings.
Two other themes appear, one being of the mournful kind that appears
when someone dies in battle (“Mayeda's Grief” and “Memories of the lost
Ones”). The other is a love theme that appears near end of the score, heard in
(“Celilia declares Her Love,” “Bath-time Onboard” and the most impressive
“Leaving Morocco”). For those who have heard Scott's love theme from Red
King White Knight, this one is even better. Scott really has a knack for
composing stunning themes for any context.
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The battle and action sequences spanning from Japan to Morocco are
absolutely great, and anything Scott wrote for these scenes can easily be
included in adventure compilations. The action is not bombastic or extremely
loud, as it is in Cutthroat Island, but it still provides the same kind of adrenaline
rush. “Attack on Yorimune” and “Storm at Sea” have the same brilliance as
John William's action-adventure music. My favorite track is “Pirate Attack.”
Its almost sinister use of the main theme, supported by pounding percussion, is
stunning. It is easy to see the cannon balls and sword fights on taking place on
the pirate ship.
The only complaint I have, and it is just a small one, is Scott's lack of
ethnic music to identify Japan, Spain, or Morocco. He does not take much
advantage of showing these locations through the music, although he does give
small hints with a few Taiko drums beats or Japanese harp plucks. There are
some flamingo tap dancing effects (“The Kings Protectors”) and a Spanish
flavored orchestral theme (“Duel with Don Pedro”) for the Spanish setting;
however, the score is mostly in the western approach.
Shogun Mayeda is one of the best John Scott scores I own, and I think
it's brilliant! It makes me wonder why Scott isn't an A-list composer. He is
about 70 years old now and it would be a shame if he died, and no one knew
anything about him! If you find this out of print Intrada CD, I suggest you grab
it. It is truly worth the asking price! (November 1, 2000)
RUDYARD KIPLING’S THE SECOND JUNGLE BOOK: MOWGLI
AND BALOO
The Second Jungle Book is the sequel to the 1994 movie with
Jason Scott Lee that was scored by Basil Poledouris. John
Scott's score is completely different because the first Jungle
Book was about Mowgli as a grown man facing serious issues
like the violence of man, jealousy, love and betrayal. This
sequel deals with Mowgli as a boy, and is more of children’s
film. In fact, it seems like a live action cartoon!
Scott's music is very playful and is rarely serious; the action cues all
have some comic relief in them to keep them from being too edgy. Sometimes
though, his music gets a little too cartoonish for me, but it does have its
moments.
The main theme for Mowgli and the animals is quite lyrical. I admire
the way Scott used different instruments for each animal. Shere Khan the tiger
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is scored by trombones, Baloo the bear by bassoons and Timo the monkey by an
oboe.
For jokes that went with senses in the movie, Scott subtly set themes
such as “Rule Britannia,” “Ride of the Valkyries,” “William Tell” and
“Scherehazade.”
Overall, I think this score is a great effort for an outdoor adventure
movie, and I have no doubt it works in the film. I just couldn't get over some of
comedic aspects of the score in a lot of places. I suppose it would be more
enjoyable if the score were a little shorter, being almost 70 minutes I get a little
bored with it. Still, for fans of adventure and comedy, I highly recommend this
CD. (October 10, 2000)
****
“John Scott delivers you a kung fu movie with a heart,
a lionheart to be exact.”
Written by Thomas Glorieux - Review of the regular release
Jean Claude Van Damme, The Muscles from Brussels is this
country’s cinematic pride and joy. For years, it was he who
gave us Belgians the necessary punches in Hollywood’s search
for the next Bruce Lee. Sadly, most of Van Damme’s movies
turned out to be nothing but ridiculous continuations of one
fight scene after another, leaving no room for any dramatic
development whatsoever. Some however dared to fight this allegation, no
matter the clichés it would unveil because of this. Lionheart was one of these.
Using the basic simple idea of having to fight to keep his family out of trouble,
Lionheart uses a lovely buddy development, whilst leaving room for people to
melt their hearts at a young girls happiness in the form of Nicole (Ashley
Johnsson). In the end, all clichés but what do I care if they work?
Sadly, not all kung fu movies have received their share of legendary scores. It
was then also lovely news that a respected Golden Age composer had the nerve
to tackle this project. Making it refreshing to discover that sometimes depth can
be found in the most unlikely places.
Lionheart is that unlikely place, where we receive 2 lovely themes in the
outcome. The main theme representing Lyon’s journey and growth is the
strongest of the 2, receiving lovely orchestral performances throughout the
entire score. The other theme representing Lyon’s family (especially targeting
little Nicole) is however the most beautiful theme of the 2. And it is a joy to
discover them together in the same track at the end.
The album starts with one of John Scott’s trademark sounds, a saxophone
representing Los Angeles’ dangers and threats. The track continues further after
the horrendous burning sequence by stating Lyon’s main theme under an exotic
burning South African sun. This continues until Van Damme knocks himself
out of the foreign legion, aided through a rousing brassy action sound. That
escape takes him to Los Angeles under the guidance of the soaring main theme
in “The Voyage”.
MAINTITLES
Page Two
The beats and the saxophone representing the “New York Streets” works, the
main theme for Cynthia in “Meet the Lady” feels classy while the growing
friendship between “Joshua and Lyon” comes over much more loosely and
authentic. The same goes for the emotional sound of the main theme in “Lyon’s
Grief” as the seductive sound of Cynthia’s theme in “The Lady’s Apartment”.
The absolute charm comes however during Lyon’s first encounter with Nicole
at the end of “Dating the Lady”.
But Lyon’s life now is all about making the right bet, and “Fighting the Scott” is
surely the first bet he must win. Militaristic percussion, trumpet shrills and
punching suspense fuel the win Lyon has over the Scott. Another fight is the
“Fighting the Brazilian” (composed by Stephen Edwards) moment and this kind
of music is influenced by more South American flavors, as is the “The Foreign
Legion” cue with more pulse pounding beats and brassy blasts. The real pride
and joy of this album’s fights is however “The Wrong Bet”, and in 9 minutes
Scott delivers you a symphonic attack of suspenseful and heroic main theme
statements in Goldsmithian melodic style.
In between his fights, Lyon takes ample time to see or visit his family, and
Nicole is an integral part of that. Her theme is lovely (albeit interrupted by the
2 people who were send to take Lyon back to the foreign legion) in “Nicole”, all
the while the main theme truly soars in the conclusive and wonderful “Freedom
for Lyon”. The brilliant “Lionheart” combines both themes together in one
amazing end credits piece.
Lionheart of John Scott is one of the many great examples of this composer’s
voice. Even though the music is scored for a simple looking kung fu movie, it
is Scott’s melodic work that breaths life into Lionheart, making it touching and
epic at the same time. His main theme receives the most attention during the
score, but one cannot forget the beautiful effect Nicole’s theme will have on the
listener, and their combination at the end makes the score truly worth it. Even
though it takes a bit of time to get to the real highlights of the disc, Lionheart is
truly a score with a big heart.
(© 2007-2010 - maintitles.net - bregt de lange)
Royal Philharmonic Orchestra’s Blog
John Scott on Robin Hood
Posted on 7 June, 2012, by Royal Philharmonic Orchestra
Hannah Nepil interviews composer John Scott, who conducts the RPO in
accompaniment to Douglas Fairbanks’ 1922 silent film on 12th July at Cadogan Hall.
When the composer John Scott was asked in 2006 to compose a score for the silent
film Robin Hood, his first reaction was ‘no thanks’. Which may seem surprising. After
all, in 1922 when it came out, Douglas Fairbanks’ film was the most expensive ever to
have been made, at a cost of over 1,000,000 dollars. But something about it made Scott
hesitate. ‘When I first saw it, it was too fast,’ he says, ‘everything looked
unnatural. And,’ he adds, ‘it seemed like a thankless task working so hard for
something when I couldn’t believe in the speed of it.’
He changed his mind after the film was slowed down to look
more natural: ‘At this new speed the sets, the pageantry, the
costumes could now be appreciated for what they were.’
There are several film and TV versions of Robin Hood, each
accompanied by different music. ‘Robin Hood, Robin Hood
riding through the glen’ is the famous theme from TV’s The
Adventures of Robin Hood; Bryan Adams was number one
for a long time with ‘Everything I Do, I Do it For You’ from
the Kevin Costner film. And if really pressed, many people could hum a tune from the
Walt Disney movie.
For Scott, though, the definitive version was Erich Korngold’s score to the Errol Flynn
version. And that was a concern. ‘I didn’t want to be compared with Korngold,’ he
says. ‘But then I thought, I’m not going to copy Korngold. I’m just going to write a
score that I believe in.’
Scott is no stranger to film music. He has composed scores for films including The
Shooting Party and Greystoke – The Legend of Tarzan, and one other silent film, Dr
Jekyll and Mr. Hyde. Nevertheless, writing the score to Robin Hood was hard work.
‘With a silent film the music never stops, so it was a relentless process,’ he says. But he
is happy with the result. ‘It’s a swashbuckler,’ he says, ‘There’s adventure music,
baddy music and romance.’
The score was premièred in Nottingham in 2007 and the Royal Philharmonic Orchestra
will give the second ever performance, accompanying a screening of the film, at
Cadogan Hall in July.
REVIEW: ROBIN HOOD, ROYAL CONCERT HALL
08 October 2007
Robin Hood returned to Nottingham on Sunday. But what had taken
him so long? The Silver Screen Classics series has been running for years but
only now has Douglas Fairbanks in the famous 1922 film made it onto the
Concert Hall's giant screen.
And this year, there were several firsts
to record: the debut collaboration between the
Nottingham Philharmonic and the Broadway
Cinema plus a new score written and conducted
by prolific Hollywood composer John Scott.
It’s not every day that Nottingham gets a world
premiere - so definitely a feather in the city’s
(and Robin’s) cap.
The film takes a little time to get into its
Enid Bennett & Douglas Fairbanks
action-packed stride, but once in Sherwood
Forest there is plenty of swashbuckling.
The NPO played their hearts out, wringing every ounce of passion,
villainy and derring-do from the score. More next year, please.
May 23, 2003
Review
GREAT SCOTT!
New Score for
Silent Film Classic
Is Premiered
by Jon Burlingame
Dr. Jekyll and Mr. Hyde never sounded so good.
On Sunday, May 18, composer John Scott unveiled his new orchestral score for
the 1920 silent classic starring John Barrymore, conducting the 40-piece
Hollywood Symphony Orchestra before a small but appreciative crowd at the
Haugh Performing Arts Auditorium at Citrus College in Glendora, California.
The British composer said he had been inspired to create the 81-minute score
after watching a print of the film with a lackluster score for solo organ. For a
second viewing, he turned the sound off and found the film greatly improved;
he decided to write a score that would truly enhance the experience.
And that he did. Scott's music provided a fresh emotional underpinning for the
Robert Louis Stevenson melodrama, including a melancholy theme for the
brooding Jekyll, exquisite string passages for his love interest Millicent, fiery
dissonance for his transformation into the evil Hyde, even raucous music-hall
settings for Hyde's nightly debauchery. The scope of moods ranged from
ominous to thrilling.
Scott conducted without the usual aids of click track or streamers. “I tried to
make the music colorful in order to convey the atmosphere of 19th-century
London,” Scott wrote in his program notes. “It is a dramatic, complex, melodic
and emotional score.”
Indeed, it was deserving of additional performance and even recording. Scott is
one of a handful of contemporary film composers with a strong melodic sense,
and the experience – with both the film and the orchestra visible to the audience
– was enthralling. Present among the friends and colleagues of the composer
were such luminaries as explorer Jean-Michel Cousteau, director Ivan Passer
and editor Thom Noble.
Scott opened the program with four suites from earlier scores: the delightful
waltz of Rocket to the Moon (1967); the musical seascapes of 20,000 Leagues
Under the Sea (1997); the alternately savage and stately Greystoke: The Legend
of Tarzan (1984); and the fanfares and drama of The Final Countdown (1980).
© 2003 Jon Burlingame
The inside story of
how ‘This Week in
Baseball’ got its
iconic theme music
It says something about a song’s
significance in baseball history when the
sport’s official historian makes it his
ringtone.
It speaks to its imprint on pop
culture when a network sitcom makes it a plot point. And when sports fans and
sports journalists can agree on its greatness, well, it must be something truly special.
But such is the closing theme to ”This Week in Baseball.”
Nearly 40 years after its debut, and nearly four years after the series aired its
final episode, the stirring theme, officially known as “Gathering Crowds,” endures as a
rock of nostalgia, generating near-universal praise as a touchstone piece of pop culture
that instantly brings the best memories of adolescence flooding back and fills the
listener with feelings of greatness and thoughts of baseball in slow motion.
In Twitter comments, media rankings and elsewhere, the soaring score that was
the soundtrack of summer for legions of baseball fans in the ‘70s, ‘80s and ‘90s is
widely regarded as one of, if not, the best sports-related theme of all time. In other
words, still beautiful after all these years.
“There’s a Pavlovian response. We all heard this music week after week and it
signaled the end of a very pleasant half hour,” MLB historian John Thorn told Sporting
News, a few weeks after he tweeted that he’d made “Gathering Crowds” his ringtone.
“We connect this music only with enjoyment. For baseball fans it seems to be a
constant from their youth to the present day. And it’s great music.”
Not bad for a piece that was composed for a stock music library. Yes, despite
its undisputed connection to the national pastime, “Gathering Crowds” wasn’t even
written with baseball in mind. It wasn’t even written in America.
“I’ve never actually been to a baseball match,” said British composer John
Scott, 84, who wrote the piece in England in 1974. Scott, a veteran composer/
performer who once played flute for the Beatles, told Sporting News that the true
inspiration for the rousing brass- and string-led piece is right there in the name. “If you
think of the title, that was the inspiration I was thinking about…people thronging
together and all the rest of it. The idea of lots and lots of people getting together,
milling together, gathering in crowds,” said Scott, who has scored more than 150 film
and TV productions, including the football drama “North Dallas Forty,” the Pearl
Harbor time-travel adventure “The Final Countdown” and the 1980 episode of “Dallas”
that revealed who shot J.R.
For Scott, “Gathering Crowds” was just another assignment. Compose, record,
submit. Once the piece went to the KPM Music library, it was available for anyone to
license for any production.
That’s where producer Geoff Belinfante found it in 1977 as he prepared for the
first season of “This Week in Baseball.” As Belinfante scoured through stock music
options for the right piece to close the show, “Gathering Crowds” seemed a good
match. “I picked it out because I liked it. It’s as simple as that,” Belinfante told
Sporting News. “We were looking for something that had some sort of dignity to it, for
lack of a better word. Something to class it up.”
It certainly worked. For whatever reason, the sound of “Gathering Crowds”
paired with slow-motion footage of baseball action resonated with America pretty
much from the start—enough that producers never bothered to update it the way they
did several times through the years with the opening theme, “Jet Set,” also library
music, composed by Mike Vickers. “I didn’t feel like we could or even wanted to
rescore ‘Gathering Crowds’,” Belinfante said.
To get a sense of just how beloved “Gathering Crowds” has become, consider
some of the public praise bestowed upon it through the years. Bill Simmons, formerly
of ESPN fame, once compiled a list of the “six non-movie sports themes from my
childhood that still get me fired up and should probably be released on CD at some
point.” No. 1? “Gathering Crowds.”
“Remember that one?,” Simmons wrote. “Classical music playing in the
background as Freddie Lynn made that diving catch in slow motion and Pete Rose
came chugging around the bases to slide into third base? My goosebumps just got
goosebumps.”
Sports Illustrated’s Mark Bechtel held it in similar esteem in 2005, when
he rated “Gathering Crowds” as the greatest sports theme song of all
time. “There was no way you could listen to that music…and not get fired up
for your afternoon Wiffle Ball game or Little League practice,” Bechtel wrote.
More recently, the short-lived NBC sitcom “A to Z” featured the piece
prominently during a 2014 episode in which the male lead uses the theme,
which he dubs his ‘big glory music,’ to describe his feelings for a woman:
“I’ve been walking around with music in my head since the moment we met. And
it’s not just any music. It’s the old end credits to ‘This Week in Baseball,’ which
only pops into my head when something truly incredible and life-altering happens.
That’s how much I like you.”
“The TWIB theme…is just perfect. It has that ‘70s/’80s ‘sports music’ feel that
just puts you right in that time period,” Ben Queen, the show’s creator and executive
producer, told Sporting News. “…I’ll put the song on whenever I want to feel like I just
hit a walk-off homer and am watching it sail out.”
Praise comes from the general public, too: Many people have written
Belinfante and others to ask for a copy to use in their wedding. (For the record, it’s
available on various digital download sites for 99 cents.)
“I had no idea—none—that it was going to become a phenomenon,” said
Belinfante, who’s never met Scott. “People seem to love the song and I’m glad it
worked out that way, but it was purely unintentional.” Belinfante jokes that it would be
a better story if he could say he commissioned a big-name composer and gave direction
that helped inspire such an iconic piece. Alas, the truth will have to do.
“It tickles me” that it’s had such longevity, he said. “I’m glad to see I
did something right in my career.”
What about Scott? Did he have any inking his notes on paper would touch so
many? Not even close.
“It took a long time for me to find out that it was being used,” he said. Scott’s
name never appeared in the credits for “This Week in Baseball,” though he’s credited
on KPM compilation albums. “It’s not made me notoriously famous,” he deadpanned.
What about royalties? “I haven’t seen much at all,” he said. But there’s no
need to cry for Scott, who’s had quite a successful career in the music business. Apart
from his work as a film and TV composer, he also played the flute solos on the Beatles’
“You’ve Got to Hide Your Love Away” and played the saxophone solos on the
soundtrack to the James Bond film “Goldfinger,” among other credits. These days, he
composes mostly for the concert hall.
“Gathering Crowds” is merely a blip, though a prominent one, in a long career.
Scott said he gets occasional emails from fans asking about “Gathering Crowds,” but
he didn’t know the extent of its popularity until informed by Sporting News. He said
he’s touched his composition means so much to so many. “It was a job at the time and
I’m so happy that it’s found use and people like and it’s done something,” he said.
Strangely enough, before “This Week in Baseball” secured “Gathering
Crowds,” the “ABC Nightly News” briefly used the opening fanfare in 1976 before
switching to a different theme. But baseball is why the tune became popular, and
nostalgia is why it endures. “Theme music is a great spur to memory,” said Thorn,
MLB’s historian. “...If you just hear a few bars of it, it takes you back immediately.”
It makes one wonder, though: Would any piece of music have had the same
effect, or is there something truly unique about “Gathering Crowds?”
“That’s an impossible question,” Thorn said. “The music and its attachment to
baseball are inextricable.” Thorn said Scott’s unwitting tie to the national pastime is
not unlike that of Jack Norworth, who wrote the words for “Take Me Out to the
Ballgame” in 1908 having no idea that it would become baseball’s signature song.
“Gathering Crowds” holds a similar distinction.
“It has become iconic because of the mix” with baseball, Thorn said. ”If it had
been attached to an automobile ad instead of baseball, we wouldn’t be having this
conversation today.”
By Jason Foster, digital content producer
Published on Aug. 4, 2015 | Updated on Sep. 20, 2015
JULES VERNE AVENTURES
“The Sound of Adventure”
The Festival du Film Jules Verne has been
celebrating exploration and the spirit of adventure ever
since it was created in 1992 in Paris. Documentary films,
special encounters with great names from the worlds of
adventure and movies, and great motion picture soundtrack concerts, have been the hallmarks of the festival, a
unique annual event dedicated to the rediscovery of the
Earth, a hundred years after Jules Verne. In 2004, the
3,000 spectators attending the closing Jules Verne
Awards Ceremony were thrilled by an exceptional,
original score concert dedicated to adventure films.
On March 16, 2004, 9 pm, the stage of the
legendary Grand Rex, one of the last great Cinema
palaces, again welcomed the acclaimed composer
John Scott, who conducted an orchestra of 80
musicians playing his best works, as well as the
works of other great composers: Richard Strauss,
John Williams, John Barry, James Horner, and
Maurice Jarre. This was an event within the festival, but also in the world of
music, and the audience gave John Scott a well-deserved triumph.
The March 16 concert at the Grand Rex is a logical step in the relationship
between John Scott and Jules Verne Aventures, mixing art with friendship.
John Scott’s incredible talent makes him one of the greatest composers of
contemporary film and classical music. He has become the musical soul of
Jules Verne Aventures since our first concert in Paris, in 1999, with only 18
musicians. Mr. Scott is a unique, creative and
demanding composer.
The new arrangements of his own works
(Greystoke, King Kong Lives) that he made for
the concert are even better than the originals.
He also gave a great rendition of a few classics
of the genre: Indiana Jones, Superman, Out of
Africa and the very difficult Lawrence of Arabia, with an astounding faithfulness to the original spirit of the scores. Maurice Castel-Cevrero has assembled
the very best of the French musicians for this very special event.
Thank you, John, and the fantastic musicians of the “Jules Verne
Orchestra” and a great musical voyage to everyone.
Contact: Frederic Dieudonné, General Manager, www.JulesVerneAventures.com
The Orchestra
“Exciting, exquisite, heart-tugging, superb...”
These are all words used to describe the entertainment experience of the dynamic new Hollywood Symphony
Orchestra Society Concerts under the baton of famed composer John Scott and visiting artists. The finest music
from the world of cinema, by world-class composers and musicians.
Message
Hilary Mackendrick, Vice President
“This year has been most exciting, as we moved from the dream into the reality of our first
Los Angeles performances by this wonderful orchestra under the direction of famed
composer John Scott. We have seen the establishment of an organization dedicated not only
to preserving and educating the world about the artistic treasure to be found in film scores,
but one that provides the opportunity to hear the exquisite work of classic and contemporary
film composers performed by some of the finest musicians in the world.
“As we continue forward in our outreach to area listeners and patrons of the arts through our concerts, radio and
other media, we will continue to grow our educational opportunities for the youth of our area, offering
inspiration and encouragement to their pursuit of the arts.”
Mission
Dedicated to preserving and presenting timeless works by contemporary composers of film and television music
in a setting worthy of their creative gifts and talents, the Hollywood Symphony Orchestra Society honors an art
form heard too rarely on the concert stage to its full dramatic effect.
Symphonic presentations of music by these great composers will be performed by world-class musicians, giving
audiences the opportunity to hear, many for the first time, works that will please concert goers and affect the art
of film music for generations to come.
With a goal to enlighten and entertain, the Hollywood Symphony Orchestra Society is pleased to bring these
exquisite concerts to our community.
Board of Directors
John Scott, President
Hilary Mackendrick, Vice President
Gary A. Dohner, Secretary/Treasurer
Concerts
“Our concerts will bring symphonic film works from composers of the silver screen’s golden age to emerging
talents, providing a glimpse into the history of film music and exposure to future classics by our greatest
composers. Some concerts will be performed with film or other multimedia format and some will feature guest
artists. All will be about the exciting art form that is symphonic film music.
Education and Outreach
“All too often, music programs in our schools are suffering cutbacks or elimination. The Hollywood Symphony
Orchestra Society will set up activities involving interaction between schools, the orchestra and a variety of
multimedia projects to help their students explore and understand the concept and value of music for film. The
Hollywood Symphony Orchestra Society will be holding special competitions in the area of film music
composition, and providing mentoring from masters of the art, with grant winners performing their work on
stage, to film with a full orchestra.
Support
“As a donor or sponsor, you are an extremely important member of our orchestra’s family. Your gift helps the
Hollywood Symphony Orchestra Society and its Music Director, John Scott, fulfill its commitment to bring the
finest music and performances to the widest possible audience, year-round. Ticket sales only cover a small
fraction of our concert expenses, so we balance our budget through very generous gifts from corporate sponsors,
community foundations and caring individuals like you. We invite you to utilize the enclosed form or contact us
directly regarding your contribution. We thank you for your kindness in helping us share the joy of this very
special musical experience.”—John Scott
General Manager, John Beal
[email protected]
The Hollywood Symphony Orchestra Society
433 North Camden Drive, Suite 400-125
Beverly Hills, CA 90210-4426
www.HollywoodSymphonyOrchestraSociety.org
To donate by telephone or wire transfer, please call +1(310) 859-0655.
Inaugural Event
THE HOLLYWOOD SYMPHONY ORCHESTRA WORLD PREMIERE CONCERT
MAY 18, 2006, 8pm
ROYCE HALL, UNIVERSITY OF CALIFORNIA, LOS ANGELES
Premiere and Classic Symphonic Film Music by
Elmer Bernstein, Jerry Goldsmith, Eric Korngold, Henry Mancini,
Alex North, John Scott, Vaughan Williams, John Williams, Victor Young
The Hollywood Symphony Orchestra, Conductor John Scott
Cantori Domino, Artistic Director Maurita Phillips-Thornburgh, Soprano Reneé Burkett
Special Guests Samantha Eggar, Michael York, Alan Mandell
The exciting Spring concert program of the Hollywood Symphony Orchestra™ will include music ranging from
a world premiere piece by John Williams from Memoirs of a Geisha to Eric Korngold’s Kings Row, a world
premiere adaptation from Elmer Bernstein’s Sweet Smell of Success, Alex North’s A Streetcar Named Desire,
Vaughan Williams’ Scott of the Antarctic, to symphonic suites from Victor Young’s Around the World in 80
Days, John Scott’s Greystoke Legend of Tarzan, and more. The finale will be a new symphonic suite adapted
from the John Scott score for Peter Snell’s and Charlton Heston’s Antony and Cleopatra with special guest
stars, Samantha Eggar, Michael York and Alan Mandell, reading Shakespeare’s wonderful dialogue.
Actor SAMANTHA EGGAR (Cleopatra) began her career in British theatre appearing in a
Cecil Beaton production. She performed at the Dublin Theatre Festival and for two seasons at
the prestigious Oxford Playhouse. At the Royal Court Theatre, she appeared as Titania in
Midsummer Night’s Dream, and as Olivia in Twelfth Night. She starred with Anthony Hopkins
at The Old Vic in Arthur Schnitzler’s The Lonely Road and opposite John Hurt in the Lyric’s
production of Anton Chekhov’s The Seagull.
Discovered onstage, Eggar first appeared on screen in The Wild & the Willing. In William Wyler’s The
Collector, she earned a Palm d’Or as Best Actress at Cannes and an OSCAR® nomination.
Among her many film credits are Dr. Doolittle, Walk Don’t Run, Mareth Line, The Molly McGuires, David
Cronenberg’s The Brood and The Astronaut’s Wife. Eggar’s television highlights include starring opposite Yul
Brynner in ABCs version of Anna and the King, the remake of Double Indemnity in the role originated by
Barbara Stanwyck, and Love Among Thieves, opposite Audrey Hepburn and Robert Wagner. She is currently a
recurring costar on ABCs Commander in Chief, playing Donald Sutherland’s wife.
MICHAEL YORK (Antony) has created memorable roles in more than 60 films such as Franco
Zefferill’s The Taming of the Shrew with Richard Burton and Elizabeth Taylor, Romeo and Juliet,
Jesus of Nazareth, Cabaret, Murder on the Orient Express, The Three Musketeers, as the title
character in the sci-fi classic Logan’s Run, and The Island of Dr. Moreau. He even played
himself in Billy Wilder’s Fedora. Recent work includes Borstal Boy, Crusader and all three
Austin Powers movies. He was also in both Omega Code films and Moscow Heat.
His television work comprises over 80 credits that include The Forsythe Saga, Great
Expectations, Space, The Heat of the Day, A Knight in Camelot and The Lot. Recently a guest in Larry David’s
HBO comedy series Curb Your Enthusiasm, he was also recently in Icon, as a guest on The Simpsons, and the
100th episode of Law and Order: Criminal Intent.
Broadway and regional theater credits include Someone Who’ll Watch Over Me, Bent, The Little Prince, The
Crucible, the world premiere of Tennessee Williams’ Outcry, and the title role in Cyrano de Bergerac.
York’s distinctive voice is in constant demand for spoken word recording with over 70 audio book credits and
numerous major awards. Presenting Shakespeare with music at the Kennedy Center, the Hollywood Bowl, he
has narrated William Walton’s setting of Shakespeare’s Henry V and played the title role in the world premiere
concert performance of Walton’s Christopher Columbus. He was Peer Gynt in a concert version of the play
with the Pasadena Symphony. His recording of “Enoch Arden,” the Tennyson/Strauss melodrama, with pianist
John Bell Young, was followed by several international concert performances.
He also lectures internationally on Shakespeare, the poetry of Rudyard Kipling and the history and art of acting.
His contribution to his profession has been recognized with the award of Britain’s OBE, France’s Arts et Lettres
and a Star on the Hollywood Walk of Fame.
Actor, producer, director and manager ALAN MANDELL (Enobarbus) is known for his roles in
the works of Shakespeare, Beckett and others, and productions on and off Broadway, throughout
California and Europe. He acted, directed and was general manager at both the San Francisco
Actor’s Workshop and the Repertory Theatre of Lincoln Center.
After co-founding the San Quentin Drama Workshop, he toured France and Germany with the
original productions of Beckett’s Waiting for Godot and Endgame, directed by the playwright.
He had previously performed Endgame at Dublin’s Abbey Theatre in the West End and touring Italy. Recent
stage appearances include roles in The Cherry Orchard at the Mark Taper Forum, The Royal Family at the
Ahmanson Theater and He Hunts at the Geffen Playhouse.
He served as Consulting Director for Los Angeles Theater Center (LATC), directing A Rich Full Life, The
Birthday Party, Happy Days, The Caretaker and Strindberg’s The Dance of Death. At LATC, he appeared in
The Film Society, Antony and Cleopatra, Sarcophagus and The Illusion. Film roles include Hedwig and the
Angry Inch, The Marrying Man, Endgame, Midnight Witness and Shortbus. Mandell appeared on television in
Blind Ambition, Dark Victory, Enemies, 79 Park Avenue and Eight is Enough.
As its founder and artistic director, Maurita Phillips-Thornburgh has led CANTORI
DOMINO through fifteen seasons of concerts featuring a wide range of works and including
tours to Spain and Eastern Europe. In late- 2004, the ensemble enjoyed a weeklong residency
at York Minster Cathedral, Yorkshire. Miss Phillips-Thornburgh also presently conducts the
sanctuary choirs of Vallejo Drive Seventh Day Adventist Church in
Glendale and St. Augustine By-the-Sea Episcopal Church in Santa Monica.
Soprano RENEÉ BURKETT received her Masters Degree in Music Education from the
University of North Texas and has performed with the opera companies of Dallas, San
Antonio, and Houston Grand Opera. Moving to Los Angeles, she has sung with the Los
Angeles Music Center Opera and Opera Pacific. She has been a member of the Grammynominated Los Angeles Master Chorale for fourteen years and a member of Cantori
Domino for eight years, as well as touring with the Camerata of Los Angeles to Carnegie
Hall and China, and with the Roger Wagner Chorale to Japan and Korea. She has appeared
on television and in motion pictures, both on screen and on sound tracks. She has sung leading roles in La
Bohème, Werther, The Merry Widow, The Tales of Hoffmann, Don Giovanni, Suor Angelica, The Magic Flute,
The King and I, The Sound of Music, My Fair Lady, Carousel, and A Little Night Music.
Charter Partners

John Scott - SMC Artists

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