DAY OF THE LOCUST, THE

Label: Intrada Special Collection Volume ISC 122
Date: 1975
Time: 0:31:55
Tracks: 13
Classic John Barry album!

Price: - (Sold Out)

  • More Info
  • Track List
  • Doug's Tech Talk
  • Musicians List
  • Great John Barry album makes world CD premiere at last! Original soundtrack from John Schlesinger 1930's-era drama with Donald Sutherland, Karen Black, William Atherton. In 1974, famed Dot label producer Tom Mack produces two back-to-back classic soundtracks to Paramount movies with similar 1930's Los Angeles settings: CHINATOWN (for ABC label) & THE DAY OF THE LOCUST (for London label). Mack produces both LPs with emphasis on original scores while weaving in period music important to each respective movie, greatly enhancing mood of final album. For THE DAY OF THE LOCUST, John Barry anchors with rich, warm main theme, then surrounds with appropriate variants to fit each scene. For climactic sequence, Barry writes what might be his most intense, dramatic cue of a long and famed career! Intrada CD features same classic program as London LP, presented from mint condition stereo album masters vaulted at Universal Music Group. Notes by Jeff Bond. John Barry conducts. SOLD OUT!
  • Play all clips

    01. Jeepers Creepers (2:36)
    02. The Storyteller/Garden of the Locust (2:52)
    03. Isn't It Romantic (1:40)
    04. The Flying Carpet (Theme from 'The Day of the Locust') (1:46)
    05. A Picture of Love (3:01)
    06. I Wished On the Moon (2:32)
    07. Soft Shoe Salesman (2:38)

    08. Fire and Passion (Theme from 'The Day of the Locust') (2:14)
    09. Hot Voodoo (1:54)
    10. Fashion and Fantasy (Theme from 'The Day of the Locust') (1:16)
    11. Sing You Sinners (2:42)
    12. The Day of the Locust (4:19)
    13. Theme from 'The Day of the Locust' Finale (1:35)

  • Tech Talk From The Producer…

    The Day Of The Locust represents one of John Barry’s finest scores, with a main theme that lingers long after the album is finished. At times, Barry’s score is richly melodic and wistfully nostalgic. At other times it’s authentic and colorful in mirroring the broken-down Tinseltown of the 1930’s captured in the movie. And in the celebrated climactic sequence, Barry offers one of the most intense and extraordinary pieces of his long and famous career.

    This Intrada CD was mastered at Universal Music Group’s own Xepa Digital Studios, using the original London Phase 4 stereo album masters stored in pristine condition in their vaults at Boyers, Pennsylvania.

    It’s fascinating to note similarities between the London album for The Day of the Locust and that of the equally classic album for Chinatown, written by Jerry Goldsmith and first issued on the ABC label. Both soundtracks were, of course, written for Paramount movies released in 1974. Both pictures were set in Southern California during the 1930s. And both scores used contemporary scoring techniques to accompany their Depression-era imagery. But what’s more, both of these soundtrack albums balanced their respective scores with period source music heard in the films, greatly enhancing the listening experience. The similarity between these two records probably wasn’t just coincidental: Both were produced in 1974 by Tom Mack, a longtime Dot Records producer with soundtrack albums for Will Penny, Sebastian, The Odd Couple, Villa Rides and Mission Impossible numbering amongst his many credits. The Day Of The Locust ranks as one of his finest projects.

    The album anchors with the all-important “Jeepers Creepers” as performed by the incomparable Louis Armstrong and His Orchestra. It also includes the bulk of John Barry’s contributions to the film. Some of the period music comes directly from the original vintage recordings. Other source cues were crisply recorded with new arrangements by Pete King. Best of all, John Barry’s sequences were beautifully captured with then state-ofthe- art stereo recording techniques.

    Intrada is proud to present one of the finest soundtrack albums from the 1970s, featuring great period music from the 1930s and John Barry at his most timeless.

    —Douglass Fake