New release: THE IPCRESS FILE (1965) – John Barry (Quartet Records re-recording)
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This is a new recording of John Barry’s score for the Michael Caine spy drama THE IPCRESS FILE, and everything about it is excellent!
The sound of this release is wonderful – you’d think the musicians were in the same room. Everyone involved have succeeded in recreating the feel of the era. I’m not that familiar with the original release or how the original sounds so I am not too “hung up” on how this recording compares with the original but coming to it fresh it’s a solid release, and a great example of a very sympathetic treatment of an iconic score.
The City of Prague Philharmonic Orchestra, conductor Adam Klemens
Orchestrations and reconstructions for this release, Leigh Phillips
Mixed and mastered, Chris MaloneI have been quite surprised by the speed in which this was sent out after I had ordered it. But, considering the score was recorded on February 5 and 6, 2026 and I have the CD in my hand on May 12, 2026, it’s amazing how quickly the whole process has gone!!
(Once I’d listened to this re-recording I went and back listened to the OST, and both the OST and this re-recording make great companion pieces.)
I’ll definitely be checking this out. I had a theme from this on a Barry compilation once, but it’s long since lost. I do enjoy groovy Barry. I’ll return when I have something more meaningful to say.
I ordered it yesterday and will apparently get it tomorrow, which is impressive, although for the cost of postage it should be hand-delivered by Monica Bellucci.
I have the old album digitally and it is a bit repetitive beside the great theme. Still haven’t listened to the samples. In any case re-recordings should be supported.
I ordered it yesterday and will apparently get it tomorrow, which is impressive, although for the cost of postage it should be hand-delivered by Monica Bellucci.
Funny you should mention, I was quite surprised to see her come all the way to North Wales. But shipping did double the price.
I have the old album digitally and it is a bit repetitive beside the great theme.
Reading the new release’s booklet the old release only had 15-20 minutes of score. The rest was various reworkings of the theme which made it quite repetitive. This new recording is a bit of a revelation in terms of the music – a lot more than the familiar theme.
We were in Barmouth with the (grown-up) kids over the weekend, and thought I saw a familiar face getting cod and chips from The Mermaid.
This new recording is a bit of a revelation in terms of the music – a lot more than the familiar theme.
Sounds interessting!
Fun detail: I always misread the title as ICEPRESS FILE since forever 😉
I wish they would have included the jazz versions that were on the LP, instead of 2 unrelated themes. Still, happy to get this. Ipcress and The Knack are my two favorite Barry scores, by a wide margin.
I wish they would have included the jazz versions that were on the LP
You may have read this already if you have the release already but for the benefit of others, the decision not to re-record the jazz versions from the earlier album was a conscious decision on their part. They felt that the improvisation element of the jazz versions would be difficult to recreate and that, if they had chosen to redo these track, then reconstructing them would sort of defeat the purpose of them having that improvisation element.
I would seem to make sense to add the previously recorded jazz pieces at the end of this new recording. Perhaps a bit of a listening jolt between the two sets of recordings but it would mean having the jazz versions with the score.
Technically they could have just included new versions with new improvisations as well which is what jazz is about. But probably then some would have complained that they are not exactly the same/as good as the “original”. But since the jazz versions where specific album tracks if I read correctly it makes total sense to me to leave them off.
They felt that the improvisation element of the jazz versions would be difficult to recreate and that, if they had chosen to redo these track, then reconstructing them would sort of defeat the purpose of them having that improvisation element.
I did read that, and they are either lying or they don’t understand anything about jazz. Written jazz arrangements are re-performed and re-recorded all the time. The solos stay improvised, not written. When Mancini recorded his RCA soundtrack albums, he didn’t expect the soloists to play the same solos on the LP that they did in the film. The mind boggles.
A stellar release. I picked up vibes from roughly contemporary works (King Rat, Goldfinger, Thunderball) that I’d never noticed before. Congratulations to all involved.
I’m listening to it right now. Appears I like several aspects of this score, not just the theme which I once had on this compilation. It’s the type of loungesque sleuthing music that I enjoy. Thankfully not a lot of the classic “Barry gimmicks” that I’ve had trouble with over the years (like those staccato brass outbursts), although it does have a little too many of those static, apprehensive, somewhat minimalistic cues I’ve always struggled with, especially in the latter half. The performance is top notch, as is the sound. Very dry.
BUT….I do (predictably) have some issues with the presentation. I did not need a C&C presentation of this, I would have preferred a re-recording of the old 60s OST. And there’s no way to program this into that old program, AFAIK. Some of the more “filmey” cues, I could be without. But should be possible to whittle down, I guess.
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