Zulu Soundtrack by The City of Prague Philharmonic

John Barry’s soundtrack for Zulu finally gets the justice it deserves in this lavish rendition in HDCD format. Also included are tracks from many of his other movie scores on this two disc set that spans most of his career.

In these faltering times for classical music and orchestras, The City of Prague Philharmonic has carved out a niche by redoing film themes and soundtracks under the direction of Nic Raine. The best modern recording technology has been employed for maximum clarity. Often the result is superior to previous recordings and occasionally Raine’s arrangements are simply better than the original.

A few years back I discovered one track from Silva Records 1999 double CD Zulu set online and that led to me buying quite a few tracks performed by the Philharmonic of various film themes. But I wanted to get this CD and only recently did I find a used one in the price range I am miserly so fond of.

Upon receiving it I was delighted to find that while the case had a light crack, the CD’s were immaculate. Even better, they were in the relatively rare HDCD format. After setting up Windows Media Player properly, I could hear a difference between it and my normal Media Monkey playback. Decent speakers and headphones are a must for this, otherwise you will not be able to tell the difference. But how to rip the CD’s and preserve the 20 bit quality?  DBPowerAmp to the rescue and I used its demo to rip the tracks to FLAC.

Further adding to the quality of Silva Records issue is a nine page booklet packed with liner notes on the tracks. Insights into Barry’s process on each film answered some questions I had while listening to the compositions and that made listening even more enjoyable.

On to the tracks. What I wrote about them in the review of the Ember release still applies, so you will want to read that first.

Disc One:

1. Zulu Main Theme/Isandhlwana – The much richer sound and impeccable clarity are noticeable immediately.
2. News of the Massacre/Rorke’s Drift Threatened – The drums really stand out more with the strings and horns benefiting greatly from the digital recording.
3. Bromhead’s Safari/Wagons Over – The addition of the short intro for Michael Cain extends this track in a lovely Copeland-like passage.
4. “You’re All Going to Die!” – One of the missing pieces it features ominous strings reminiscent of Barry’s Bond compositions. It is a much better segue into the next track than Wagons Over.
5. First Zulu Appearance and Assault – Compared to the original, the strings shine and the harp is delicately pristine. It makes the Ember release sound muddy.
6. March of the “Men of Harlech” – The Crouch End Chorus led by David Temple sing the full song acapella and it is a fantastic addition that is just as stirring as when the soldiers sang it in the movie.
7. Durnford’s Horses Arrive and Depart/The Third Assault – This shows off what a modern recording does for trumpet and brass in general.
8. Zulu’s Final Appearance and Salute – The HDCD wider “soundstage” allows you to place where almost every instrument is. Superb.
9. “Men of Harlech”/End Title – Once again, fantastic.
10. The Girl with the Sun in Her Hair (Sunsilk TV Commercial) – Composed for a 1967 shampoo commercial it reminded me of Barry’s work on From Russia with Love. It is classic 1960’s soundtrack far and is quite good. Too good for a commercial!
11. The Specialist: Suite – A compilation of music from Sylvester Stallone’s 1994 action movie it was a rare outing into action films post Bond. In some ways it sounds like he was trying to reach back to his hey day and it turns very jazzy two thirds of the way in. Sadly it is not memorable.
12. The Cotton Club: Suite – Now this is fun. Getting back to his jazz roots, Barry composed a very George Gershwin style soundtrack in 1984. The first third features a playful piano and smoky sax, the middle darker and noirish, and ending in a mournful theme. A very good bit of music, indeed.
13. King Rat: March – Very military and strangely upbeat it does what a march is supposed to do – move your feet. It fits the 1965 film’s POW setting well.
14. The Tamarind Seed: Suite – Since no soundtrack was ever released from the 1974 movie, this is the first time the music has been made available. It is a moody string based affair about an affair. At one point a repeating instrumental phrase builds relentlessly, sounding much like a Morse code transmission, which reflects the spy thriller elements of the movie. It ends with a slow moving piece that reminded me of parts of Barry’s later soundtrack for The Black Hole.

Disc Two:

1. The Last Valley: Main Theme (Choral Version) – Big, militant, and sinister is how I would describe this theme. Appropriate for the 1970 film set during the The Thirty Years War. If you liked the soundtrack to Conan the Barbarian you will like this. I liked it.
2. Love Amongst the Ruins – A gentle and romantic waltz befitting the 1975 TV movie starring Katharine Hepburn and Lawrence Olivier. Harpsichord and strings dominate. For some reason it reminds me of The Wrong Box, a completely different movie.
3. Mercury Rising: The Story Ends – A generic effort that wanders about aimlessly before deciding to walk a darker path. It appears Barry did not know what exactly to do with the 1998 Bruce Willis film and parts of it seem like leftovers from Dances with Wolves.
4. Midnight Cowboy: Florida Fantasy – Cheerful in contrast to the 1969 movie it came from it is more of a pop track than anything else in this collection. Notable for featuring guitar work and what sounds like bongo drums if I am not mistaken.
5. King Kong: Prelude & Love Theme – Large sounding like the title character of the infamous 1976 remake it was composed without seeing the film! The first part is more discordant than I am used to with Barry. The love theme sounds like Rogers & Hammerstein meet John Barry. I really do not know how I feel about that.
6. Frances: Theme – From the very depressing 1982 movie, it combined Mozart’s Sonata in A major with Barry’s own music. Unfortunately, the outcome is slow, boring, and forgettable.
7. My Sister’s Keeper: Suite – Another rarity in that it comes from a 1986 period piece set in 1943 that ended up going straight to video. Opening with a harmonica and a bluesy piano, it gives way to strings and what seems to be only the left most keys of the piano. That makes for a deliberately uncomfortable passage evoking feelings of bad news. Then it gets darker in tone before finally lightening up. This is my favorite track on Disc Two and was a very nice surprise.
8. Hammett – Chinese motifs blend with piano and clarinet for a feeling of being in smoke filled and dimly lit dive. Can’t get more appropriate for a private eye film dealing with Chinatown! It is a good composition from a very troubled production that finally came out in 1982 after years of problems.
9. Dances with Wolves: The Buffalo Hunt – Gorgeous horn work and strings star in one of the best pieces from what I believe is Barry’s best soundtrack. It is a great rendition, but I still prefer the original soundtrack version from 1990. Go buy that, now!
10. The Deep: Theme – Slow, relaxed, and well… blah. I vaguely recall the 1977 movie only because of Jacqueline Bissett in her prime.
11. Mister Moses: Suite – Nic Raines went back to the original compositions of this music since Barry had compromised them to appease the film makers of the 1965 movie. So in a way, this is another first on this release. I would describe it as a very fun mix of Zulu and Dances with Wolves. Very enjoyable to listen to and it will bring a smile to your face.

All in all, this is an interesting overview of John Barry’s work over the decades. The performances are all very good and benefit from the all digital recording, not to mention the 20 bit HDCD format. However, there have been no new HDCD capable players made since the 1990’s so that is a problem.  But if you have the know how, you can decode it like I did and it will sound terrific on a decent soundcard.

This version of Zulu is simply superior in every way but one to the original Ember Records release. All that is lacking is the narration by Richard Burton. Otherwise everything about the modern version is better mainly due to modern recording techniques, but also the inclusion of a couple of missing pieces. Add in all the other tracks from different movies and it becomes a slam dunk. One caveat is that it will cost you more than twice as much as the Ember release to buy in physical or digital format.

I highly recommend this two CD set to fans of Zulu, John Barry, and good film scores.