Jun 18, 2015. Gang Starr - Next Time.mp3 13 She Knowz What She Wantz.mp3 03 Work.mp3 13. Gang Starr - She Knows What She Wants.mp3 03. Gang Starr - Work.mp3 12 What I'm Here 4.mp3 12. Gang Starr - What I'm Here 4.mp3 15 My Advice 2 You.mp3 15. Gang Starr - My Advice 2 You.mp3. 1 I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul.

• Sales of Moment of Truth as of June 10, 2003. • 'Code of the Streets' did not enter the, but peaked at number 23 on the chart. • 'DWYCK' did not enter the chart, but peaked at number seven on the chart. • 'Suckas Need Bodyguards' did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number 21 on the Bubbling Under R&B/Hip-Hop Singles chart. • 'The Militia' did not enter the Billboard Hot 100, but peaked at number 12 on the Bubbling Under Hot 100 Singles chart. • 'Full Clip' did not enter the Hot R&B/Hip-Hop Songs chart, but peaked at number two on the Bubbling Under R&B/Hip-Hop Singles chart.

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Retrieved August 1, 2017. Retrieved August 1, 2017. Archived from on February 28, 2015. Retrieved August 1, 2017. Retrieved August 1, 2017. • The Lesson (Media notes)...

• Believe Dat! (Media notes)... • Movin' On (Media notes)... • Words I Manifest (Media notes)... Retrieved August 2, 2017. Retrieved August 1, 2017. Retrieved August 1, 2017.

Retrieved August 2, 2017. • Royalty (Media notes).,.,. • Swihart, Stanton.... Retrieved August 2, 2017. • Conaway, Matt....

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Contents • • • • • • • • • • • • • • • • • • Biography [ ] Early life and education [ ] Barry was born John Barry Prendergast, in, England, and was the son of an English mother and an Irish father. His mother was a classical pianist. His father, John Xavier 'Jack' Prendergast, from, was a during the silent film era, who later owned a chain of cinemas across. As a result of his father's work, Barry was raised in and around cinemas in northern England and he later stated that this childhood background influenced his musical tastes and interests.

Barry was educated at, and also received composition lessons from, Organist of. Career [ ] Serving in the, Barry spent his national service playing the trumpet.

After his army service, he took a correspondence course (with composer ); he also worked as an for the and, and formed his own band in 1957,, with whom he had some hit records on label. These included 'Hit and Miss', the theme tune he composed for the BBC's programme, a cover of the song ', and a cover of the theme for the United Artists western. By 1959 Barry was gaining commissions to arrange music for other acts, starting with a young trio on Decca, coincidentally called the Three Barry Sisters, though unrelated both to Barry and the more famous Barry Sisters duo in America. The career breakthrough for Barry was the BBC television series, when he appeared with the John Barry Seven. He was employed by from 1959 until 1962 arranging orchestral accompaniment for the company's singers, including; he also composed songs (along with ) and scores for films in which Faith was featured. When Faith made his first film, (1960), Barry composed, arranged and conducted the score, his first.

His music was later released as the UK's first soundtrack album. Barry also composed the music for another Faith film, (also 1960), orchestrated the score for (1962), and composed, arranged and conducted the score for (also 1962).

In 1962, Barry transferred to, where he produced albums as well as arranging them. These achievements caught the attention of the of a new film called (1962) who were dissatisfied with a theme for given to them.

Barry was hired and the result was one of the most famous signature tunes in film history, the '. (Credit goes to Monty Norman,.) When the producers of the Bond series engaged to score the next James Bond film (1963), they discovered that Bart could neither read nor write music. Though Bart wrote a title song for the film, the producers remembered Barry's arrangement of the James Bond Theme and his composing and arranging for several films with Adam Faith. Lionel Bart also recommended Barry to producer for his film (1964).

Bart and Barry worked together in the film. This was the turning point for Barry, and he subsequently won five and four, with scores for, among others, (1966), (1968), (1969) for which he did not receive an on-screen credit. Barry was often cited as having had a distinct style which concentrated on lush strings and extensive use of brass. However he was also an innovator, being one of the first to employ synthesizers in a film score (, also 1969), and to make wide use of pop artists and songs in Midnight Cowboy.

Because Barry provided not just the main title theme but the complete soundtrack, his music often enhanced the critical reception of a film, notably in Midnight Cowboy, the first remake of (1976), (1985), and (1990). Barry would often watch films and would note down with pen and paper what worked or what did not. Quarantine The Past The Best Of Pavement Rar there. Barry composed the theme for the TV series (1971), also known as The Unlucky Heroes, in which and were paired as rich playboys solving crimes. The instrumental recording features the (which Barry also used for (1965) and other themes) and. The theme was a hit single in many European countries (including France, Germany, and the Benelux states), contributing to the cult status of the series in Europe, and the record featured Barry's The Girl with the Sun in Her Hair on the B side, an instrumental piece featured in a long running TV advert for shampoo. Barry also wrote the scores to a number of musicals, including the 1965 (lyrics by ), the successful 1974 West End show (lyrics by ), and two major flops, (1971), with as lyricist, and (1981), again with lyricist Don Black.

In 2001, the conferred an honorary degree on Barry, and in 2002 he was named an Honorary of the City of York. During 2006, Barry was the executive producer on an album entitled Here's to the Heroes by the Australian ensemble. The album features a number of songs Barry wrote in collaboration with his lyricist friend, Don Black. Barry and Black also composed one of the songs on 's 2009 album, The Performance. The song, entitled 'Our Time Is Now', is the first written by the duo for Bassey since '. James Bond series [ ] After the success of Dr. No, Barry was hired to compose and perform eleven of the next fourteen films ( is legally recognised as the composer of the ').

In his tenure with the film series, Barry's music, variously brassy and moody, achieved very wide appeal. For From Russia with Love he composed '007', an alternative James Bond signature theme, which is featured in four other Bond films ( Thunderball, You Only Live Twice, Diamonds Are Forever and Moonraker). The theme 'Stalking', for the teaser sequence of From Russia with Love, was covered by colleague for (1977).

(The music and lyrics for From Russia with Love's title song were written by, whose musical theatre credits included Oliver!) Barry also contributed indirectly to the soundtrack of the spoof version of (1967): his theme appears briefly in the opening sequence. In (1964), he perfected the 'Bond sound', a heady mixture of brass, jazz elements and sensuous melodies. There is even an element of Barry's jazz roots in the big-band track 'Into Miami', which follows the title credits and accompanies the film's iconic image of the camera lens zooming toward the Fontainebleau Hotel in. A side note is that, working as a session guitarist at the time, played on the recording of 'Goldfinger'. Barry's love for the Russian romantic composers is often reflected in his music; in his Bond scores he unites this with brass-heavy jazz writing.

His use of strings, lyricism, half-diminished chords, and complex key shifting provides melancholy contrast-often heard in variations of the title songs as integrally infused with the plot development. As Barry matured, the Bond scores became more lushly melodic (along with other scores of his such as ), as in (1979) and (1983). Barry's score for A View to a Kill was traditional, but his collaboration with for the was contemporary and reached number one in the United States and number two in the. Both A View to a Kill and theme by blended the pop music style of the bands with Barry's orchestration. In 2006, a-ha's complimented Barry's contributions: 'I loved the stuff he added to the track, I mean it gave it this really cool string arrangement.

That's when for me it started to sound like a Bond thing.' Barry's last score for the Bond series was (1987), 's first film in the series with Barry making a cameo appearance as a conductor in the film. Barry was intended to score (1989) but was recovering from throat surgery at the time and it was considered unsafe to fly him to London to complete the score. The score was completed by., a British composer, saw the result of two years' work in 1997 with the release of Shaken and Stirred: The David Arnold James Bond Project, an album of new versions of the themes from various James Bond films. Arnold thanks Barry in the sleeve notes, referring to him as 'the Guvnor'. Almost all of the tracks were John Barry compositions, and the revision of his work met with his approval – he contacted, producer of the then upcoming, to recommend Arnold as the film's composer. Arnold also went on to score four subsequent Bond films:,, and.

Sole compositional credit for the 'James Bond Theme' is attributed to, who was contracted as composer for Dr. Some 30 years later, in 2001, the disputed authorship of the theme was examined legally in the High Court in London after Norman sued for publishing an article in 1997 in which Barry was named as the true composer; Barry testified for the defence. In court, Barry testified that he had been handed a musical manuscript of a work by Norman (meant to become the theme) and that he was to arrange it musically, and that he composed additional music and arranged the 'James Bond Theme'. The court was also told that Norman received sole credit because of his prior contract with the producers.

Barry said that a deal was struck whereby he would receive a flat fee of £250 and Norman would receive the songwriting credit. Barry said that he had accepted the deal with United Artists Head of Music Noel Rogers because it would help his career. Despite these claims the jury ruled unanimously in favour of Norman. On 7 September 2006, John Barry publicly defended his authorship of the theme on the show on. Personal life and death [ ] Barry was married four times. His first three marriages, to Barbara Pickard (1959–63), (1965–68), and Jane Sidey (1969–78) all ended in divorce.

He was married to his fourth wife, Laurie, from January 1978 until his death. The couple had a son, Jonpatrick. Barry had three daughters, Suzanne (Susie) with his first wife, Barbara, with his second wife, Jane, and Sian from a relationship with Ulla Larson between the first two marriages. Suzy Barry, who is married to BBC business journalist, is the mother of his two granddaughters, Phoebe and Florence Ingleby.

In 1975 Barry moved to California. A British judge later accused him of emigrating to avoid paying 134,000 due the. The matter was resolved in the late 1980s and Barry was able to return to the UK. He subsequently lived for many years in the United States, mainly in, New York, in on, from 1980. Barry suffered a in 1988, following a toxic reaction to a health tonic he had consumed. The incident rendered him unable to work for two years and left him vulnerable to. Barry died of a heart attack on 30 January 2011 at his Oyster Bay home, aged 77.

A memorial concert took place on 20 June 2011 at the in London where the,,,, and others performed Barry's music.,,, and others also contributed to the celebration of his life and work. The event was sponsored by the through a grant by the Foundation. Awards and nominations [ ] In 1999 Barry was made an (OBE) at for services to music, and received the in 2005. In 2005, the ranked Barry's score for Out of Africa No. • The Sunday Times Magazine (London).

18 December 2011. 1 February 2010. Retrieved 1 February 2010.

31 January 2011. Retrieved 3 February 2011.

• ^ Sweeting, Adam (31 January 2011)... Retrieved 3 February 2011.. • ^ Hastings, Sheena (31 January 2011)... Retrieved 3 February 2011. Retrieved 21 June 2015. 31 January 2010... Film score monthly.

November 1996. Archived from on 17 October 2006. Retrieved 1 February 2011. • Pete Frame The restless generation: how rock music changed the face of 1950s Britain 2007 - Page 414 'Meanwhile, Barry was winning commissions to arrange music for other acts, starting with a young trio on Decca, the unrelated (to him) Barry Sisters.

Together, they cut two singles, Tall Paul and Jo Jo The Dog-faced Boy, which had been consecutive American hits for Annette Funicello. Neither excited retail interest - and nor did any of the three singles he made with Larry Page' •. Retrieved 21 June 2015. • Firth, Simon Music for Pleasure: Essays in the Sociology of Pop' Routledge, 1988, p.147 • Cody, Joshua (3 November 1933)..

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Further reading [ ] • Fiegel, Eddi. John Barry: A Sixties Theme: From James Bond to Midnight Cowboy (Faber & Faber: London, UK, 2012) • Leonard, Geoff, Pete Walker and Gareth Bramley. John Barry – The Man with the Midas Touch (Redcliffe Press: Bristol, UK, 2008) External links [ ] Wikimedia Commons has media related to. • • at the • on • at • • discography at • on • on • on • on • on Preceded by, 1967 title artist, 1969 Succeeded by, 1971 Preceded by 1962 1963–1971 Succeeded by 1973 Preceded by 1973 1974 Succeeded by 1977 Preceded by 1977 1979 Succeeded by 1981 Preceded by 1981 1983–1987 Succeeded by 1989.