In the sixties and seventies, TV and film music hit rare heights, from Match of the Day to The Professionals. By Andrew Roberts
A recent viewing of No Time to Die led me to two conclusions. First, it needed a full score from John Barry, who once said, ‘I think if I like it, if it really makes me laugh or makes me cry, if I do that, I think that the audience is going to go for it, too.’ Secondly, the guitar notes announcing the arrival of Sidney James in Carry On Matron should have accompanied the first appearance of Rami Malek’s Safin, making No Time to Die a more entertaining picture. The gulf between Barry and Eric Rogers, the composer for Matron and many other Carry Ons, may seem vast, but both strove to enhance the mood of a picture rather than swamping the audience. Connoisseurs of British film soon learned to recognise the great names: Malcolm Arnold, Ron Goodwin, Delia Derbyshire, Edwin Astley and Ron Grainer. Their scores were as...
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