The John Barry Seven & Orchestra
The John Barry Seven was a band formed by John Barry in 1957, after he aban… Read Full Bio ↴The John Barry Seven was a band formed by John Barry in 1957, after he abandoned his original career path of arranging for big bands.
He contacted three musicians with whom he had served in the army and three local musicians and invited them to join his new band. The first line-up was: John Barry (vocals & trumpet), Mike Cox (tenor-sax), Derek Myers (alto-sax), Ken Golder (drums), Fred Kirk (bass guitar), Ken Richards (lead guitar) and Keith Kelly (rhythm guitar). For a short time the JB7 became John Barry & The Seven when he introduced a vibraphone player, John Aris, but by the time the band began recording for EMI (Parlophone) the experiment had been abandoned.
The JB7 appeared on British TV shows such as Six-Five Special and Oh Boy! during 1957 and 1958, but discontent began spreading through the band. Jack Good proved to be a hard taskmaster on Oh Boy! Rehearsals were deliberately lengthy, intense and arduous in order to perfect what was a fast-paced show.
When compounded by a tough touring schedule and regular recording commitments, morale began to suffer among the band's members. Disagreements started to surface. Fatigue bred discontent. Some resentment towards Barry simmered to the boil, because he did not have to appear when accompanying other artists on the bill. Add the homesickness caused by incessant travelling to the list of grievances and it was quite obvious that all was not well. At times work could be so irregular, that the band had already arrived back home in Yorkshire, by the time London-based Barry was in a position to call them south again for a few more dates. Moreover, they were losing a certain amount of work on Oh Boy! resulting in a substantial reduction in wages.
As a consequence, when Derek Myers received an offer to play with a big band in Scotland on a permanent basis, it was an offer he couldn't refuse. A week of almost constant bickering made up his mind for him. Mike Cox, on complaining bitterly about the quality of gigs offered, also left; likewise, Fred Kirk (a trained aircraft fitter), after spotting a job in aviation. When Ken Richards announced he wanted to return to Scarborough, Golder felt it was time for him to go too, not wishing to be the only one of the original local big-band trio remaining.
Mike Peters and Jimmy Stead (both from Ossett, near Leeds) replaced Kirk and Myers respectively. Peters then introduced Londoner Dennis King as a replacement for the disenchanted Mike Cox, while Stead brought in Dougie Wright, a drummer with whom he had played in the Leeds-based Bill Marsden Big Band. It meant that with the exception of Barry and Keith Kelly, the original band was a thing of the past. With the departure of lead guitarist Ken Richards, Barry was in urgent need of a replacement. Initially, he brought in another Leeds musician, Jack Oliver, but when he lasted a mere week, Barry decided to approach Vic Flick, whom he had encountered on a Paul Anka package tour, then still working with The Bob Cort Skiffle Group.
Much to Barry's relief, he jumped at the chance and arrived in time to rehearse for an important show at the Metropolitan in Edgware Road on 10 November 1958. The Seven was contracted to perform a 20-minute act as well as backing several other artists, including Marty Wilde. The line-up now read: John Barry (trumpet), Vic Flick (lead guitar), Mike Peters (bass guitar), Keith Kelly (rhythm guitar), Jimmy Stead (baritone sax), Dennis King (tenor-sax) and Dougie Wright (drums). For a very short time they experimented with a female singer, Liza Page, the sister of the TV star Jill Day, but this did not prove as successful as they had hoped.
BBC TV's rationale behind the inception of Drumbeat was to fill a spot in their summer schedules that would seriously threaten the popularity of ITV's Oh Boy! Producer Stewart Morris offered the band an audition with a view to appearing in its own right and also to back a variety of other artists, just as in the early days of Oh Boy! Barry liked the idea, and to seal the booking, decided to introduce a pianist into the group as a replacement for Keith Kelly, who had decided to try a solo career as a singer. Vic Flick suggested his flat mate Les Reed, then playing jazz piano in London night clubs.
The new line-up lasted until 1961 when Barry became too busy arranging and composing to continue. He installed Vic Flick as the leader and brought in Bobby Carr on trumpet to take his place. The band enjoyed a lot of chart success as well as appearing regularly on radio and TV and on pop package tours - often with Adam Faith.
During 1962, Dougie Wright and Les Reed departed - the former in search of more regular work and the latter to forge a career in writing and producing. Dickie Harwood and then Andy White replaced Wright for a short period, while Brian 'Rachmaninoff' Hazelby initially took over from Les Reed, before Kenny Salmon became a more permanent fixture. With Barry concentrating on his own future, the band was unable to find the same amount of work, particularly after having severed links with Adam Faith. What's more, since 'The James Bond Theme', further chart success was proving elusive; as such, other members were beginning to look to where the grass might be greener.
Vic Flick was one such person. He had been with the Seven since late 1958 and had led the band on stage for the past two years, but increasing demands on his time as a session player led to his decision to leave. Although he gave three months notice, Barry was unable to find a suitable replacement, thereby forcing him to temporarily disband the group. Flick's last performance as a member of the Seven was at Torquay in August 1963, after which he spent many years ensconced in various London recording studios as a much sought after freelance session musician, accompanying a roll call of the top names in the business.
By October 1963, after a temporary hiatus, Barry was able to assemble the nucleus of a resurrected JB7 with the assistance of acclaimed session drummer Bobby Graham. According to Graham, he had been requested by Barry to take over the leadership as a result of Barry's determination to cash in on the lucrative bookings that the Seven were still attracting at universities and colleges throughout the UK. Graham's pedigree in the pop world was indeed impressive. He was a member of The Outlaws, Joe Brown and The Bruvvers and Marty Wilde's Wildcats before moving into regular session work. At this point, the band consisted of Graham (drums), Dave Richmond (bass guitar), Ron Edgeworth (keyboards), Ray Russell (lead guitar), Terry Childs (baritone sax), Bob Downes (tenor sax) and Alan Bown (trumpet). After only a few months, Ray Styles was recruited to replace Dave Richmond on bass guitar, while Tony Ashton took over from Ron Edgeworth on piano and vocals.
In 1964, Graham - like Flick and Richmond before him - decided to concentrate on ever-increasing studio session work, something he had never entirely given up. At that point, Alan Bown took over as leader of the JB7, leaving only him and Terry Childs remaining from the Graham-led band. As soon as he took charge of the JB7, he was keen to book the new line-up into a studio, the result of which was the single '24 Hours Ago', the first JB7 vocal since Barry's early efforts seven years previously. This 45 featured new vocalist and keyboard player Mike O'Neil, and apart from Bown and Childs, the line-up was Dave Green (tenor-sax), Stan Haldane (bass guitar), Ernie Cox (drums) and Ron Menicos (lead guitar). The one remaining significant change to the line-up involved Mike O'Neil, who was replaced on keyboards/vocals by Jeff Bannister. Bown admits to have been disappointed when Barry gave him three months' notice of intent to permanently disband the group, particularly as the band was still much in demand at venues as wide ranging as winter gardens, hotels, universities and colleges. He is convinced that the band would still be performing up to the present day (and still making a good living at it) had the John Barry Seven moniker been retained. As it was, Bown quickly formed The Alan Bown Set, which included Stan Haldane, Jeff Bannister and Dave Green from the remains of the group. Although they were able to take over many of the JB7's regular bookings, the money was not the same without that all-important name.
John Barry, OBE (born John Barry Prendergast on 3 November 1933 in York, England; died 30 January 2011 in Oyster Bay, New York, US) was a renowned Golden Globe and five-time Academy Award-winning English film score composer. He was best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series' distinctive style.
He contacted three musicians with whom he had served in the army and three local musicians and invited them to join his new band. The first line-up was: John Barry (vocals & trumpet), Mike Cox (tenor-sax), Derek Myers (alto-sax), Ken Golder (drums), Fred Kirk (bass guitar), Ken Richards (lead guitar) and Keith Kelly (rhythm guitar). For a short time the JB7 became John Barry & The Seven when he introduced a vibraphone player, John Aris, but by the time the band began recording for EMI (Parlophone) the experiment had been abandoned.
The JB7 appeared on British TV shows such as Six-Five Special and Oh Boy! during 1957 and 1958, but discontent began spreading through the band. Jack Good proved to be a hard taskmaster on Oh Boy! Rehearsals were deliberately lengthy, intense and arduous in order to perfect what was a fast-paced show.
When compounded by a tough touring schedule and regular recording commitments, morale began to suffer among the band's members. Disagreements started to surface. Fatigue bred discontent. Some resentment towards Barry simmered to the boil, because he did not have to appear when accompanying other artists on the bill. Add the homesickness caused by incessant travelling to the list of grievances and it was quite obvious that all was not well. At times work could be so irregular, that the band had already arrived back home in Yorkshire, by the time London-based Barry was in a position to call them south again for a few more dates. Moreover, they were losing a certain amount of work on Oh Boy! resulting in a substantial reduction in wages.
As a consequence, when Derek Myers received an offer to play with a big band in Scotland on a permanent basis, it was an offer he couldn't refuse. A week of almost constant bickering made up his mind for him. Mike Cox, on complaining bitterly about the quality of gigs offered, also left; likewise, Fred Kirk (a trained aircraft fitter), after spotting a job in aviation. When Ken Richards announced he wanted to return to Scarborough, Golder felt it was time for him to go too, not wishing to be the only one of the original local big-band trio remaining.
Mike Peters and Jimmy Stead (both from Ossett, near Leeds) replaced Kirk and Myers respectively. Peters then introduced Londoner Dennis King as a replacement for the disenchanted Mike Cox, while Stead brought in Dougie Wright, a drummer with whom he had played in the Leeds-based Bill Marsden Big Band. It meant that with the exception of Barry and Keith Kelly, the original band was a thing of the past. With the departure of lead guitarist Ken Richards, Barry was in urgent need of a replacement. Initially, he brought in another Leeds musician, Jack Oliver, but when he lasted a mere week, Barry decided to approach Vic Flick, whom he had encountered on a Paul Anka package tour, then still working with The Bob Cort Skiffle Group.
Much to Barry's relief, he jumped at the chance and arrived in time to rehearse for an important show at the Metropolitan in Edgware Road on 10 November 1958. The Seven was contracted to perform a 20-minute act as well as backing several other artists, including Marty Wilde. The line-up now read: John Barry (trumpet), Vic Flick (lead guitar), Mike Peters (bass guitar), Keith Kelly (rhythm guitar), Jimmy Stead (baritone sax), Dennis King (tenor-sax) and Dougie Wright (drums). For a very short time they experimented with a female singer, Liza Page, the sister of the TV star Jill Day, but this did not prove as successful as they had hoped.
BBC TV's rationale behind the inception of Drumbeat was to fill a spot in their summer schedules that would seriously threaten the popularity of ITV's Oh Boy! Producer Stewart Morris offered the band an audition with a view to appearing in its own right and also to back a variety of other artists, just as in the early days of Oh Boy! Barry liked the idea, and to seal the booking, decided to introduce a pianist into the group as a replacement for Keith Kelly, who had decided to try a solo career as a singer. Vic Flick suggested his flat mate Les Reed, then playing jazz piano in London night clubs.
The new line-up lasted until 1961 when Barry became too busy arranging and composing to continue. He installed Vic Flick as the leader and brought in Bobby Carr on trumpet to take his place. The band enjoyed a lot of chart success as well as appearing regularly on radio and TV and on pop package tours - often with Adam Faith.
During 1962, Dougie Wright and Les Reed departed - the former in search of more regular work and the latter to forge a career in writing and producing. Dickie Harwood and then Andy White replaced Wright for a short period, while Brian 'Rachmaninoff' Hazelby initially took over from Les Reed, before Kenny Salmon became a more permanent fixture. With Barry concentrating on his own future, the band was unable to find the same amount of work, particularly after having severed links with Adam Faith. What's more, since 'The James Bond Theme', further chart success was proving elusive; as such, other members were beginning to look to where the grass might be greener.
Vic Flick was one such person. He had been with the Seven since late 1958 and had led the band on stage for the past two years, but increasing demands on his time as a session player led to his decision to leave. Although he gave three months notice, Barry was unable to find a suitable replacement, thereby forcing him to temporarily disband the group. Flick's last performance as a member of the Seven was at Torquay in August 1963, after which he spent many years ensconced in various London recording studios as a much sought after freelance session musician, accompanying a roll call of the top names in the business.
By October 1963, after a temporary hiatus, Barry was able to assemble the nucleus of a resurrected JB7 with the assistance of acclaimed session drummer Bobby Graham. According to Graham, he had been requested by Barry to take over the leadership as a result of Barry's determination to cash in on the lucrative bookings that the Seven were still attracting at universities and colleges throughout the UK. Graham's pedigree in the pop world was indeed impressive. He was a member of The Outlaws, Joe Brown and The Bruvvers and Marty Wilde's Wildcats before moving into regular session work. At this point, the band consisted of Graham (drums), Dave Richmond (bass guitar), Ron Edgeworth (keyboards), Ray Russell (lead guitar), Terry Childs (baritone sax), Bob Downes (tenor sax) and Alan Bown (trumpet). After only a few months, Ray Styles was recruited to replace Dave Richmond on bass guitar, while Tony Ashton took over from Ron Edgeworth on piano and vocals.
In 1964, Graham - like Flick and Richmond before him - decided to concentrate on ever-increasing studio session work, something he had never entirely given up. At that point, Alan Bown took over as leader of the JB7, leaving only him and Terry Childs remaining from the Graham-led band. As soon as he took charge of the JB7, he was keen to book the new line-up into a studio, the result of which was the single '24 Hours Ago', the first JB7 vocal since Barry's early efforts seven years previously. This 45 featured new vocalist and keyboard player Mike O'Neil, and apart from Bown and Childs, the line-up was Dave Green (tenor-sax), Stan Haldane (bass guitar), Ernie Cox (drums) and Ron Menicos (lead guitar). The one remaining significant change to the line-up involved Mike O'Neil, who was replaced on keyboards/vocals by Jeff Bannister. Bown admits to have been disappointed when Barry gave him three months' notice of intent to permanently disband the group, particularly as the band was still much in demand at venues as wide ranging as winter gardens, hotels, universities and colleges. He is convinced that the band would still be performing up to the present day (and still making a good living at it) had the John Barry Seven moniker been retained. As it was, Bown quickly formed The Alan Bown Set, which included Stan Haldane, Jeff Bannister and Dave Green from the remains of the group. Although they were able to take over many of the JB7's regular bookings, the money was not the same without that all-important name.
John Barry, OBE (born John Barry Prendergast on 3 November 1933 in York, England; died 30 January 2011 in Oyster Bay, New York, US) was a renowned Golden Globe and five-time Academy Award-winning English film score composer. He was best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series' distinctive style.
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08The James Bond Theme (From Dr. No)The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
10The Human Jungle (1995 Remastered Version)The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
12From Russia With Love [organ version]The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
13Cutty Sark (1995 Digital Remaster)The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
18The James Bond Theme (1995 Digital Remaster)The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
19The Human Jungle (Alternate Version)The John Barry Seven & OrchestraThe John Barry Seven & Orchestra
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The John Barry Seven & Orchestra Lyrics
From Russia With Love From Russia with love, I fly to you Much wiser since…
We have lyrics for these tracks by The John Barry Seven:
James Bond Theme Come on You know I got you Break the wall down Break the…
We have lyrics for these tracks by Orchestra:
Addams Family Theme They're creepy and they're kooky Mysterious and spooky They'…
Advance Australia Fair Australians all let us rejoice For we are young and free We'…
All For One Yeah, we can do it, we can do it, we…
America Somebody told her that there was a place like heaven Across…
As Long As He Needs Me As long as he needs me Oh, yes, he does need…
Bert and the Talking Pictures If I had a talking picture of you, I would run…
Blossom Time: Prelude I'm writing you, my dear, Just to tell you, In September, yo…
Bows East is east and west is west And the wrong one…
Boy for Sale Our little dream castle with every dream gone, Is lonely and…
Broadway Ballet Don't bring a frown to old Broadway You've got to clown…
Broadway Melody of 1940 Don't bring a frown to old Broadway You've got to…
Call Me Madam I say I'll move the mountains And I'll move the mountains If…
Chant de Ralliement "Are vé lo mes de maig Regalada primavera! Cantarà lo rossi…
Cool Sue wants a barbecue, Sam wants to boil a ham, Grace votes…
Das Lied der Deutschen Schon winkt der Wein im goldnen Pokale, Doch trinkt noch nic…
Discoveries Emanating Jovian plasma Colliding! Particles that explosive…
Do-re-mi Let's start at the very beginning A very good place to…
Eldorado Here it comes another lonely day. Playing the game, I'll sai…
End Credits When the blood dries in my veins and my Heart feels…
Gelosia Non l'ammetto mai un tormento sei che divide il mio cuore…
Getting to Know You It's a very ancient saying But a true and honest thought Tha…
Give Me Your Hands Baby, let me hold your hand Until I make you understand Oh…
God Save the Queen Sometimes the snow comes down in June Sometimes the sun goes…
I Feel Like Myself I just feel like something good is about to happen I…
I Feel Pretty I feel pretty Oh, so pretty I feel pretty and witty and…
I Shall Scream They say everything can be replaced They say every distance …
If We Were In Love Songs we started left me brokenhearted I have been frozen in…
It Happened In Brooklyn Howdy folks, let's go for a ride Get your favorite one…
I`d do Anything I'll do anything For you dear anything For you mean everythi…
Joy To The World Joy to the world, the Lord has come Let earth receive…
Kiss Of Fire I touch your lips and all at once the sparks…
La Marseillaise Allons enfants de la Patrie Le jour de gloire est arrivé! Co…
Lamento È la solita storia del pastore Il povero ragazzo Voleva rac…
let's sing Give me a song that's robust Feeling the way I am Any…
Love For Sale When the only sound in the empty street Is the heavy…
Love is Love 簡単なゲームだった めくりあげた後で冷めて あーいつの間にか もう うるさいだけ 洩れる声のピッチも あんなに好きだっ…
Main Title / Tammy I'm singin' in the rain, just singin' in the rain What…
Mambo Ich hass' nichts mehr, als mich zu verspäten Die Sonne brenn…
Maria The thing about life is it just doesn't last Grandfather clo…
My Fair Lady Overture Bed, bed I couldn't go to bed My head's too light…
My Man My man's gone now Ain't no use a listenin' For his tired…
National Anthem of Uruguay Oi maamme, Suomi, synnyinmaa, soi, sana kultainen! Ei laak…
Nella Fantasia Nella fantasia io vedo un mondo giusto Li tutti vivono in…
One / Finale I closed my eyes Drew back the curtain To see for certain Wh…
One Hand One Heart The loveliness of Paris seems somehow sadly gray The glory t…
One Man Band Someday he'll come along The man I love And he'll be big…
Opening Come on, Gabey, hurry up! Twenty-four hours! Hey, why don'…
Orchestra Unforgettable That's what you are Unforgettable Tho' near or…
Porgy And Bess: Prelude Summertime And de livin is easy Fish are jumpin An de cotton…
Prolog Wer dem Tiger aufsitzt, hat Angst vor dem Abstieg. Wer den…
Prologue Just on the border of your waking mind There lies another…
rosé My little Santa Rosa Rita wore high heels on her…
Rose Ramblin' Rose, Ramblin' Rose Why you ramble, No one knows Wi…
Run Away! The Count has an eye on his ankle, And lives in…
Sacrifice She's in love with my esthetic Got them crosses hanging…
Shall We Dance Drop that long face Come on have your fling Why keep nursing…
Sing! Do-do-do, do-do-do-do-do-do, do-do-do-do-do-do, do-do! Do-do…
Some Enchanted Evening Some enchanted evening You may see a stranger You may see a…
Some Other Time Some other spring I'll try to love Now I still cling To fade…
Somewhere All the eyes of spies And lies of neckties are all…
South Pacific: Overture Some enchanted evening, you may see a stranger, You may see…
Standing ポエジー 夜を見極めれば 真っ黒じゃなくて ブルー さっきからスライドショーをしてる 思い出はリフレイン 高く飛ぶなら…
Sugar Lightning up! And shake the ground Is that a horn that's bl…
Sweet Georgia Brown No gal made has got a shade On sweet Georgia Brown Two…
Tango De Amor Te estoy conociendo ahora, Te estoy conociendo tanto Tanto …
That's Your Funeral You must be mistaken! It couldn't have been! You couldn't…
The Blues My Baby Gave to Me There are blues that you get from worry. There are blues…
The Caravan They bought a house near a lake In a village that…
The Desert Song: Overture I was deaf and I was blind till this dream posessed…
The Diary Monday: Late again,today,he'd be in trouble though He'd say …
The mustard And he said, Whereunto shall we liken the kingdom of…
The Parking Ticket I've been having a bad, bad day. Come on won't you…
The Play Must Go On Empty spaces, what are we living for Abandoned places, I gue…
the requiem VOCA ME BENEDICTUM ! SANA MEAM ANIMAM ! VOCA ME BENEDICTUM …
The Star I've been looking for a place to retreat Put a smile…
Three in One NORINA All'udir che il mio tesor qui dal campo ritornò, nel …
Till havs Nu blåser havets friska vind ifrån sydväst Och smeker ljuvli…
Waltz For A Ball Tell me before I waltz out of your life Before turning…
West Side Story Prologue See them cops They believe everything they read in the paper…
When You Love Love Love When I said I needed you You said you would always…
Wonderful Guy I'm as corny as Kansas in August, I'm as normal as…
You'll Never Get Rich You'll never get away from me You can climb the tallest…
Zimmer: Main Theme They're creepy and they're kooky Mysterious and spooky They'…