At the age of six, Jones already had decided to become a film composer. In 1967 he attended the Royal Academy of Music in London with a scholarship and afterwards worked for five years for the BBC on reviews of radio and television music. In 1974 Jones attended the University of York from which he graduated with a master's degree in Film and Media Music. At the National Film and Television School Jones studied for three years on general film-making and film and sound techniques. During this time he wrote the music for twenty-two student projects. In 1981 Jones wrote the score for the Academy Award-winning short movie The Dollar Bottom and for the short Black Angel.
Jones was soon after brought to the attention of John Boorman, who was in the midst of making his Arthurian epic, Excalibur (1981). Although mostly tracked with classical music by Richard Wagner and Carl Orff, Boorman also needed original dramatic cues (as well as period music) for certain scenes. Given Excalibur's modest budget, a "name" composer was out of the question, so Boorman commissioned the up-and-coming young Jones.
Excalibur brought Jones to the attention of Jim Henson, who was making The Dark Crystal (1982), and looking for a composer who was young and eager to work in the experimental, free-wheeling way which Henson preferred. The resultant score is an expansive, multi-faceted work, featuring the London Symphony Orchestra, augmented by inventive use of Fairlight and Synclavier synthesizers, as well as period instruments like crumhorn, recorder, and the unusual double-flageolet, which Jones came across by chance in a music store.
Jones followed Excalibur with scores for the horror films The Appointment (1981) and The Sender (1982), and the pirate adventure Savage Islands (1983). In 1985 Jones composed one of his best scores, for the acclaimed television production The Last Place on Earth.
Jones reunited with Henson for the 1986 fantasy musical Labyrinth. David Bowie wrote and performed the vocal tracks for this movie, including the hit "Underground", while Jones provided the dramatic score.
Reflecting that his complex, symphonic score for The Dark Crystal garnered little notice, Jones began to re-think his entire approach to dramatic scoring. Around the mid-80s, Jones' work became more electronic-based (much like fellow film composer Maurice Jarre), eschewing identifiable themes in favor of mood-enhancing synth chords and minimalist patterns. While he wrote a somber, chamber orchestra score in 1988 for Dominick and Eugene (which featured classical guitarist John Williams), scores like Angel Heart (1987), Mississippi Burning (1988) and Sea of Love (1989) are more typical of Jones' output during this period.
Jones' return to large-orchestra scoring came with 1990s Arachnophobia, and he provided a light-hearted Georges Delerue-flavoured score for Blame it on the Bellboy in 1992.
Jones' most popular success came later in 1992 with his score for The Last of the Mohicans, and his soaring, passionate music belies the difficulties which afflicted its creation. Director Michael Mann initially asked Jones to provide an electronic score for the film, but late in the game, it was decided an orchestral score would be more appropriate for this historic epic. Jones hurried to re-fashion the score for orchestra in the limited time left, while the constant re-cutting of the film meant music cues sometimes had to be rewritten several times to keep up with the new timings. Finally, with the release date looming, composer Randy Edelman was called in to score some minor scenes which Jones did not have time to do. Jones and Edelman received co-credit on the film (thus making this very popular and acclaimed score ineligible for Oscar consideration). Although all were displeased with the circumstances, Jones was not fired from the film despite reports to the contrary.
Jones became active in television in the 1990s, with orchestral scores for several Hallmark productions, including Gulliver's Travels, Merlin and Cleopatra. He also provided a fun, jazzy, 1930s-style score for Richard III (1995), which features a swing-band setting of Christopher Marlowe's The Passionate Shepherd to His Love. In 1997 Jones worked for the first time with Ridley Scott, providing an electronic/orchestral/rock-flavoured soundtrack for G.I. Jane (1997).
He is married to Victoria Seale and has four children. His South-African born uncle, the actor Norman Florence, together with his aunt Rhoda Florence and his cousin Peter Florence, founded the Hay Festival in 1988, which Jones has attended almost every year since its inception.
Thirteen O'Clock
Trevor Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Not long at all
Lost and lonely
No one can blame you
For walking away
Too much rejection
No love injection
Life can be easy
Don't tell me truth hurts, little girl
'Cause it hurts like hell (echo hurts like hell)
But down in the underground
You'll find someone true
Down in the underground
A land serene
A crystal moon, ah, ah
It's only forever
It's not long at all
Lost and lonely
That's underground
Underground
The lyrics to Trevor Jones's song "Thirteen O'Clock" are a mix of contradictions and contrasts. The song explores themes of loneliness, rejection, and pain, while also offering hope and the promise of finding someone genuine in the underground. The line "It's only forever, not long at all" sets the tone for the song, offering a glimmer of optimism while acknowledging the fleeting nature of time. The singer is clearly experiencing significant emotional pain, as evidenced by lines like "no love injection" and "the truth hurts like hell." The use of echo on the line "it hurts like hell" reinforces the idea of the singer's internal turmoil.
However, amidst the pain and despair, the singer holds out hope for finding a genuine connection with someone. The use of the word "serene" to describe the underground suggests a peaceful haven away from the harsh realities of the world above. The image of a "crystal moon" is both beautiful and otherworldly, evoking a sense of magic and wonder. Ultimately, the song suggests the possibility of finding love and refuge within the darkness.
Line by Line Meaning
It's only forever
Eternity is subjective and can feel short.
Not long at all
Time is relative and can feel fleeting.
Lost and lonely
Feeling disoriented and isolated.
No one can blame you
There is no fault to being lost and lonely.
For walking away
Leaving a difficult situation is understandable.
Too much rejection
Having been turned away too often.
No love injection
Feeling deprived of affection and care.
Life can be easy
Existence can be uncomplicated.
It's not always swell
Not every moment is wonderful.
Don't tell me truth hurts, little girl
Being warned against painful realities, especially in a condescending way.
'Cause it hurts like hell (echo hurts like hell)
Acknowledging the agony of the truth.
But down in the underground
In a hidden and unconventional place.
You'll find someone true
Finding genuine people in unexpected areas.
A land serene
A place of peacefulness and calm.
A crystal moon, ah, ah
A beautiful celestial object in the night sky.
That's underground
The place where the aforementioned things can be found.
Lyrics © Sony/ATV Music Publishing LLC, Spirit Music Group
Written by: David Bowie, Trevor A.C. Jones
Lyrics Licensed & Provided by LyricFind