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.
Top Of The World
Trevor Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Just rolling along, Just rolling along
I'm quitting the blues of the world
Just singing a song, just singing a song
"Glory Hallelujah," I just phoned the Parson
"Hey, Par get ready to call"
Just like Humpty Dumpty, I'm going to fall
I'm sitting on top of the world
I'm sitting on top of the world
Just rolling along, just rolling along
I'm quitting the blues of the world
Just singing a song, just singing a song
"Glory Hallelujah," I just phoned the Parson
"Hey, Par get ready to call"
Just like Humpty Dumpty, I'm going to fall
I'm sitting on top of the world
The opening lyric to Trevor Jones & Randy Edelman's song "Top of the World" immediately suggests a sense of buoyancy and elation. The singer of the song declares that they are "sitting on top of the world", a phrase which connotes a feeling of utmost contentment and satisfaction. They describe themselves as "rolling along", indicating that they are free-flowing and moving forward, unencumbered by any obstacles in their path. This light and unassuming phrase is repeated throughout the song, further emphasizing the singer's happy state of mind.
The second half of the opening couplet introduces an element of contrast to the song. The singer declares that they are "quitting the blues of the world", suggesting that they have been struggling in some way prior to their ascent to the top of the world. This could be interpreted in a number of ways - perhaps the singer has faced personal or professional challenges which they have now overcome, or maybe they have simply decided to take a break from the endless drudgery of everyday life. Regardless, the use of the phrase "quitting the blues" implies that the singer has made a conscious choice to seek out joy and positivity.
The remainder of the song's lyrics continue in a similarly jubilant vein. The singer calls out to the Parson, excitedly preparing for a new chapter in their life. They bellow out a triumphant "Glory Hallelujah!", echoing the classic hymn and emphasizing their newfound sense of spiritual and emotional liberation. The mention of Humpty Dumpty falling suggests a certain amount of danger lurking on the horizon, but the singer remains unbothered, continuing to roll along and sing their song from the top of the world.
Line by Line Meaning
I'm sitting on top of the world
I am at the pinnacle of success and happiness
Just rolling along, Just rolling along
I am peacefully enjoying my success and moving forward with ease
I'm quitting the blues of the world
I am leaving behind all of my sorrowful past and negativity to embrace this moment of joy
Just singing a song, just singing a song
I am expressing myself with joy and contentment through music
"Glory Hallelujah," I just phoned the Parson
I am reaching out to my spiritual guide to share my joy and thankfulness through an expression of praise
"Hey, Par get ready to call"
I want to share my good news and seek blessings from my spiritual guide
Just like Humpty Dumpty, I'm going to fall
I acknowledge that this moment of joy is temporary and I will eventually experience failure and disappointment
I'm sitting on top of the world
Despite the inevitable future challenges, I am currently experiencing a sense of fulfillment and satisfaction
Lyrics © O/B/O DistroKid, Peermusic Publishing
Written by: Walter Jacobs Vinson
Lyrics Licensed & Provided by LyricFind