When I was a kid, my parents record collection consisted of mostly soundtrack albums from movies and Broadway musicals. My musical upbringing at the great altar of the Almighty Zenith began with film scores by John Barry, Henry Mancini, Roland Shaw, and Elmer Bernstein. And when I wasn’t lost in the musical imaginings of her majesty’s secret service on an impossible mission with saints, avengers, or spies who came in from the cold with our man Flint or the man from UNCLE, I was a Jet all the way from Oklahoma to Camelot where the man of la mancha said “ bye-bye, birdie,” and Jesus Christ was a Superstar because he taught God how to spell.
There aren’t many soundtracks in my music collection these days, and the few I do own fall into four basic categories: spy jazz, Irish, sci-fi and, of course, West Side Story. After listening to Oedipus Schmoedipus, Moss Side Story, and Soul Murder, I was keen to hear how Barry Adamson would approach an actual soundtrack vs. simply scoring for the Big Screen inside his head. Delusion, an obscure neo-noir film from 1991 directed by Carl Colpaert, provides the perfect partnership for Adamson's proclivity for musical murder and mayhem.
The film looks intriguing, but unfortunately, the recording is a somewhat dissatisfying audio collage of re-mixed movie dialogue and sparse fragments of instrumental music. Ironically, it sounds less cohesive than some of Adamson’s other recordings that are fundamentally soundtracks in search of a film. Before it erupts into a fist fight from the film that steals precious time from the tune, “Diamonds” is one of the few tracks that sounds fully developed and can stand on its own, which is why it’s the Happy Medium Song of the Day and the final track from Barry Adamson's room in my mansion of music. (Please use the comments box to share your thoughts.)