Quartet Records presents the vinyl release of the acclaimed re-recording of John Barry’s iconic score for THE IPCRESS FILE, performed by the City of Prague Philharmonic Orchestra under the baton of Adam Klemens, reconstructed and orchestrated by Leigh Phillips, and mixed and mastered by Chris Malone.

THE IPCRESS FILE, directed by Sidney J. Furie in 1965, is a landmark of British cinema. The first film in the series centered on spy Harry Palmer—the anti-Bond—and it marked Michael Caine’s first leading role and immediately catapulted him to stardom. Set entirely in London, the story follows a small group of unassuming civil servants as they quietly pursue an even smaller network of traitors.

During one of the most prolific and successful periods of his career, when he was producing one masterpiece after another, John Barry composed a remarkable score for THE IPCRESS FILE. He sought a unique musical identity tailored to the story and its characters, one that would distinguish the mundane world of real-life British intelligence operatives from the larger-than-life fantasy of James Bond. The score features an iconic main theme, infused with jazz influences and highlighted by a distinctive cimbalom solo. For Barry, the film’s Cold War setting provided the perfect showcase for the instrument.

Around the time of the film’s premiere, Barry assembled a lavish album for Decca. However, it consisted primarily of imaginative variations, arrangements and jazz improvisations based on the main theme. Barry composed nearly 50 minutes of original music for THE IPCRESS FILE, yet only 17 minutes were included on the album—edited, rearranged and presented alongside jazz interpretations to create an ideal listening experience.

We have not attempted to recreate the various jazz improvisations, as no professional jazz musician would seek to replicate another performer’s improvisations—nor should they. Transcribing them to paper is ultimately a futile exercise that can never fully capture the spirit of the original performances. Even so, we have always regarded this album as a complement to, rather than a replacement for, the irreplaceable original film recording. Each represents a distinct yet equally fascinating musical world.

Using our own new recording, Chris Malone has reconstructed the versions of the original underscore presented by Barry on the Decca album, faithfully reproducing the edits and alterations he made while also incorporating additional material not included on the original LP. The result is a cohesive album designed to provide the kind of rewarding listening experience that characterized the golden age of vinyl in the 1960s.

Pressed on black and orange-colored vinyl, this limited edition features lavish artwork by Jim Titus and is strictly limited to 400 copies worldwide.