StreamingSoundtracks.com - Enigma

#	Track Listing	Length	Played
01	Main Title John Barry	3:43	53
02	Where Does One Pee? John Barry	1:24	8
03	Police Chase John Barry	1:18	7
04	The Quarry John Barry	2:53	71
05	Tom Explains Enigma John Barry	1:26	10
06	Is That What Happened? John Barry	4:28	14
07	Wigram Arrives John Barry	1:42	7
08	The Convoy John Barry	5:38	8
09	Waiting For Signals John Barry	2:49	9
10	Tom Goes To Cottage John Barry	1:29	5
11	She Moved On John Barry	2:09	8
12	Simply Wonderful / Finding Crib John Barry	1:56	6
13	Trip To Beaumanor John Barry	1:01	7
14	At Beaumanor John Barry	1:23	5
15	The Train John Barry	2:43	6
16	Goodbye To Hester John Barry	3:01	7
17	Puck Dies John Barry	1:19	7
18	London 1946 John Barry	2:28	17
19	End Credits John Barry	5:02	34
20	The Black Bottom (DeSylva, Brown, Henderson) John Barry	2:57	6
21	You'll Never Know (Warren) John Barry	3:21	11

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Reviewers Rating

1 review done for this album.

A review by Steve Townsley found on tracksounds.com

By:	Angel
Date:	8 Jul 2010
Rating:

Individuals looking for a War soundtrack will not find the “drum and the fife” here, as it were, nor any emboldening substance. Mr. Barry has not provided any music that is particularly evocative of the time period—and there is, perhaps, something positive to be said of that, Barry’s music on the whole, does have a sense of timelessness about it. It is only the inclusion of two period-music source tracks (20 and 21) that truly anchor the story of the score in the early 1940s. In this much, the songs serve their purpose, and are pleasant enough for the casual listener. It is represented quite beautifully here, and makes for a pleasing close to a bleakly-toned album. Barry’s gentlest moments in the Main Title (track 1) are revisited too often (tracks 6 and 10, for example) in similar manners to be particularly effective. A light and uplifting theme is introduced in the two-part cue “Simply Wonderful/Finding Crib” (track 12), but it is quickly quelled as it fades to its’ subsequent cue. The theme is recalled interestingly in a minor key in “Goodbye to Hester” (track 16), and it is pleasantly revisited in its’ (more-or-less) entirety in the final score tracks (18 and 19)—though the End Titles (track 19), as anticipated, does fall into a retread of all included themes, even the dour ones before lifting up briefly once more at the close.

For a good listen—well…Barry’s certainly provided a fairly non-intrusive background score. Purchasing the score for this reason is as good as any. As previously mentioned, the tracks on the whole are fairly even and unwavering in tone. Most of the music bleeds very well together, and is pleasant, mellow and non-engaging.

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