بیوگرافی
Roy Budd, born on March 14, 1947, was a self-taught musician hailed as a child prodigy. He began playing piano by ear at age four and soon learned melodies from the radio. By six, he had performed publicly at The London Coliseum; at eight, he mastered the Wurlitzer organ; and by twelve, he appeared on television and performed before royalty at The London Palladium. During that last occasion, nerves caused his piano solo to end at least a minute before the orchestra finished.
In his teens, Budd developed a passion for jazz and formed The Roy Budd Trio with bassist Pete Morgan and drummer Chris Karan. After leaving school at sixteen, he pursued a professional career as a jazz pianist, winning a UK jazz poll for best pianist five years in a row. He became the resident pianist at the Bull's Head in Barnes, London, where he met songwriter Jack Fishman. Impressed by Budd's talent, Fishman secured him a three-year recording contract with MCA. Although the label dropped him after a year, Fishman confidently wagered that Budd would become an internationally acclaimed film music composer—a bet he soon won.
Budd entered film scoring in 1970 under unusual circumstances. Eager to compose for director Ralph Nelson's controversial film Soldier Blue (1970), Budd sent Nelson a tape of music by renowned composers Jerry Goldsmith, John Williams, Max Steiner, Dimitri Tiomkin, and Lalo Schifrin, falsely claiming it as his own. Avoiding main themes prevented suspicion, and he landed the job. Soldier Blue, primarily filmed in Mexico, depicted the 1864 Sand Creek massacre of Cheyenne Indians. Despite its anti-violence message, the film faced criticism for graphic scenes, especially its violent opening and climax. Budd composed all the music except the main theme, which was based on Buffy Sainte-Marie's hit song. At the recording sessions, he was expected to conduct the 65-piece Royal Philharmonic Orchestra, a daunting task given his jazz background. Following Fishman’s advice to avoid looking back at the control room, Budd successfully completed his first film score.
The acclaim for Soldier Blue opened many doors, and in the following year Budd scored six more films. Flight of the Doves (1971), again directed by Nelson, was a sentimental film reuniting Ron Moody and Jack Wild after their success in Oliver! (1968). Budd then scored the cult classic Get Carter (1971), directed by Mike Hodges and starring Michael Caine, John Osborne, and Ian Hendry. The film portrayed a London racketeer avenging his brother’s death by Northern gangsters. Budd’s music perfectly matched the film’s tone, especially the main theme featuring sounds from Caine’s train journey to Newcastle. Despite a modest budget of £450 for the score, Budd innovatively used only three musicians, playing electric piano and harpsichord simultaneously.
Budd’s inventive use of film sound effects to complement his music continued with Zeppelin (1971), set in World War I and centered on a British attempt to steal secrets from a German airship. Budd incorporated the distinctive diesel engine sounds of the Zeppelin into his stirring main theme. Producer Euan Lloyd hired Budd to score the Western Catlow (1971), marking the start of a lasting collaboration. Director Sam Wanamaker, impressed by Budd’s work on Soldier Blue, recommended him. Lloyd was initially unfamiliar with Budd but was convinced after seeing the film. Catlow starred Yul Brynner, Leonard Nimoy, and Richard Crenna. An authorized soundtrack with seven cues was released only in Japan, while Budd’s main theme was also issued by Pye Records. Budd and Lloyd worked together on six films in total, including Paper Tiger (1975), The Wild Geese (1978), The Sea Wolves (1980), The Final Option (1982), and Wild Geese II (1985).
The Magnificent Seven Deadly Sins (1971), produced and directed by comedian Graham Stark, boasted a stellar British comedy cast and experienced television writers. However, it was more a series of sketches than a cohesive story and did not achieve box-office success. Only two cuts from Budd’s co-written score with Jack Fishman, “Envy, Greed An' Gluttony” and “Lust,” were released. Something to Hide (1972), written and directed by Alistair Reid from a Nicholas Monsarrat novel, starred Peter Finch as a civil servant unraveling after killing his wife. Budd and Fishman collaborated again, with Budd’s “Concerto For Harry” standing out as the film’s highlight.
Fear Is the Key (1972), a faithful adaptation of an Alistair MacLean novel directed by Michael Tuchner, featured Suzy Kendall, Barry Newman, John Vernon, Ben Kingsley, and Ray McAnally. The story followed a man plotting revenge against his family’s killers after a plane crash. Budd returned to jazz roots by engaging renowned players like Ronnie Scott, Tubby Hayes, and Kenny Baker. Scott, famed jazz club owner, performed solo saxophone for a lengthy car chase sequence along the Mississippi River. Director Tuchner noted the sequence required a continuous take over ten minutes with precise timing to blend music and sound effects perfectly, a feat Budd and his orchestra completed in just two takes.
Throughout the 1970s, Budd worked on diverse films, showcasing his versatility. Notable scores included The Stone Killer (1973), The Destructors (1974), and The Black Windmill (1974), all featuring Michael Caine, as well as Sinbad and the Eye of the Tiger (1977), Paper Tiger, and The Wild Geese.
In the 1980s, Budd composed for films like Mama Dracula (1980) and Field of Honor (1986) but also revisited his jazz origins. He regularly performed at Duke’s Bar in Marylebone, London, and collaborated with harmonica virtuoso Larry Adler. Budd arranged and accompanied artists such as Bob Hope, Tony Bennett, Charles Aznavour, and Caterina Valente—his first wife—on global concert tours. One of his most ambitious projects, completed shortly before his death, was a symphonic score for the 1925 silent film classic The Phantom of the Opera, written for an eighty-piece orchestra. The recording is expected to be released in the future.
Roy Budd passed away from a brain hemorrhage on August 7, 1993, at the age of 46. Despite a relatively brief career, he composed music for over fifty films, with several scores released on LP and later CD, securing his legacy among film music enthusiasts.
