Both these titles were produced by MGM as remakes from their classic back catalogue. Bounty (1962) was riddled with strife in production while Chips (1969) went through “development hell”. Each film was originally presented as a “road-show engagement” with Overture, Intermission and Exit Music on the soundtrack. Such factors contribute to the packed content on these two three-CD sets, handsomely produced, that no soundtrack aficionado will want to miss, given the infinite array of musical accomplishment on offer.

Bronislau Kaper's thrilling score for Bounty was the peak of a long career. His principal themes for the ship itself and the Love Theme share his characteristic trademark swinging between major and minor, such as in his theme beloved of jazz musicians, On Green Dolphin Street. The MGM studio orchestra play this music, like the sailors on the Bounty, as though their lives depended on it. The Overture opens with the orchestra suggesting a massive cranking-up of the Bounty's engines before proceeding in full majesty. Listeners can compare many cues as they evolved during the editing - for instance Kaper replaced original sea shanties with his own “Portsmouth Harbour”, a jolly pastiche - or acquaint themselves with gripping action cues, like the chase music (disc 1 tr 15), that were omitted from the LP.

In Goodbye Mr Chips, John Williams used the tunes of Leslie Bricusse's songs as the inspiration for his own personal style of scoring, adding a lightness of touch with flecks of colour for the wind section, and gossamer string textures that set the pattern for his future work. ET fans will hear the precursor to the scurrying string accompaniment to his “Flying Theme” in the scoring of “What a lot of flowers” (disc 1 tr 16). Peter O'Toole and Petula Clark contribute several interviews, recorded on location, that offer a fascinating insight into the production, but it's Petula who steals the singing honours. Her original take of “You and I” demonstrates what a fine dramatic singer she was at this time, singing the climactic words “making memories that light the sky, that only time can make” in one phrase.

Michael Matessino's booklet for this fabulous set is breathtaking in its detail. Wouldn't it be fascinating to hear the original score for Chips he mentions, written by Dory and André Previn and recorded by RCA Victor, which never saw the light of day?