That scene with Desmond Llewelyn in TSWLM with the car always gets me every time:

"Q, have I ever let you down?"
"frequently!"

RIP Roger Moore :(

You know.. I always thought Connery would go first..

It is a sad day indeed.

RIP Sir Roger Moore aka James Bond. Very sad to hear it. His was the first Bond movies I saw. KFG, please upload his remaining Bond scores soon. Thank you.
At least he had a long life and did som good after playing Bond. After all llife goes on. I hope KFG is still with us and if so will be able to find some time to upload the rest of his work?

We are eagerly looking forward to the rest of the scores. Thank you.

We are eagerly looking forward to the rest of the scores. Thank you.

Especially those last couple of of Roger Moore ones! :P

RIP

You know what's the hardest thing to do? Trying to list the scores from favorite to least favorite. It's harder to do because each person has their favorites. Let's see what I can do with the Barry Bond scores.


The Barry Scores I Love

The Living Daylights
A View To A Kill
Diamonds Are Forever
Goldfinger
Moonraker
You Only Live Twice

The Barry Scores I Like
Thunderball
Octopussy
From Russia With Love


The Barry Scores I'm Indifferent
On Her Majesty's Secret Service
The Man With The Golden Gun

The Barry Scores I Don't Like

None! :D

Now the EON films as a whole...

The Scores I Love

The Living Daylights
A View To A Kill
Diamonds Are Forever
Goldfinger
Tomorrow Never Dies
Moonraker
You Only Live Twice
GoldenEye

The Scores I Like
For Your Eyes Only
Thunderball
Octopussy
Skyfall (it grew to me...)
Casino Royale
The World Is Not Enough
From Russia With Love
Live and Let Die

The Scores I'm Indifferent
On Her Majesty's Secret Service
Spectre
Quantum of Solace
Die Another Day
The Spy Who Loved Me
Licence To Kill (I'm very flip-flop with this score. Like, I love the title song and "If You Asked Me Too", plus the Gunbarrel, but I like it when I'm watching the film, not on it's own. I don't know...)
The Man With The Golden Gun

The Scores I Don't Like
Dr. No (yeah it was the first film and it was from this score that we got the theme for Bond, but the rest of the score does nothing for me.)

Bump. Anything new to report?

Awesome post! I was missing a few of these.

Bump. Anything new to report?

I second this.

I have a couple of items almost ready to go :)

^Should we expect music from the video games at some point (Blood Stone, Quantum of Solace and 007 Legends)?

Yes :)

Yes :)

YES!!!!!! I'd love to see those sooner than later :D You have no idea how excited this has made me!

I don't have all the games' soundtracks but the ones I do have are certainly good.

I don't have all the games' soundtracks but the ones I do have are certainly good.

Apart from the QoS & Blood Stone promos (I have both of them, got QoS off you), do you have anything more (like a promo for Legends)?

Does anyone have the Nightfire or Everything or Nothing soundtracks, I've searched for them on here and all the links are dead

I have a couple of items almost ready to go :)

Good news! Should we expect some film soundtracks among them including tracks not on your previous editions? :)

Does anyone have the complete soundtrack for the iconic N64 game Goldeneye?

Patience, my friend. I'm working on it :)

Patience, my friend. I'm working on it :)

To whom was this directed? :)

I have a couple of items almost ready to go :)

Fantastic to see you back! ;)

Patience, my friend. I'm working on it :)

You're such a tease!

Music from the games GOLDENEYE, TOMORROW NEVER DIES and FROM RUSSIA WITH LOVE posted.

Thanks so much for FRWL the game! Would've loved the Daniel Craig Goldeneye soundtrack but yeah, thanks for the others! Hoping to see Everything Or Nothing soon :)

I won't be uploading every single Bond game, but the ones I do have I'll post.

Music from the games GOLDENEYE, TOMORROW NEVER DIES and FROM RUSSIA WITH LOVE posted.

You have very good gamesmanship. Cheers.

thanks for these, they're great!

Awesome! I can't wait for the remaining video game and film scores, plus that bonus disc with rejected Bond themes!

Thanks for posting the games scores!

Thanks for the game scores KFG. When may we please expect the remaining film scores?

Thanks once again for all the hard work concerning the soundtracks, KFG! This post is getting better and better!!!

...

Thanks for the game scores KFG. When may we please expect the remaining film scores?

Whenever I upload them. Sorry I cannot be more specific. It is taking longer than I thought, I'm afraid.

Thank you for the game scores

Thanks for sharing.

OMG The game rip of From Russia with love? Ive have been waiting for 4 years to get this back! I love you kids for this!!!!!!!!!!!

Thank you very much for all of your work putting these scores together. I'm in the process of picking up practically everything--particularly looking forward to checking out the game scores.

It's ok. Thanks.

Today is the 40th anniversary of "The Spy Who Loved Me" since it premiered in London on July 7, 1977. Probably my favorite Bond film and the score's a guilty pleasure of mines too (it was nominated for an Oscar but lost out to Star Wars).

Muchas gracias por esta fabulosa colecci�n

Hoping "The spy who loved me " is the next one

Hoping "The spy who loved me " is the next one

If it is I hope it includes the film version of 'Bond '77' aka 'Ski Chase'. But I won't hold my breath, since it has been impossible to obtain without sfx so far.

If it is I hope it includes the film version of 'Bond '77' aka 'Ski Chase'. But I won't hold my breath, since it has been impossible to obtain without sfx so far.

All the audio channels on the DVD are awash with sfx. We would need a full re-release of the soundtrack or a new recording.

Whatever happened to gkgyver and his recordings?

All the audio channels on the DVD are awash with sfx. We would need a full re-release of the soundtrack or a new recording.

Whatever happened to gkgyver and his recordings?

Exactly why I won't hold my breath.

Who knows? Either way the true film version is the only one I'm interested in. Even if you get close, you can never replicate the same exact raw feel and time period vibe as in the original track. Somehow it will always sound too clean, updated and out of context with the rest of the original music imo.
It's a bit like watching an airbrushed copy of an old classic painting in a way: Sure it looks clear and beautiful, but without the same character and personality that tells us something about the time and place in history when it was made.

Exactly why I won't hold my breath.

Who knows? Either way the true film version is the only one I'm interested in. Even if you get close, you can never replicate the same exact raw feel and time period vibe as in the original track. Somehow it will always sound too clean, updated and out of context with the rest of the original music imo.
It's a bit like watching an airbrushed copy of an old classic painting in a way: Sure it looks clear and beautiful, but without the same character and personality that tells us something about the time and place in history when it was made.

This is true, but while a rerecording might fall short in that respect, at least it provides a means of fully appreciating the composition, arrangement and instrumentation of the themes created by the composer, without the sound effects of the original audio getting in the way, and without the missing instrumentation from an audio rip that uses just some of the channels of the original audio (although those clean rips are, of course, tremendously appreciated anyway).

At any rate, I'm pretty sure right now, we've already heard all the clean Bond music that can be ripped from the DVDs/Blu-Rays. So indeed, any progress in getting the music in clean shape will have to come from either soundtrack rereleases, or rerecordings (whether commercial or fan made). In the meantime, my preference as of late is to listen to the missing music straight from the film, SFXs and everything. It's not an ideal situation, but at least that way one gets the full musical experience, with all the instruments in place.



By the way, I wanted to say that, of the albums uploaded in this thread, the tracks The Best Place in Town (from Goldfinger) and Gunbarrel (from Octopussy) are all wrong. Evidently, they were sourced from other tracks in the respective albums, instead of the film audio, and while the themes are the same, the instrumentation is significantly different. There is no real point in doing that; if the music can't be ripped, then it can't be ripped... cut and paste solves nothing.

This is true, but while a rerecording might fall short in that respect, at least it provides a means of fully appreciating the composition, arrangement and instrumentation of the themes created by the composer, without the sound effects of the original audio getting in the way, and without the missing instrumentation from an audio rip that uses just some of the channels of the original audio (although those clean rips are, of course, tremendously appreciated anyway).

At any rate, I'm pretty sure right now, we've already heard all the clean Bond music that can be ripped from the DVDs/Blu-Rays. So indeed, any progress in getting the music in clean shape will have to come from either soundtrack rereleases, or rerecordings (whether commercial or fan made). In the meantime, my preference as of late is to listen to the missing music straight from the film, SFXs and everything. It's not an ideal situation, but at least that way one gets the full musical experience, with all the instruments in place.



By the way, I wanted to say that, of the albums uploaded in this thread, the tracks The Best Place in Town (from Goldfinger) and Gunbarrel (from Octopussy) are all wrong. Evidently, they were sourced from other tracks in the respective albums, instead of the film audio, and while the themes are the same, the instrumentation is significantly different. There is no real point in doing that; if the music can't be ripped, then it can't be ripped... cut and paste solves nothing.

I think this is also the biggest regret of the composers self, that their original music sometimes isn't available to publish or to share. It is what Robert Altman regrets the most that his Tank Chase music for GoldenEye (http://jamesbondradio.com/composer-john-altman-explains-what-went-wrong-with-goldeneyes-score-exclusive-by-matthew-chernov/), with any brilliant attempt aside from Silva Screen Records, never was released as a record...

Thanks for the all the hard work KFG.

In the meantime, my preference as of late is to listen to the missing music straight from the film, SFXs and everything. It's not an ideal situation, but at least that way one gets the full musical experience, with all the instruments in place.

This is me with the bootleg CD of "The World is Not Enough" Thunderball and the two "banned" Criterion Bonds: "Goldfinger" and "Dr. No". ("From Russia with Love" surprisingly doesn't have a music and effects track). I highly doubt such companies such as Twilight Time would even think twice to release the Connery Bond films with a music and effects track/isolated track (or any of the Bond films for that matter, though Connery is a risk taker for that company because his films are much older and he's popular, though the Moore films with isolated tracks will probably sell well too, because he's also popular and considering recent events of his passing, etc.), because of rights issues and a lack of demand for complete/expanded Bond scores if La La Land Records or Intrada were to release them, but I digress as that's another issue for another time... (check the "la-la-land" thread for more on this, but the gist is that if it sells well, there will be more complete/expanded Bond scores in the future and if it won't sell, then just release the scores for other films that aren't Bond aka the ones fans really want)

In the case of "Thunderball" there are some minor cues missing (the death of Derval, Bond in the car with Fiona and Bond telling Domino of her brother's death are the ones I could think off the top of my head), and I just pop on the blu-ray on my blu-ray player and listen to those moments in the film, dialogue and all. (as I don't have a blu-ray drive on my laptop and not the slightest clue on how to minimize dialogue, etc.)

Thanks for the all the hard work KFG.

You're welcome, thank you.

You're welcome, thank you.

Welcome. Looking forward to the rest of the film scores.

Not many to go now, plus some extras.

Eagerly looking forward to them. Thanks.

This is true, but while a rerecording might fall short in that respect, at least it provides a means of fully appreciating the composition, arrangement and instrumentation of the themes created by the composer, without the sound effects of the original audio getting in the way, and without the missing instrumentation from an audio rip that uses just some of the channels of the original audio (although those clean rips are, of course, tremendously appreciated anyway).

At any rate, I'm pretty sure right now, we've already heard all the clean Bond music that can be ripped from the DVDs/Blu-Rays. So indeed, any progress in getting the music in clean shape will have to come from either soundtrack rereleases, or rerecordings (whether commercial or fan made). In the meantime, my preference as of late is to listen to the missing music straight from the film, SFXs and everything. It's not an ideal situation, but at least that way one gets the full musical experience, with all the instruments in place.



By the way, I wanted to say that, of the albums uploaded in this thread, the tracks The Best Place in Town (from Goldfinger) and Gunbarrel (from Octopussy) are all wrong. Evidently, they were sourced from other tracks in the respective albums, instead of the film audio, and while the themes are the same, the instrumentation is significantly different. There is no real point in doing that; if the music can't be ripped, then it can't be ripped... cut and paste solves nothing.

I did mention about The Best Place in Town a couple of years back as well as a few other potential Goldfinger cues:
Thread 77043

It's about 30 seconds and largely useable as is the presidential music if you loop the last part. There's a few other cues as well if your listening threshold will handle a few tweeting birds on the golf course and trotting horses in Kentucky.

Personally I would prefer the complete rip even with SFX as those parts would at least act as a place holder for whats missing and what the length of time is of the full work compared to the actual release.

Those that didn't want to hear could opt for a "Expanded" m3u playlist instead of perhaps a "Complete" m3u?
You could even go further and have a "Film Edit" m3u and a "Composers Cut" m3u as the difference in what the film makers chose over the composer is also quite interesting.

There's also potential in the Criterion SFX track of Dr No but I can't do it as well as KFG!

Speaking of extras...https://youtu.be/Y-_NTLrQ2d0

I did mention about The Best Place in Town a couple of years back as well as a few other potential Goldfinger cues:
Thread 77043

It's about 30 seconds and largely useable as is the presidential music if you loop the last part. There's a few other cues as well if your listening threshold will handle a few tweeting birds on the golf course and trotting horses in Kentucky.

Personally I would prefer the complete rip even with SFX as those parts would at least act as a place holder for whats missing and what the length of time is of the full work compared to the actual release.

Those that didn't want to hear could opt for a "Expanded" m3u playlist instead of perhaps a "Complete" m3u?
You could even go further and have a "Film Edit" m3u and a "Composers Cut" m3u as the difference in what the film makers chose over the composer is also quite interesting.

There's also potential in the Criterion SFX track of Dr No but I can't do it as well as KFG!

I did a loop of the presidential Goldfinger music, and it came out not too bad. I'm with you, I like to have a placeholder, and if there are two many voices or fx, I just put those tracks at the end of the album on iTunes.

I looked at that Dr No music/sfx track a while back, and struggled to find much of use.
I did get this......

https://www.youtube.com/watch?v=CDadgfW3B4A

The main piece that comes to mind is the 1.20 cue the accompanies Dr. No's aquarium, clean but a fair amount of hiss.

Thanks to Sean Barry and vzok for those two links. Good spots, both!

Thanks to Sean Barry and vzok for those two links. Good spots, both!

Thank You! Feedback is always appreciated :)

Thanks so much for these!

OK, so "The Best Place In Town" does sound a lot jazzier in the movie than I remembered. I had gotten used to listening to the more orchestral version.

So this is the best version I could achieve for it.....

https://www.youtube.com/watch?v=71bIoOTquP8

View to a Kill gunbarrel sounds AMAZING. Thank you!

One of the hardest ones to recreate!

I recognized it and found out that I had a expanded score from Goldfinger with this track on it. So here's the version from my library. Can't remember where I got the whole score from. I think from here on somewhere....

https://youtu.be/VzHagqKZabo

Thanks for the two versions of "The Best Place In Town." This and "Walk To The Barn" are my two holy grail tracks (effects-free) from GF that I miss the most. I find it mind-numbing that the original tapes (as I remember reading, please correct me if I am wrong) were lost/destroyed at a time when the Bond phenomenon was peaking and GF was the smash hit that it eventually became.

Thanks for the two versions of "The Best Place In Town." This and "Walk To The Barn" are my two holy grail tracks (effects-free) from GF that I miss the most. I find it mind-numbing that the original tapes (as I remember reading, please correct me if I am wrong) were lost/destroyed at a time when the Bond phenomenon was peaking and GF was the smash hit that it eventually became.

"Walk To The Barn" is available on the music and fx track, and I managed to turn the fx down a fair bit.

"Walk To The Barn" is available on the music and fx track, and I managed to turn the fx down a fair bit.

Thank you very much for The Best Place In Town. Great initiative. Will you upload "Walk to the Barn"?

KFG, it would be a fitting tribute to Sir Roger Moore if you could upload his remaining Bond scores before the rest. Just a suggestion, nothing else. On behalf of all Bond fans, a hearty thanks in advance.

Thank you very much for The Best Place In Town. Great initiative. Will you upload "Walk to the Barn"?

Here it is, with as much fx reduced as I can.

https://www.youtube.com/watch?v=-oev-X22gZg&feature=youtu.be

Here it is, with as much fx reduced as I can.

https://www.youtube.com/watch?v=-oev-X22gZg&feature=youtu.be

Excellent attempt, that.

Thanks for the nice work on "Walk To The Barn." Much appreciated.

Here it is, with as much fx reduced as I can.

https://www.youtube.com/watch?v=-oev-X22gZg&feature=youtu.be

Thanks!

New Bond movie set for 2019!

http://www.thewrap.com/new-james-bond-movie-set-2019-release-no-word-daniel-craig/

New Bond movie set for 2019!

http://www.thewrap.com/new-james-bond-movie-set-2019-release-no-word-daniel-craig/

A new Bond Film. Boy, do I miss John Barry.

Craig will return. However, I think he should retire because, by the time the film begins shooting, he'll be in his 50s.
https://filmschoolrejects.com/daniel-craig-returning-bond-25/

Craig will return. However, I think he should retire because, by the time the film begins shooting, he'll be in his 50s.
https://filmschoolrejects.com/daniel-craig-returning-bond-25/

Roger Moore was 49 when he did The Spy Who Loved Me. 52 when he did Moonraker. 54 when he did For Your Eyes Only...

He was definitely too old after that (56 and 58 on Octopussy and A View To A Kill), but the three films above are basically his three best -- the height of his time in the role.

Craig at 50 is just fine.

Roger Moore was 49 when he did The Spy Who Loved Me. 52 when he did Moonraker. 54 when he did For Your Eyes Only...

He was definitely too old after that (56 and 58 on Octopussy and A View To A Kill), but the three films above are basically his three best -- the height of his time in the role.

Craig at 50 is just fine.

True. Honestly, I can't wait to see the new movie. Hope it could live up to great expections.

Also, yay for more people who loves "Moonraker". That film is not as bad as others makes it out to be. It was actually pretty enjoyable, in my opinion. Plus, the Ken Adam space set and John Barry's score were the highlights for me.

Also, yay for more people who loves "Moonraker". That film is not as bad as others makes it out to be.

I always say that it is 3/4ths of a great Bond movie. Everything right up until the ill-advised "Star Wars" cash-in space battle was great.

Daniel Craig is 49, probably would be in the middle of shooting the movie when he turns 50 next March.[Actually, does Bond shoot that far ahead? It's not Star Wars after all.] Even at 50, hardly too old to be playing someone in his 40s. Bond should look like he's had a hard life!

(And dear old Roger was only 57 in his final appearance as Bond, not 58.)

Hmm, how old will Tom Hardy be when they're shooting the next next movie four years from now....? Bond could be stuck in his late 40s for a long time yet!! ;-)

ETA: and forgot to say Moonraker is awesome. "Balls, Q?" :-)

Craig at 50 is just fine.

Also, yay for more people who loves "Moonraker". That film is not as bad as others makes it out to be. It was actually pretty enjoyable, in my opinion. Plus, the Ken Adam space set and John Barry's score were the highlights for me.

I agree (and I love your avatar :D )

Moonraker: Freefall

https://www.youtube.com/watch?v=3lgTf26FrvQ&feature=youtu.be

Moonraker: Freefall

https://www.youtube.com/watch?v=3lgTf26FrvQ&feature=youtu.be

Thank you very much vzok! Very good audio and editing!

Ta, vzok!

[Now having to access the forum via a circuitous route because my UK ISP has banned the site - anyone else having this problem?]

Ta, vzok!

[Now having to access the forum via a circuitous route because my UK ISP has banned the site - anyone else having this problem?]

Not me. Sounds frustrating. Hope things work out for you.

I always say that it is 3/4ths of a great Bond movie. Everything right up until the ill-advised "Star Wars" cash-in space battle was great.

Exactly. But that part is so laughable, it literally overshadows most of the other (very good parts).

While we're at it, here are my picks of Bond movies that weren't as bad as others make it out to be:

Octopussy, The World Is Not Enough, Tomorrow Never Dies and A View To A Kill. They're the ultimate guilty pleasure Bond films that I could watch on a boring Saturday afternoon when I have nothing to do and just take out my Bond 50 blu-ray box set and watch them (at least for me). Plus, I love the scores from these films.


I agree (and I love your avatar :D )

Thank you! :D

Thank you!

Agreed. But we should also remember OHMSS and LTK because they showcased the human side of Bond very prominently.

Agreed. But we should also remember OHMSS and LTK because they showcased the human side of Bond very prominently.

True. Also, don't forget the Craig films, which shows the human side of Bond as well. It further proves that OHMSS, TLD and LTK were in the wrong place and wrong time. There's even an article over at The Agony Booth on LTK (https://www.agonybooth.com/licence-to-kill-1989-57543) and it mentions how this film really polarized a lot of Bond fans at the time.

---

@KaFaraqGatri - I've noticed something on track 6 of the expanded score of "A View to a Kill" and it says it's "Autumn" from The Four Seasons, but it's actually the first movement of Spring :D.

Thankfully, someone over at Chrono-Score (http://chrono-score.blogspot.com/2009/04/view-to-kill.html) updated those Trevor Pinnock/The English Concert tracks and I had to ensure they're correct by playing the party scene from the film and indeed they are. Here you go!


http://www.mediafire.com/download/gp9cq6o7qxkj41k

And because I'm feeling generous, I have re-created/expanded their "The Living Daylights" 12-inch single LP by including the three remastered tracks from their 2015 expanded "Stay On These Roads" album (the title song, the expanded version and the demo), the album version from a lossless file of the soundtrack (the so-called "7-Inch Version") and included a very great quality rip of the instrumental version from the 12-inch vinyl single.


http://www.mediafire.com/download/zio02clk99nkk2d

I haven't listened to this yet, but thanks for providing these.

***

One track that has always annoyed me with its absence is the one playing in TLD behind the dialogue between Bond and Leiter's "party girls" just after he's escaped from his fake assassination on Pushkin. It's a sax solo from what I can tell. Anyone have this?

***

Curiously enough, my ISP has stopped banning this site!

@KaFaraqGatri - I've noticed something on track 6 of the expanded score of "A View to a Kill" and it says it's "Autumn" from The Four Seasons, but it's actually the first movement of Spring :D.

Thankfully, someone over at Chrono-Score (http://chrono-score.blogspot.com/2009/04/view-to-kill.html) updated those Trevor Pinnock/The English Concert tracks and I had to ensure they're correct by playing the party scene from the film and indeed they are. Here you go!



So are you saying that these tracks are the correct classical pieces, or do you mean that the Trevor Pinnock versions are the exact versions used in the movie?

So are you saying that these tracks are the correct classical pieces, or do you mean that the Trevor Pinnock versions are the exact versions used in the movie?

The exact same versions used in the film, especially the names of the pieces ("Spring", "Winter") and the order they're played during the party scene. :)

I was also correcting KaFaraqGatri's track name, because it's labeled as "The Four Seasons Concerto No. 3 In F Major, Op. 8: Autumn - Allegro" and it's actually "The Four Seasons Concerto No. 3 In E Major, Op. 8: Spring - Allegro", though it's the first movement.

The exact same versions used in the film, especially the names of the pieces ("Spring", "Winter") and the order they're played during the party scene. :)

I was also correcting KaFaraqGatri's track name, because it's labeled as "The Four Seasons Concerto No. 3 In F Major, Op. 8: Autumn - Allegro" and it's actually "The Four Seasons Concerto No. 3 In E Major, Op. 8: Spring - Allegro", though it's the first movement.

Thanks a lot for all of your hard research on this (and for the TLD tracks). Much appreciated.

Thanks a lot for all of your hard research on this (and for the TLD tracks). Much appreciated.

You're welcome! Chrono-Score's recent update also deserves credit as well! (they've been updating every Bond score arrangements recently, especially on how to do true film mixes to "Diamonds are Forever" (http://chrono-score.blogspot.com/2009/04/diamonds-are-forever.html), "Thunderball" (http://chrono-score.blogspot.com/2009/04/thunderball.html), "You Only Live Twice" (http://chrono-score.blogspot.com/2009/04/you-only-live-twice.html), "On Her Majesty's Secret Service" (http://chrono-score.blogspot.com/2009/04/on-her-majestys-secret-service.html) and "Octopussy" (http://chrono-score.blogspot.com/2009/04/octopussy.html) for example. Talk about someone who's obsessed with this franchise to contribute those updates, haha!)

For me, however, I don't care how one arranges it, be it an expanded version or a complete film mix version, as long as I'm listening to the score and enjoying it, until either Intrada, Quartet or La-La-Land decides to get full permission to release the ones that didn't get an expanded release. ("Golden Gun" for example, since those tapes are still at EMI)

The score to GOLDENEYE 007: RELOADED is now posted. This was a mammoth project that took me weeks to compile. I hope you enjoy it.

The score to GOLDENEYE 007: RELOADED is now posted. This was a mammoth project that took me weeks to compile. I hope you enjoy it.

Superb! Thanks KaFaraqGatri! :-)

Thanks an absolute ton for GoldenEye Reloaded, KFG! You're a bloody legend :)

Hoping you have an expansion for Blood Stone planned... ;)

Thanks an absolute ton for GoldenEye Reloaded, KFG!

I was waiting for your response to this :)

Thank you

Thank you!

The score to GOLDENEYE 007: RELOADED is now posted. This was a mammoth project that took me weeks to compile. I hope you enjoy it.

Many thanks for all your hard work mate!

Cheers.

Thanks :)

Thank you indeed. Waiting eagerly for the next Moore scores.

Great job !
thanks

The video game score to QUANTUM OF SOLACE is now posted.

Thanks for all the links!

Thanks a ton for doing Quantum of Solace, was gonna make a version myself using the gamerip and promo but the quality differences were obvious (especially with the source opera music from The Marriage of Figaro), not to mention the loops were done terribly... and lost the motivation to do so.

Once again, thanks a bunch, KFG! Hoping to see Blood Stone or Everything or Nothing soon :)

---------- Post added at 07:21 PM ---------- Previous post was at 06:36 PM ----------

OK I've listened to bits and pieces, and you've outdone the GE Reloaded rip on this! You got all the tracks with clean endings! Bit disappointed that you didn't include the cutscene debriefing music (my favourite was the one where White says "We have people everywhere").

But this is brilliant nonetheless! :D

THE WORLD IS NOT ENOUGH now posted. A couple of new tracks on this one, along with improved sound quality.

Many thanks KFG. Thank you for the hard work. Waiting for the next scores.

Thank you very much!

I HAVE BEEN WAITING FOR THIS! THANK YOU!

Thanks for both the Quantum game OST and TWINE! Can't wait for the rest!

This is amazing...

Quick question, any idea what the password on these are?? Sorry to ask

This is amazing...

Quick question, any idea what the password on these are?? Sorry to ask

well...look down the first page, after the links...

This is amazing...

Quick question, any idea what the password on these are?? Sorry to ask

Hint: it's the Family Motto of the film KaFaraqGatri just recently posted. ;) the word I've bolded is the password

Ooooppppsss


Feeling rather foolish now

Thanks for the additional links.

BIG thanks for posting 'The World is Not Enough' KFG!!

THE WORLD IS NOT ENOUGH now posted. A couple of new tracks on this one, along with improved sound quality.
Thanks KaFaraqGatri for this new expanded score :)

Ace!

Many thanks

TC

THE WORLD IS NOT ENOUGH now posted. A couple of new tracks on this one, along with improved sound quality.

Thanks but there are some tracks missing compared with your previous post of The World Is Not Enough (Bilboa Bank, Caspian Sea, M's Signal)
Why did you leave these out?

I said a few pages back that I wasn't using DVD rips of unreleased tracks anymore if they were of poor fidelity. Anyone with the old edition from years ago can add those "missing" tracks in if they want to.

Thank you KFG!

Superb ..as always!

The video game score to QUANTUM OF SOLACE is now posted.


THE WORLD IS NOT ENOUGH now posted. A couple of new tracks on this one, along with improved sound quality.

Delicious!!

Can't wait for you to post Bond25!! :D

I said a few pages back that I wasn't using DVD rips of unreleased tracks anymore if they were of poor fidelity. Anyone with the old edition from years ago can add those "missing" tracks in if they want to.

Thanks a ton for your work!

Guys I have this version of THE WORLD IS NOT ENOUGH, may be useful???
https://mega.nz/#!gg0XFYbD!EYqvUdkDxsEnBFiWpOAL_HvM4tPLJrwt1B-QeRl1nzI

I said a few pages back that I wasn't using DVD rips of unreleased tracks anymore if they were of poor fidelity. Anyone with the old edition from years ago can add those "missing" tracks in if they want to.

Hope you reverse this decision! as your rips were generally the finest available ;)

Hope you reverse this decision! as your rips were generally the finest available ;)

Agreed. The rips are the big selling point. They were the best of the bunch. :)

I'll do it if the audio is good enough :)

I shuddenly remembered my charlemagne. Chinese girlsh tashte different than other girlsh

Agreed. The rips are the big selling point. They were the best of the bunch. :)

*sends a Bat Signal to Tylerakasyn* Help us Tylerakasyn, you're our only hope. Your blu-ray ripping skills are one of a kind as well and I'm sure KaFaraqGatri could use all the help. :D

I have the blu-rays but no blu-ray drive and no skill as to how to go about doing this. Plus, the channels for "A View To A Kill", "Octopussy", "Moonraker", "The World Is Not Enough", "The Living Daylights", "Licence to Kill" and "The Spy Who Loved Me" are all over the place.... (they're all lossless DTS-HD Master Audio 5.1 - 48kHz, 24-bit)

...the channels for "A View To A Kill", "Octopussy", "Moonraker", "The World Is Not Enough", "The Living Daylights", "Licence to Kill" and "The Spy Who Loved Me" are all over the place...

True, but you'll notice some of those titles have not been posted yet :)

I'll do it if the audio is good enough :)

Well i've yet to hear a better version of TWINE's gunbarrel/bilboa bank, unlikely to really with the material out there - bloody amazing!

Agreed, would love to hear more of the unreleased cue like the one where Electra pays off Valentine at the casino or where Renard comes out of the fire pit.

Perhaps all the best efforts at these lost tracks could be put into a bonus pack so as not to detract from the quality of the albums already in place.

Guys I have this version of THE WORLD IS NOT ENOUGH, may be useful???
https://mega.nz/#!gg0XFYbD!EYqvUdkDxsEnBFiWpOAL_HvM4tPLJrwt1B-QeRl1nzI

Perhaps all the best efforts at these lost tracks could be put into a bonus pack so as not to detract from the quality of the albums already in place.

I was thinking the same.
Was also enjoying your versions of Dr No, death of Mr Jones yesterday. superb!

I was thinking the same.
Was also enjoying your versions of Dr No, death of Mr Jones yesterday. superb!

Glad you liked them.

Can we get Dr.No by 10/5? That will be the 55th anniversary of the franchise!

I was thinking the same.
Was also enjoying your versions of Dr No, death of Mr Jones yesterday. superb!

Good point vzok. I agree on Death of Mr Jones.

Good point vzok. I agree on Death of Mr Jones.

Thanks. It's hard to do much with some of the audio tracks. For that one I was just having a bit of fun by sorting out the rip of "Death Of Mr Jones" to then see what I could do with the re-recording of "Killing The Guard" to try and match it up.

Thanks. It's hard to do much with some of the audio tracks. For that one I was just having a bit of fun by sorting out the rip of "Death Of Mr Jones" to then see what I could do with the re-recording of "Killing The Guard" to try and match it up.

Yes. Ok, so you mean it's actually a mix of the original audio track with elements from the re-recording? Very good then, because it blended in perfectly imo.

Happy 55th birthday to not only "Dr. No", but the franchise as a whole!

http://i.imgur.com/USw0mH3.gif

Exactly. Waiting for the rest of the scores.

Guys I have this version of THE WORLD IS NOT ENOUGH, may be useful???
https://mega.nz/#!gg0XFYbD!EYqvUdkDx...rwt1B-QeRl1nzI

I can't get this link to work. Any chance of reposting it? Thx.

I can't get this link to work. Any chance of reposting it? Thx.
https://mega.nz/#!gg0XFYbD!EYqvUdkDxsEnBFiWpOAL_HvM4tPLJrwt1B-QeRl1nzI

The score to the video game BLOOD STONE has been posted.

The score to the video game BLOOD STONE has been posted.

OMFG! Thank you KFG, you just made my day!! Will grab this and listen to it! :D

wao never seen work like this life saver ... thnkyou anyone who work like this for BATMAN movies or HANS ZIMMER discography

Great work KaFaraqGatri, thanks for all the music and all that is coming. I am surprised how many extended and unreleased music there still is.

Exactly. Waiting for the rest of the scores.

Also waiting for the rest of the scores.

Also waiting for the rest of the scores.

I can't see how much can be done with Dr No, as other than the album (and the few rerecorded tracks) there are still quite a number of missing tracks that can only be covered by DVD rips, or excluded.

I can't see how much can be done with Dr No, as other than the album (and the few rerecorded tracks) there are still quite a number of missing tracks that can only be covered by DVD rips, or excluded.

It doesn't help that there isn't much music in that movie, at least from what I could recall. Most of it is just vocal source (mainly by Byron Lee & The Dragonaires, Diana Coupland, Nikki van der Zyl, Sean Connery and Monty Norman himself) and Monty Norman and John Barry providing the score. (there's a huge debate as to who wrote the iconic theme and it's rather messy. I just tag it as "John Barry" and leave it at that...)

It doesn't help that there isn't much music in that movie, at least from what I could recall. Most of it is just vocal source (mainly by Byron Lee & The Dragonaires, Diana Coupland, Nikki van der Zyl, Sean Connery and Monty Norman himself) and Monty Norman and John Barry providing the score. (there's a huge debate as to who wrote the iconic theme and it's rather messy. I just tag it as "John Barry" and leave it at that...)

Norman wrote the bare bones of the theme. Barry helped arrange and orchestrate, as Norman couldn't read or write notation and wasn't classically trained. The original Bond theme featured in Dr. No is credited to Monty Norman as performer but I suspect it was performed by the John Barry Seven (with additional orchestra members padding out the sound), as it sounds A LOT like Barry music from the period--check out the EMI Years compilations. Then there's the "Barry version" which is nearly identical in length and arrangement and was released as a single version.

In all fairness, I think Barry should have gotten co-writer credit as the final product is almost a new composition from the original Norman tune. It's just as much an evolution and development of early Barry work like Beat Girl as it the original Norman riff.

Here is a good comparison:

https://www.youtube.com/watch?v=8jjywVmz2EI

Of course the argument could be made that Barry just arranged it with popular elements and styles of the era, elements he didn't invent by any means. I dunno. Check this out:

https://www.youtube.com/watch?v=O3Bj9fQkvGo

https://www.youtube.com/watch?v=uGPG_Y-_BZI


Some have even argued Sibelius actually wrote it:

https://www.youtube.com/watch?time_continue=5&v=gWMu4KptxEI

Norman wrote the bare bones of the theme... In all fairness, I think Barry should have gotten co-writer credit as the final product is almost a new composition from the original Norman tune. It's just as much an evolution and development of early Barry work like Beat Girl as it the original Norman riff.

I, and many others, would argue that it's more Barry than Norman. The basic 'riff' was adapted from an unused song called Good Sign, Bad Sign as heard here (it begins around 00:12):

https://www.youtube.com/watch?v=g6EuzGhIyRQ

Barry clearly a load of stuff to this basic tune. It's absurd that Norman is credited as sole writer.

I, and many others, would argue that it's more Barry than Norman. The basic 'riff' was adapted from an unused song called Good Sign, Bad Sign as heard here (it begins around 00:12):

https://www.youtube.com/watch?v=g6EuzGhIyRQ

Barry clearly a load of stuff to this basic tune. It's absurd that Norman is credited as sole writer.

Another good reason, if Barry didn't write it then why would he be so attached to it through the years? It was a regular staple when he performed concerts, and he made pretty liberal use of it in other Bond films, with maybe the exception of Moonraker and AVTAK. He stood nothing to gain in the way of royalties when he played it, and yet it pops up frequently in his concerts as well as on a number of Barry Best Of/Hits compilations released through the years. Why would he want to emphasize some other dude's song as a highlight in his repertoire when he surely had plenty of other iconic themes to pad out compilations (Born Free, Lion In Winter, etc). I think he had a personal attachment and was proud of the theme, even if "officially" he may have not claimed it as his own.

Another good reason, if Barry didn't write it then why would he be so attached to it through the years? It was a regular staple when he performed concerts, and he made pretty liberal use of it in other Bond films, with maybe the exception of Moonraker and AVTAK. He stood nothing to gain in the way of royalties when he played it, and yet it pops up frequently in his concerts as well as on a number of Barry Best Of/Hits compilations released through the years. Why would he want to emphasize some other dude's song as a highlight in his repertoire when he surely had plenty of other iconic themes to pad out compilations (Born Free, Lion In Winter, etc). I think he had a personal attachment and was proud of the theme, even if "officially" he may have not claimed it as his own.

I think that this article could enlighten the discussion... http://www.audiomasterclass.com/newsletter/so-mr-bond-who-really-did-write-your-theme-music

I can go for the legal explanation: Norman, writer - Barry, arranger, but I also can relate to Anaximander that Barry eventually has got the most benefit on all of it in his later involvement to the series and in his career and that he at least could have received a more formal credit for it... But then again, initially he agreed upon the deal for Dr. NO, even though it was a compromise between the two and John Barry got the From Russia With Love-job, for where he wrote his own James Bond theme, 007.

My opinion, John Barry owns the James Bond theme, not literally nor in credits, but in spirit and he masters the composition in its total sense and meaning.

I, and many others, would argue that it's more Barry than Norman. The basic 'riff' was adapted from an unused song called Good Sign, Bad Sign as heard here (it begins around 00:12):

https://www.youtube.com/watch?v=g6EuzGhIyRQ

Barry clearly a load of stuff to this basic tune. It's absurd that Norman is credited as sole writer.

I always thought that too. But I heard Warren "Q The Music" Ringham explain that composing credit goes to the person who writes the main line (I think that's what he called it). Monty Norman was deemed to have written the main line (the Good Sign Bad Sign part) so he is the composer. It doesn't then matter how much John Barry adds or arranges it. This isn't controversial, but was and is standard practise.

This is how a lot of modern songs are written apparently. Someone just writes that one single melody (getting composer credit) and passes it on to someone else to orchestrate it. They do all the work on arrangement and filling out the composition, but get no composer credit.

I can't see how much can be done with Dr No, as other than the album (and the few rerecorded tracks) there are still quite a number of missing tracks that can only be covered by DVD rips, or excluded.

Correct. 20 tracks not counting numerous short edits of the Bond theme and versions of Under The Mango Tree.
I wouldn’t mind some DVD-rips for completness, but as they probably will contain some fx I suspect antovolk, fincharama, raybond, RDAF, scorehunter66, and tehƧP@ƦKly†ANK™ -Ⅲ� might disagree as it could mean extra work?
I respect all your work and the focus on presenting the scores in the best audio quality, but as I know that could be extra tricky with Dr No, I hope you could ease a little on the ambition, so to speak? :)

Regards and thanks
Sean Barry

I don't know how Kafarq feels about it or if he even saved these files, but when he finishes the scores it might be cool to have a collection of all the leftover rips of cues that were sfx-laden and/or just too low quality for inclusion in the expansions. A sort of "the rest of Bond" or something to that effect.. I understand for instance that a lot of Octopussy cannot be expanded because a lot of the DVD/Blu audio is just riddled with SFX.

I don't mind occasional SFX in expanded scores but I understand and respect his choice as he is focused on presenting high quality, aesthetically pure presentations of these scores. However for those of us who don't mind the SFX, we might take those leftover tracks and use them to pad out the expanded scores in our playlists. I've already done this with AVTAK and Dr. No, taking the sfx-laden tracks someone had posted at one point (for example the music when Stacey is kidnapped) and adding them to my playlist for a more complete score.


Also too bad GKGyver has gone AWOL, as he may have been able to complete his re-recording project and allow those tracks to fill in some of the gaps as he did with TMWTGG. Wish he'd gotten around to re-recording some of the AVTAK stuff, like when Bond arrives at Zorin's estate...very short but lovely cue there.

I don't know how Kafarq feels about it or if he even saved these files, but when he finishes the scores it might be cool to have a collection of all the leftover rips of cues that were sfx-laden and/or just too low quality for inclusion in the expansions. A sort of "the rest of Bond" or something to that effect.. I understand for instance that a lot of Octopussy cannot be expanded because a lot of the DVD/Blu audio is just riddled with SFX.

I don't mind occasional SFX in expanded scores but I understand and respect his choice as he is focused on presenting high quality, aesthetically pure presentations of these scores. However for those of us who don't mind the SFX, we might take those leftover tracks and use them to pad out the expanded scores in our playlists. I've already done this with AVTAK and Dr. No, taking the sfx-laden tracks someone had posted at one point (for example the music when Stacey is kidnapped) and adding them to my playlist for a more complete score.




I like the Rest of Bond-idea, if possible. Another argument in favour for a as-complete-as-possible Dr No is, as mentioned before, this year marks the 55th anniversary for the series AND Dr No.

A side note: I've just listened to a rip with material from Criterion's Laserdisc's music and audio track. To my surprise I noticed that the music playing during the death of Dr No is totally different from the track listed as 'Death of Dr No' on the re-recording album 'Bond Back in Action'.
The music on that track is actually the cue in the following scene when Bond is searching for Honey in Dr No's base. I double checked just to make sure and I'm puzzled about this. Anyone know what I mean?

In the meantime I made this youtube playlist and I'm compiling any unreleased/missing cues I find:

https://www.youtube.com/playlist?list=PLpeYkXalDb_R4sZYWw-669QdTCN74Z1lH

Some already appeared on the MWTGG expansion.

Thanks for Blood Stone, KaFaraqGatri! Thanks for the TWINE link, Memorabilia!

Apologies for the late thanks. As I have mentioned, I'm using circuitous means to log in to FFS, and sometimes it simply does not let me post.

In the meantime I made this youtube playlist and I'm compiling any unreleased/missing cues I find:

https://www.youtube.com/playlist?list=PLpeYkXalDb_R4sZYWw-669QdTCN74Z1lH

Some already appeared on the MWTGG expansion.

Already knew about these, but thanks for very good playlist. I wish there were more unreleased Dr No, From Russia With Love and Thunderball cues.

I like the Rest of Bond-idea, if possible. Another argument in favour for a as-complete-as-possible Dr No is, as mentioned before, this year marks the 55th anniversary for the series AND Dr No.

A side note: I've just listened to a rip with material from Criterion's Laserdisc's music and audio track. To my surprise I noticed that the music playing during the death of Dr No is totally different from the track listed as 'Death of Dr No' on the re-recording album 'Bond Back in Action'.
The music on that track is actually the cue in the following scene when Bond is searching for Honey in Dr No's base. I double checked just to make sure and I'm puzzled about this. Anyone know what I mean?

I know exactly what you mean. I was reviewing the Dr No soundtrack on another website, and when listening to the movie soundtrack I noticed that Nic Raine had only recorded part of the track. The track title confuses the issue too. It's a shame he didn't do the whole thing as the other part sounds pretty good (what you can hear of it). Anyway I have had to include a version of this, putting the DVD rip first and the Nic Raine bit second, on to my iTunes playlist for Dr No. So I round things off with a load of alarms and klaxons going off.


Already knew about these, but thanks for very good playlist. I wish there were more unreleased Dr No, From Russia With Love and Thunderball cues.

Apart from the cues already loaded into this playlist (thanks for adding some of my videos in there Anaximander), which cues were you after?

So, regarding Dr No, is there a definitive list of tracks in the 'most complete' version of the score, noting those that contain sfx?

thanks for adding some of my videos in there Anaximander

no problem. Browsing through your channel got me interested in watching Cromwell again. Great movie.

You wouldn't happen to have the cue from Octopussy when Kamal's plane is about to crash?

---------- Post added at 08:04 AM ---------- Previous post was at 07:58 AM ----------


So, regarding Dr No, is there a definitive list of tracks in the 'most complete' version of the score, noting those that contain sfx?

Not sure but I'd be interested in seeing this list if it exists.

I know exactly what you mean. I was reviewing the Dr No soundtrack on another website, and when listening to the movie soundtrack I noticed that Nic Raine had only recorded part of the track. The track title confuses the issue too. It's a shame he didn't do the whole thing as the other part sounds pretty good (what you can hear of it). Anyway I have had to include a version of this, putting the DVD rip first and the Nic Raine bit second, on to my iTunes playlist for Dr No. So I round things off with a load of alarms and klaxons going off.

Haha! Ouch. If there only was a way of limiting the alarms...

Apart from the cues already loaded into this playlist (thanks for adding some of my videos in there Anaximander), which cues were you after?

Dr No: Killing Trueblood/Stealing The File, Murder attempt, Death of the Tarantula, Approaching and arriving at Crab Key, Covering the boat, Take some cover, Killing the guard,The death of Dr No, The Engines are burning, Countdown to lift off, Searchin for Honey

Frwl: Venice/Chess
The Bridal suite
Bound and gagged driver
Belly dance
Grant on the train
Benz' much safer journey
The Belgrad express
Belgrad station
The Zagreb Express (Film v)
Escape from the train
Burning boats
Death of Klebb

Thunderball: Bond Meets Domino (Film version)
Shark tank (Full)
The little fish

Too many :)
*

---------- Post added at 10:29 PM ---------- Previous post was at 10:21 PM ----------


So, regarding Dr No, is there a definitive list of tracks in the 'most complete' version of the score, noting those that contain sfx?

I've got a list based on the audio and music track from the Criterion Laserdisc. I can post it later if you want?

DR NO is coming soon :)

One of the most awaited score. I'm sure you'll post the score with the best quality you can, as always.

One time again, a great thanks for all the work you do for us.

Why isnt blood stone not working? :( My luck tonight. lol You kids always do great work! Keep it up!

I've got a list based on the audio and music track from the Criterion Laserdisc. I can post it later if you want?

Sounds great, thanks!

DR NO is coming soon :)

correction, Dr. No is coming shoon

:)

correction, Dr. No is coming shoon

:)

no problem. Browsing through your channel got me interested in watching Cromwell again. Great movie.

You wouldn't happen to have the cue from Octopussy when Kamal's plane is about to crash?[COLOR="Silver"]



I've only got that one with sfx over parts of it.

I've only got that one with sfx over parts of it.

I'll take it :)

do you have the cue where Bond's car is pulling up at Zorin's Estate in AVTAK?

I'll take it :)

do you have the cue where Bond's car is pulling up at Zorin's Estate in AVTAK?

Again it has some sfx. I'll dig them out and post them.

DR NO is coming soon :)

:)

:)

Wow!!! Waiting anxiously.

Dr No: Killing Trueblood/Stealing The File, Murder attempt, Death of the Tarantula, Approaching and arriving at Crab Key, Covering the boat, Take some cover, Killing the guard,The death of Dr No, The Engines are burning, Countdown to lift off, Searchin for Honey

Frwl: Venice/Chess
The Bridal suite
Bound and gagged driver
Belly dance
Grant on the train
Benz' much safer journey
The Belgrad express
Belgrad station
The Zagreb Express (Film v)
Escape from the train
Burning boats
Death of Klebb

Thunderball: Bond Meets Domino (Film version)
Shark tank (Full)
The little fish

Too many :)
*

---------- Post added at 10:29 PM ---------- Previous post was at 10:21 PM ----------





It's a pain there aren't any rerecording to cover these soundtracks. You end up having to do the best you can or do without. It depends what your tolerance for listening to tracks with some sfx on them is.

For Dr No:

Trueblood has a lot of sfx at the start, but the rest is OK. I think I mocked something up for those first few notes as it was unbearable with Trueblood squealing down my headphones.

Murder Attempt is pretty much the same. The first part is totally covered with sfx, the second half you can hear OK with just some chirping crickets.

Crab Key I lumped all those brief cues together. I've got nothing good here. I used some of Nic Raine's recordings to mock up the missing parts again just to make some sort of placeholder.

Killing The Guard settled for Nic Raine's rerecording

Death Of Dr No same

Engines burning don't know what part we are talking about there

Countdown to lift off is there score there? I can't remember any

Searching for Honey I've just got the audio track there, alarms and all. No way of removing all that noise unfortunately.

FRWL:

Chess Match: you end up with a lot of hiss on these tracks trying to amplify what we have. They are better than nothing, but I tend to stick them on the end of the playlist as they are not an audio quality match for the CD.

Bridal Suite I'd have to watch that scene again.

Cold War You can get a couple of very brief cues that are a lot better than something like Chess Match

Leila Dances I stick with John Barry's version in the main playlist, as I am so used to hearing it there, and then just add the straight movie audio in as a bonus later. It sounds fine to me with the clapping and cheering as again that's what I'm used to by now.

Grant/Benz there are a couple of very brief cues/stings. I've just got the movie audio on these I think.

Zagreb Express No way of getting rid of all the sfx on this. Nic Raine's version is decent. I think I mocked up the first part (Belgrade) from that version as they are similar.

Escape From Train I love this track, even though it is just the same few bars repeating much of the time. I dialled down the sfx as much as possible, even chopped a few out. If you loop the best bits you can cover the ruined bits. Still not great but I like listening to it anyway.

Burning Boats I jigged up Nic Raine's "Death Of Dr No". With a little tweaking it sounds more like this version.

Death Of Klebb I think I ended up with a half decent version of this one. It's very short. Obviously still sfx but quite listenable.

Thunderball - I can't help much on this one as I haven't dug into all the missing music on this one. Certainly haven't got anything on the ones you've mentioned.

It's a pain there aren't any rerecording to cover these soundtracks. You end up having to do the best you can or do without. It depends what your tolerance for listening to tracks with some sfx on them is.

For Dr No:

Trueblood has a lot of sfx at the start, but the rest is OK. I think I mocked something up for those first few notes as it was unbearable with Trueblood squealing down my headphones.

Murder Attempt is pretty much the same. The first part is totally covered with sfx, the second half you can hear OK with just some chirping crickets.

Crab Key I lumped all those brief cues together. I've got nothing good here. I used some of Nic Raine's recordings to mock up the missing parts again just to make some sort of placeholder.

Killing The Guard settled for Nic Raine's rerecording

Death Of Dr No same

Engines burning don't know what part we are talking about there

Countdown to lift off is there score there? I can't remember any

Searching for Honey I've just got the audio track there, alarms and all. No way of removing all that noise unfortunately.

FRWL:

Chess Match: you end up with a lot of hiss on these tracks trying to amplify what we have. They are better than nothing, but I tend to stick them on the end of the playlist as they are not an audio quality match for the CD.

Bridal Suite I'd have to watch that scene again.

Cold War You can get a couple of very brief cues that are a lot better than something like Chess Match

Leila Dances I stick with John Barry's version in the main playlist, as I am so used to hearing it there, and then just add the straight movie audio in as a bonus later. It sounds fine to me with the clapping and cheering as again that's what I'm used to by now.

Grant/Benz there are a couple of very brief cues/stings. I've just got the movie audio on these I think.

Zagreb Express No way of getting rid of all the sfx on this. Nic Raine's version is decent. I think I mocked up the first part (Belgrade) from that version as they are similar.

Escape From Train I love this track, even though it is just the same few bars repeating much of the time. I dialled down the sfx as much as possible, even chopped a few out. If you loop the best bits you can cover the ruined bits. Still not great but I like listening to it anyway.

Burning Boats I jigged up Nic Raine's "Death Of Dr No". With a little tweaking it sounds more like this version.

Death Of Klebb I think I ended up with a half decent version of this one. It's very short. Obviously still sfx but quite listenable.

Thunderball - I can't help much on this one as I haven't dug into all the missing music on this one. Certainly haven't got anything on the ones you've mentioned.

The Criterion version's music and audio track omitts all vocal noises and speech on Trueblood. Frustrating they didn't include it on subsequent releases. Rights issues if I remember correctly.

The music on Engines Burning is a fanfare of sorts with brass and flutes beneath SFX. You can here it with headphones if concentrating. Same with Countdown to liftoff which plays right before.

I take what you come up with :)

The Criterion version's music and audio track omitts all vocal noises and speech on Trueblood. Frustrating they didn't include it on subsequent releases. Rights issues if I remember correctly.

The music on Engines Burning is a fanfare of sorts with brass and flutes beneath SFX. You can here it with headphones if concentrating. Same with Countdown to liftoff which plays right before.

I take what you come up with :)

I've listened again to the Criterion music and effects track from the laserdisc, and there is Trueblood screaming and glass crashing all over the start of this one. Have you got another audio track? I'd be keen to hear it if you have something different.

you're all invited to join this facebook group devoted to lovingly poking fun at the James Bond films in general, and A view to a Kill and the Roger Moore era in particular: https://www.facebook.com/groups/1720880468218962/

I've listened again to the Criterion music and effects track from the laserdisc, and there is Trueblood screaming and glass crashing all over the start of this one. Have you got another audio track? I'd be keen to hear it if you have something different.

It’s the same one. I listened again and noticed the intro was faded in to minimize the screaming. Sorry. What’s good about that version imo compared to the usual audio track, is that you don’t get the word ‘Here’, which makes the music a bit more audible.
I’m still interested in what you’d managed to come up with if you are posting those?

It�s the same one. I listened again and noticed the intro was faded in to minimize the screaming. Sorry. What�s good about that version imo compared to the usual audio track, is that you don�t get the word �Here�, which makes the music a bit more audible.
I�m still interested in what you�d managed to come up with if you are posting those?

I won't post any of the Dr No ones at this point, not until after KFG posts his DN selection. I feel like we are already intruding enough on to his thread. I'll dig out some of the others, although some of them really aren't up to much. But they are the best I've got for now.

Until I pull my finger out here are some FRWL John Barry tracks

Gypsy camp edit of 007

https://www.youtube.com/watch?v=kpHPx8Xz7K8

Single mixes of FRWL and 007.

https://www.youtube.com/watch?v=LJxOZS7-2hw

https://www.youtube.com/watch?v=V7HVi08-MKU

I'll take it :)

do you have the cue where Bond's car is pulling up at Zorin's Estate in AVTAK?

This is the best I can do with these two.

Death Of Kamal Khan

https://www.youtube.com/watch?v=tfANvbkTbGE

Zorin's Chateau

https://www.youtube.com/watch?v=4pZWOygNjLE

This is the best I can do with these two.

Death Of Kamal Khan

https://www.youtube.com/watch?v=tfANvbkTbGE

Zorin's Chateau

https://www.youtube.com/watch?v=4pZWOygNjLE

:) thanks. good enough for place holders until an official AVTAK/Octopussy expansion (wishful thinking on my part, but I can still dream)

you know what I never understand about the end of octopussy? After Bond gets rid of Gobinda, he could've easily climbed inside the plane, overpowered Kamal Khan, and safely landed the plane himself. Instead he risks death by trying to make the plane crash and nearly throwing himself off a cliff.

---------- Post added at 08:46 AM ---------- Previous post was at 08:43 AM ----------

https://www.youtube.com/watch?v=SuR0zckik4Y

:rofldata:

you know what I never understand about the end of octopussy? After Bond gets rid of Gobinda, he could've easily climbed inside the plane, overpowered Kamal Khan, and safely landed the plane himself. Instead he risks death by trying to make the plane crash and nearly throwing himself off a cliff.

---------- Post added at 08:46 AM ---------- Previous post was at 08:43 AM ----------


https://www.youtube.com/watch?v=SuR0zckik4Y

:rofldata:

I think that ending had been deemed too anticlimactic. My guess is the producers went for a spectacular ending in keeping with the times.
Compare it to how they changed Dr No’s death. In the book he’s drowned in guano. In the film he’s wrestled, beaten down and drowned in radioactive water.

---------- Post added at 06:58 PM ---------- Previous post was at 06:23 PM ----------


I won't post any of the Dr No ones at this point, not until after KFG posts his DN selection. I feel like we are already intruding enough on to his thread. I'll dig out some of the others, although some of them really aren't up to much. But they are the best I've got for now.

Understood. Thank you very much!

somewhere online there used to be a really funny gif where someone edited it so 009 is being tracked by predator. Someone with video editing expertise should make that edit. I have both movies, maybe I'll get around to it at some point

Here's a listing I did a few years ago comparing the film with the SFX track, the album and the Harkit release. Over 15 minutes of unreleased orchestral score can be heard in the film. the SFX track revealed some odd differences to the finished film, showing a different stage of production I guess. For instance, when Bond drives to Ms Taro, its to the Bond theme but in the SFX track it is Jamaica Jazz (track 8). Presumably Peter Hunt slapped it all in at the last minute to save the score! I didn't go as far as noting which part of it was tracked.

One of my biggest curiosities is the "sax" version of the Bond theme heard in the trailer. It seems unknown who it's by and when it was done and if there is a full version out there. It must surely be the first ever cover of the Bond theme which makes it pretty important and especially hearing it with that instrument.







Film Position


Album




Production slate
Title
Album Title
Notes
Start
Finish
Duration
Start
Finish
Duration



Main title (Gunbarrel/James Bond theme/Bongos/Three blind mice)
01 - Dr. No - Main Title Sequence
Harkit release


00:00:00
00:00:00
00:04:14
00:04:14



Main title (Bongos)




00:00:00


00:00:00



Main title (Three blind mice)
Kingston Calypso (2)
Original release


00:00:00
00:00:00
00:02:45
00:02:45


2nd session
Death of Strangways' secretary

Unreleased
00:05:13
00:05:45
00:00:32


00:00:00



The James Bond Theme

Edit. At introduction
00:08:19
00:08:40
00:00:21


00:00:00



The James Bond Theme

Edit. Flirting with Sylvia
00:09:03
00:10:03
00:01:00


00:00:00


2nd session
Bond arrives at home *
03 - James Bond Returns Home (Harkit) - Trimmed
Unreleased. Strangely missing from the SFX track
00:14:43
00:15:23
00:00:40
00:00:00
00:00:28
00:00:28



The James Bond Theme

Edit. At airport. Missing from SFX track
00:16:43
00:17:36
00:00:53


00:00:00


2nd session
Leiter Follows

Unreleased. Drowed out by plane
00:19:00
00:19:19
00:00:19


00:00:00


2nd session
Chauffer Interrogation *

Unreleased. Foley. Bond theme (violin?) builds nicely
00:20:17
00:21:58
00:01:41


00:00:00



Bond with Governor & Professor Dent
Love at Last (18)
Source music
00:26:21
00:27:02
00:00:41
00:00:00
00:01:45
00:01:45



Underneath The Mango Tree
Under the Mango Tree (track 14)
Norman demo vocal (Edit) (Quarrels radio source)
00:28:38
00:29:51
00:01:13
00:00:00
00:02:42
00:02:42


2nd session
Bond meets Leiter

Unreleased. Fairly clean
00:30:33
00:31:39
00:01:06


00:00:00



Jump Up
Jump Up! (track 4)
Edited in film
00:31:39
00:33:36
00:01:57
00:00:00
00:02:11
00:02:11



Underneath The Mango Tree + Band music

Band version. Unreleased?
00:33:36
00:35:35
00:01:59


00:00:00


2nd session
Murder attempt

Unreleased
00:35:35
00:36:15
00:00:40


00:00:00


2nd session
Dent Takes the Tarantula

Unreleased. Tracked? Abrupt edit
00:41:02
00:41:36
00:00:34


00:00:00



The James Bond Theme

Edit. Bond arriving at reception. Missing from SFX track
00:41:15
00:41:50
00:00:35


00:00:00


2nd session
Death of the tarantula
14 - Tarantula (Harkit)
Unreleased
00:43:29
00:44:42
00:01:13
00:00:00
00:01:11
00:01:11



The James Bond Theme

Edit. Miss Taro rendezvous. Missing on SFX
00:49:29
00:49:53
00:00:24


00:00:00



Miss Taro rendezvous (Alternative)
Jamaica Jazz (8)
Alternative on SFX track. Jump Up slow instrumental
00:49:51
00:50:13
00:00:22
00:00:00
00:01:08
00:01:08



The James Bond Theme

Edit. "Here so soon"
00:52:08
00:52:28
00:00:20


00:00:00



Underneath The Mango Tree
Underneath The Mango Tree (track 6)
Coupland vocal (Edit)
00:56:44
00:57:27
00:00:43


00:00:00



The Island Speaks
The Island Speaks (13)
Edit
00:59:49
01:01:29
00:01:40
00:00:00
00:03:23
00:03:23


2nd session
Arrival at Crab Key

Unreleased
01:01:40
01:02:15
00:00:35


00:00:00



Underneath The Mango Tree

Source. Nikki van der Zyl & Sean Connery
01:01:53
01:02:51
00:00:58


00:00:00


2nd session
On the beach *

Unreleased
01:05:31
01:06:32
00:01:01


00:00:00


2nd session
Killing the guard *
BBIA Re-record
Unreleased
01:09:37
01:12:17
00:02:40
00:00:00
00:03:05
00:03:05


2nd session
Dr. No visits the room
21 - Dr. No Visits James Bond's Bedroom (Harkit)
Unreleased
01:24:15
01:25:02
00:00:47
00:00:00
00:00:46
00:00:46


2nd session
Dr. No's aquarium

Unreleased. Very clean but hiss on SFX track
01:27:49
01:29:08
00:01:19


00:00:00


2nd session
Death of Dr. No *
BBIA Re-record/Re-working
Unreleased
01:44:05
01:45:22
00:01:17
00:00:00
00:01:00
00:01:00


2nd session
Danger Adverted

Unreleased. Fanfare
01:45:23
01:45:31
00:00:08


00:00:00


2nd session
Evacuation
BBIA Re-record/Re-working
Unreleased
01:45:39
01:46:26
00:00:47


00:00:00


2nd session
Arrival of the marines/Underneath The Mango Tree

Unreleased
01:48:43
01:49:37
00:00:54


00:00:00



The James Bond Theme

Edit. End titles
01:49:37
01:50:04
00:00:27


00:00:00





Total score heard in film including tracked


0:29:46






* Denotes when Norman used the Bond theme (5 times)

2nd session total score time (17 cues):


00:15:22


00:24:38



























The James Bond Theme

Original recording



00:00:00
00:01:48
00:01:48



Audio Bongo

Unused Dr No theme



00:00:00
00:01:33
00:01:33



Twisting With James

Unused proposed Bond theme (or club music? (seems based on Dr No's Fantasy)) used in docs



00:00:00
00:03:12
00:03:12



Dr No's Fantasy

Unused proposed Bond theme



00:00:00
00:01:43
00:01:43



The Boy's Chase

Unused proposed Bond theme?



00:00:00
00:01:34
00:01:34



James Bond Theme

Unused proposed Bond theme. Slow bongo version of Dr No's Fantasy



00:00:00
00:02:24
00:02:24



Jump Up
track 10
Unused. Different vocalist



00:00:00
00:01:30
00:01:30



Underneath The Mango Tree
track 9
Unused. Slow instrumental



00:00:00
00:02:46
00:02:46



Jamaica Rock
track 3




00:00:00
00:02:05
00:02:05



Kingston Calypso
track 12
Unused. Female vocal



00:00:00
00:02:31
00:02:31



Dr No's Theme
track 16
Unused. Ends with the theme heard in the film



00:00:00
00:02:02
00:02:02



The James Bond Theme

John Barry release



00:00:00
00:02:00
00:02:00











00:25:08



The James Bond Theme (as heard in the trailer @ 1:16-1:33)

Saxophone version

Impressive painstaking work. But what trailer with the sax do you mean suberbond?

Here’s the tracktitles for ‘Dr. No’ I came up with after listening thru The Criterion Laserdisc music and fx track:

1. Gunbarrel/Main Titles (James Bond theme/Bongos/Three Blind Mice)
2. Killing Trueblood/Stealing The File
3. Bond, James Bond * (*James Bond theme edit)
4. Just as things were getting interesting *
5. Bond arrives at home
6. Airport
7. Leiter at the airport/Death of Mr Jones
8. Bond meets Dent and Potter
9. Under The Mango Tree (Bar source)
10. Bond meets Leiter
11. Jump up
12. Under the Mango Tree (Instrumental dance source)
13. Murder attempt
14. Dent and Tarantula
15. Bond enters The Hotel *
16. Tarantula
17. Driving to Miss Taro (Jamaica Jazz edit)
18. Yes, yes, come in
19. Under The Mango Tree (Gramophone source)
20. Crab Key
21. Covering The Boat/Troubled Quarrel
22. Under The Mango Tree (Acappela source)
23. Take some cover
24. Guards and dogs/Killing The Guard
25. Drugged
26. Dr. No’s Aqaurium
27. Death of Dr. No
28. Rocket fire
29. Countdown to liftoff
30. Searching for Honey
31. Leiter and The Marines/End Titles (Under the Mango Tree [Instrumental variation]/James Bond theme)

@superbond - many thanks for your impressive work on that list.

The saxophone music is in the main trailer for Dr no at 1.16. Great spot. Cannot remember hearing any version with that saxophone. I'd also never listened to the music & fx track closely enough to notice that Jamaica Jazz was intended for Bond's car journey.

If I can stick my oar in -

The track Chauffeur Interrogation / Death Of Mr Jones does have that violin/string arrangement of the Bond Theme, but it is almost the same as in Killing The Guard except with a slightly faster pace, so the BBIA recording sort of covers both scenes.

Music from movie audio track (fairly free of sfx)

https://www.youtube.com/watch?v=3nyPXkcdJEI

Reworked BBIA version to fit this scene

https://www.youtube.com/watch?v=se_5NB_-cjA

Dent taking the tarantula does sound to me like it is just tracked from the tarantula music track.

"Death of Dr No" recorded for BBIA is actually the track you named "Evacuation" (part of it anyway). So the movie portion of "Death Of Dr No" is another track that is missing in action.

The "Boy's Chase" is to my ear a fast version of "Twisting With James".


Thanks again @superbond

That weasely little accountant dude in Licence to Kill always reminds me of Michael J. Fox.

So it's like, "oh noes, why did one of the Fratelli Brothers just mow down Marty McFly with an uzi?"

---------- Post added at 07:27 AM ---------- Previous post was at 07:15 AM ----------

Do you guys think that a third Dalton film, if it had been released in '91, would've continued in the dark tone of LtK, or do you think Broccoli would've tried to get back to a more "traditional" Bond style to appeal more to American audiences? And I wonder if Glen would've directed it?

I think Glen is one of the criminally underrated Bond directors, perhaps because he never had a really critically acclaimed classic under his belt like Young, Gilbert, Hamilton, et al, because he was more of an internal promotion than a "prestige hire" like Sam Mendes, and because people take a more negative view of the Moore films he directed; also, since Dalton era never quite got the recognition it deserved, it's a lot easier to brush Glen aside, even though he helped keep the franchise stable and sellable through the 80s. It's funny because clown costumes and Beach Boys aside, he brought some grit and realism to the Moore films he directed (that emphasis on grit and realism which made him a really great match for Dalton, IMO), and while his films may have somewhat lacked the flair, scope, and attention to artistic detail of Gilbert or Hunt, he certainly had a strong sense of pacing, meaning I rarely feel bored or feel like his Bond entries "drag," perhaps with the exception of AVTAK, which slightly suffers in its second act (although I'd blame this on the writers and a generally phoned-in performance by Moore). Glen is more of an oldschool English workman director than he is an auteur, so there is less of a distinct voice or theme in his films, which might get him overlooked compared to a Campbell or Mendes. However, I'd put Glen right up there with Young, Hunt and Campbell in the top five Bond directors. I'm a little more on the fence on Hamilton and Gilbert, both of whom directed fine films, but also directed some real duds in the series and I feel had a poorer sense of pacing and editing than Young and Glen. I actually do not hold TSWLM in very high esteem. But then Moonraker is one of my favorites, so I'm not sure how valid my opinion really is here.

Anyway, sorry to go off topic but I think these discussions are fun during the waiting period between KaFaraq's uploads.

---------- Post added at 07:32 AM ---------- Previous post was at 07:27 AM ----------

1. Peter Hunt
2. Terence Young
3. John Glen
4. Martin Campbell
5. Guy Hamilton tied w/ Lewis Gilbert

---------- Post added at 07:36 AM ---------- Previous post was at 07:32 AM ----------

Dream directors for Bond: Tarantino and Alfonso Cuaron. Tarantino would bring some edge and just the right level of camp and self-referential humor that is lacking in the Craig era. Cuaron can direct realistic, suspenseful action (just watch the final third of Children of Men if you disagree). Too bad Broccoli and Wilson are more focused on making this series a clone of Bourne and every other "serious" action film made in the past 10 years. They don;t want to take chances, they want to play it safe.

I'm sorry, but the Bond series has always been silly to varying degrees. You take that out and you take out a core piece of Bond movie DNA. It's always been a little "roger moore," so I'm always a little confused when people single out the Moore era as somehow different from the other films. Apparently they didn't notice Connery's silly bird hat disguise, or never saw Diamonds are Forever, which is arguably more a Roger Moore film than it ever was a Connery film. Even Dalton era had the odd, occasional tongue-in-cheek, silly stuff peppered in, like the Camera gag in LtK, and Brosnan era got pretty silly and ridiculous at times. They've always been action films with comedy undertones. This what the current franchise owners fail to understand.

DR NO is coming soon :)

Ohh how did I've missed this announcement? Awesome! :D

cheers @vzok

I did the same with the next 3 films but was shattered after Thunderball lol. that's a beast but was interesting looking at the differences and the articles that Lucas Kendal wrote on that.

http://jamesbondradio.com/the-music-of-bond-an-interview-with-producer-lukas-kendall/

007 and counting. Still my favorite Bond cue, possibly my favorite film score cue ever. Sounds so timeless.

---------- Post added at 12:56 PM ---------- Previous post was at 12:55 PM ----------

https://www.youtube.com/watch?v=DYzs3RrkWuo

Anaximander, I pretty much agree 100% with everything you said about Glen, the directors, etc. in that big post up there. TSWLM is somewhat overrated to me and I feel Barbara Bach was so wooden in it, yet I consistently see posts about her on social media touting her as being one of the better Bond girls.

Anaximander, I pretty much agree 100% with everything you said about Glen, the directors, etc. in that big post up there. TSWLM is somewhat overrated to me and I feel Barbara Bach was so wooden in it, yet I consistently see posts about her on social media touting her as being one of the better Bond girls.

In theory, she should've been a good Bond girl. Bad casting, in my opinion. The filmmakers usually went for looks over acting ability, I guess. She turns into a damsel in distress, which seems a bit out of character for someone trained as an elite KGB agent. But that was requisite, I suppose. Goodhead was similarly wooden and bland. And Mary Goodnight? I don't see what good purpose she served other than to have someone for Moore to shag at the end of the movie. I would much rather seen Maude's character emphasized more and maybe have her be the only Bond girl. So her death may have really meant a lot more to Bond as he went confront Scaramanga. Instead she becomes a trivial footnote who seems disposable, because no worries, Bond has his backup bimbo ready to go.

My favorite Bond girls are Tracy, Domino, Melina, Maud Adams (both times she appeared). Craig era has had some good Bond girls. I also like Kara, because she breaks the traditional mold a bit. Pam is kind of cool, though I'm not generally into the American Bond girls as much. Most Bond girls are rather one-dimensional though...never nearly as interesting or memorable as the femme fatales like Xenia and Fiona Volpe. I have to also acknowledge Honey because even though she isn't my favorite, she sort of set the template and also looked really good in that bikini coming out of the ocean. That scene is pretty damn iconic and has aged well, compared to some other elements of Dr. No.

Forget TSWLM. Moonraker's where it's at.

It's painfully underrated and much maligned of the Roger Moore films.

Trust me, watch it again and it's not as bad as what anybody else thinks.

In theory, she should've been a good Bond girl. Bad casting, in my opinion. The filmmakers usually went for looks over acting ability, I guess. She turns into a damsel in distress, which seems a bit out of character for someone trained as an elite KGB agent. But that was requisite, I suppose. Goodhead was similarly wooden and bland. And Mary Goodnight? I don't see what good purpose she served other than to have someone for Moore to shag at the end of the movie. I would much rather seen Maude's character emphasized more and maybe have her be the only Bond girl. So her death may have really meant a lot more to Bond as he went confront Scaramanga. Instead she becomes a trivial footnote who seems disposable, because no worries, Bond has his backup bimbo ready to go.

My favorite Bond girls are Tracy, Domino, Melina, Maud Adams (both times she appeared). Craig era has had some good Bond girls. I also like Kara, because she breaks the traditional mold a bit. Pam is kind of cool, though I'm not generally into the American Bond girls as much. Most Bond girls are rather one-dimensional though...never nearly as interesting or memorable as the femme fatales like Xenia and Fiona Volpe. I have to also acknowledge Honey because even though she isn't my favorite, she sort of set the template and also looked really good in that bikini coming out of the ocean. That scene is pretty damn iconic and has aged well, compared to some other elements of Dr. No.

Refreshing to see what I�ve been thinking a long time. Thunderball has some of the best, in not THE best written female characters in the films. Volpe does not switch sides just because Bond and she had sex as she says later before her death.
And Domino kills the main villain AND saves Bond in the end. Tatiana Romanova also kills Klebb when she is close to killing Bond and Tracy and Melina also save Bond from being killed.

My favorite Bond girls are Tracy, Domino, Melina, Maud Adams (both times she appeared). Craig era has had some good Bond girls. I also like Kara, because she breaks the traditional mold a bit. Pam is kind of cool, though I'm not generally into the American Bond girls as much. Most Bond girls are rather one-dimensional though...never nearly as interesting or memorable as the femme fatales like Xenia and Fiona Volpe. I have to also acknowledge Honey because even though she isn't my favorite, she sort of set the template and also looked really good in that bikini coming out of the ocean. That scene is pretty damn iconic and has aged well, compared to some other elements of Dr. No.

Agreed on your faves, but I'll throw in Pussy Galore on there too and Vesper Lynd. I also have a soft spot for Solitaire because I love Jane Seymour but her character is meh. The Femme Fatales are great like Xenia and Fiona, but I'll throw in May Day on there too because Grace Jones is amazing and Elektra King. Least favorite Femme Fatale is Miranda Frost for me.

DR. NO is now posted.

Sadly, not a lot that could be done with the limited sources available. I am sure someone could top this if they wanted to but it is what it is.

thanks

---------- Post added at 07:10 PM ---------- Previous post was at 07:09 PM ----------


Agreed on your faves, but I'll throw in Pussy Galore on there too and Vesper Lynd. I also have a soft spot for Solitaire because I love Jane Seymour but her character is meh. The Femme Fatales are great like Xenia and Fiona, but I'll throw in May Day on there too because Grace Jones is amazing and Elektra King. Least favorite Femme Fatale is Miranda Frost for me.

Agreed on Frost, May Day, Pussy, etc

---------- Post added at 07:11 PM ---------- Previous post was at 07:10 PM ----------


Refreshing to see what I’ve been thinking a long time. Thunderball has some of the best, in not THE best written female characters in the films. Volpe does not switch sides just because Bond and she had sex as she says later before her death.
And Domino kills the main villain AND saves Bond in the end. Tatiana Romanova also kills Klebb when she is close to killing Bond and Tracy and Melina also save Bond from being killed.

In some ways the women in Connery era were more "feminist" icons than those in the Moore era

Forget TSWLM. Moonraker's where it's at.

It's painfully underrated and much maligned of the Roger Moore films.

Trust me, watch it again and it's not as bad as what anybody else thinks.

It's possibly my favorite of the Moore era

This isn't meant to reflect on Kafaraq's work so much as it is on the film score itself and the original Dr No OST presentation. The problem is that it was never a very phenomenal score, aside from the James Bond Theme and a couple of ominous tracks like The Island Speaks that I enjoy. Monty Norman just didn't have the Bond feel quite down in the tunes he wrote for the film. The OST is a really poor representation of the score. 50 goddamn versions of Under The Mango Tree, a song I've never much cared for to begin with...multiple version of Jump Up...ugh, the OST just gets redundant really fast and I can't get through it. The thing is that Barry would also take one or two themes and motifs and repeat them throughout a score, but his were actually usually good and memorable. So for instance, hearing the "We Have All The Time In The World" theme repeated a bunch of times in varying forms is nice, or hearing something like the AVTAK action motif repeatedly is not at all grating.

I really have little respect for Norman as a composer, even if he did give us the bare bones of the main theme (although Barry's original themes and motifs written for subsequent Bond films are far superior, IMHO). I think Norman is a hack who has coasted through life on royalties from that one composition that wouldn't have granted him nearly as many royalty checks without Barry's contributions and arrangements. He even wrote a song explaining how he wrote the original tune (what a goddamn hack; read the comments section on this video for some lolz, I wrote "What a fucking cuntwaffle" 4 years ago):

https://www.youtube.com/watch?v=LYLbVS-QyZA

Again, this isn't a criticism of Kafaraq's work. I am listening to his expansion at this very moment and it's a VAST improvement over the OST. Much like his LtK expansion [His expansion made me appreciate Kamen's score as one of the better non-Barry contributions (I even rank it above Arnold and Martin)], I find myself able to appreciate the music in the film more without having an abyssmal OST presentation to suffer through. .

Keep up the good work. I'm not sure how anyone is going to "top" it because all the stuff you've left out is SFX-riddled anyway :)

I recall a review I've watched not too recently by an awesome Bond fan named DutchBondFan (check out his channel!) and he called Norman's score "Tom & Jerry music" and that's exactly how I feel about it. Thank goodness for Film #2 and onwards for bringing much better scores. (even the non-Barry stuff from the likes of Hamlisch, Conti, Martin, Kamen and Sera, which I love)

DR. NO is now posted.

yes, Yes, YES!!!!

The problem is that it was never a very phenomenal score, aside from the James Bond Theme and a couple of ominous tracks like The Island Speaks that I enjoy. The OST is a really poor representation of the score. 50 goddamn versions of Under The Mango Tree, a song I've never much cared for to begin with...multiple version of Jump Up...ugh, the OST just gets redundant really fast and I can't get through it. I really have little respect for Norman as a composer, even if he did give us the bare bones of the main theme.. I think Norman is a hack who has coasted through life on royalties from that one composition that wouldn't have granted him nearly as many royalty checks without Barry's contributions and arrangements. He even wrote a song explaining how he wrote the original tune (what a goddamn hack)

Totally agree on the Dr. No OST. Granted it's a product of its time, but it is a very poor representation of the film's music as a whole. So much unused crap (Audio Bongo?!) that should have been left off and replaced with actual cues from the score.

And wow, that "song" is something else. Why on earth would he feel the need to make a song about how he composed another tune? We get it, you wrote theme, Monty. Bravo. I would have thought that fifty years of royalties would have made him very happy but he just can't keep his mouth shut about it, can he?

Anyway, thank you for the kind comments. I have always loved Kamen's work on Licence to Kill but I didn't realize just how good it was until I tried to put it in chronological order. I hope it gets an expansion one day by someone like Intrada.

Many thanks KFG. Waiting once again for the rest. Cheers.

DR. NO is now posted.

Sadly, not a lot that could be done with the limited sources available. I am sure someone could top this if they wanted to but it is what it is.

Thank you as always for your work on these scores. Much appreciated. Someone could top it only if they were to do a proper rerecording.

I think they’d originally wanted to do a re-recorded collection of all previously unreleased Bond cues, but it wasn’t deemed financially viable and what we got instead was the “highlights” collection of BBIA. At least I seem to remember reading this.

Aside from any legal or rights issues, I see no good reason why there wouldn’t be sufficient demand to do complete re-recordings at this point in time—there seems to be plenty of demand in the community of score fans. However I am not sure Raine and Prague are the way to go. His orchestrations of the later Barry material are not bad (Fanfare from AVTAK being a good example) but I find the recreations of the early Barry cues to be lacking in energy. They sound limp. Perhaps Carl Davis would be a better bet? I saw him conduct Bond music at the Richmond Symphony several years back and it was overall very good and faithful to the original Barry sound. It’s never going to sound 100% like the original recordings but I think we can do better than Prague.

Looking Forward To The Spy Who Loved Me, Moonraker The Living Daylights And Licence To Kill Hope So Soon

I think they’d originally wanted to do a re-recorded collection of all previously unreleased Bond cues, but it wasn’t deemed financially viable and what we got instead was the “highlights” collection of BBIA. At least I seem to remember reading this.

Aside from any legal or rights issues, I see no good reason why there wouldn’t be sufficient demand to do complete re-recordings at this point in time—there seems to be plenty of demand in the community of score fans. However I am not sure Raine and Prague are the way to go. His orchestrations of the later Barry material are not bad (Fanfare from AVTAK being a good example) but I find the recreations of the early Barry cues to be lacking in energy. They sound limp. Perhaps Carl Davis would be a better bet? I saw him conduct Bond music at the Richmond Symphony several years back and it was overall very good and faithful to the original Barry sound. It’s never going to sound 100% like the original recordings but I think we can do better than Prague.

I don't think anyone is going to be doing any rerecording in a hurry. There was that project to rerecord Moonraker a couple of years ago, that got crowdfunded and then abruptly dropped. I guess someone official didn't want it to happen.

Looking Forward To The Spy Who Loved Me, Moonraker The Living Daylights And Licence To Kill Hope So Soon

Me too! :D

No Good About Goodbye was never a rejected song, Arnold just reused a motif from the QoS score because he liked it. This has been covered extensively before, but particularly in Jon Burlingame's excellent book.

As far as I know, Beyond The Ice was never rejected, either, since it was never in the running to begin with.

Sorry to reply to such an old post but I’ve missed some good discussions.

Even though he probably didn’t record it for QoS, I can’t help thinking this is what he may have had in mind before the producers pushed for White and Keys. I really think the era when the Bond composers were given more control over the theme songs resulted in (usually) better titles. One of the reasons Barry refused to come back in the 90s was because the producers were no longer willing to let him compose and have a hand in producing the title themes. It’s a shame really, and kind of a slap in the face to a man who had proven he could compose top notch, memorable titles. I remember hearing an NPR interview with him where he talked about how he felt the title song should be related to the music score, otherwise it just feels like some unrelated tune pasted onto the front of the film. Also, hearing it reprised throughout the score makes the title itself more memorable for the audience.

To answer a question from a while back, my favorite rejected titles are probably Lorraine Chandler’s “You Only Live Twice”, the Blondie tune for FYEO, The Pretenders tunes for TLD, and the Pulp and KD Lang songs written for TND. I like Cash’s TB song but it would have been a terrible fit and sounds more suited as a title for an American action star (perhaps some fantasy Leiter spinoff film from an alternate universe 60s).

---------- Post added at 12:27 PM ---------- Previous post was at 12:17 PM ----------

Just watched an old British tv special ranking the Bond titles. Golden Gun came in near the bottom. I’ve never understood the hate for this tune. It’s not bad, I’d put it about in the middle between best and worst. Lulu was no Bassey but she had a good voice and I think she would be more highly regarded had she sang a ballad in the vein of YOLT or TSWLM. Her voice is probably about on par with Nancy Sinatra or Rita Coolidge.

---------- Post added at 12:31 PM ---------- Previous post was at 12:27 PM ----------

Does anyone know if Pulp’s original demo for TND has ever seen the light of day? Would love to hear this. Jarvis Cocker is evidently a big John Barry fan. My dream would be a TND collaboration between Barry and Pulp.

Sorry to reply to such an old post but I’ve missed some good discussions.

Even though he probably didn’t record it for QoS, I can’t help thinking this is what he may have had in mind before the producers pushed for White and Keys. I really think the era when the Bond composers were given more control over the theme songs resulted in (usually) better titles. One of the reasons Barry refused to come back in the 90s was because the producers were no longer willing to let him compose and have a hand in producing the title themes. It’s a shame really, and kind of a slap in the face to a man who had proven he could compose top notch, memorable titles.

The Bond themes are crucial promotional tools for the movies and Barry's themes were almost all failures in terms of singles chart performance. Conversely, the songs by others were almost always hits. This sample of highest chart placings (UK Top 100 charts) alternates between Barry and other composers:

Diamonds Are Forever (Barry) 38

Live And Let Die (McCartney) 9

MWTGG (Barry) did not chart!

Nobody Does It Better (Hamlisch) 7

Moonraker (Barry) did not chart!

For Your Eyes Only (Conti) 8

All Time High (Barry) 75


Looking at those numbers, I would forgive the producers for deciding to take Barry off title song duties, he was the kiss of death!

Looking at those numbers, I would forgive the producers for deciding to take Barry off title song duties, he was the kiss of death!

I don't think they were as interested in making massive hit singles back in the day, not like it is today. The albums, however, may have been a different story. The Goldfinger LP knocked The Beatles off the top of the charts!

The Bond themes are crucial promotional tools for the movies and Barry's themes were almost all failures in terms of singles chart performance. Conversely, the songs by others were almost always hits. This sample of highest chart placings (UK Top 100 charts) alternates between Barry and other composers:

Diamonds Are Forever (Barry) 38

Live And Let Die (McCartney) 9

MWTGG (Barry) did not chart!

Nobody Does It Better (Hamlisch) 7

Moonraker (Barry) did not chart!

For Your Eyes Only (Conti) 8

All Time High (Barry) 75


Looking at those numbers, I would forgive the producers for deciding to take Barry off title song duties, he was the kiss of death!

This is selective horseshit. You’re cherry picking. You chose 4 Barry compositions to prove your point. He either wrote or arranged title music for TWELVE Bond films. And you failed to even mention non-Barry penned themes that didn’t do as well, I.E. LTK

Do you know which Bond song was the only one to hit number one on the US Billboard chart?

A View To A Kill, co-composed by Barry. His penultimate Bond title. It also performed well in the UK. It consistently appears on Duran Duran best of/hits compilations (considered one of their better known songs alongside Rio, Girls On Film and Come Undone) and it usually rounds out the top 5 in any list of best Bond titles, with perhaps Live and Let Die, Nobody Does It Better, and the original Bond theme edging it out more often than not.

His final composition, The Living Daylights, reached the top 10 in the UK and several other countries.

Goldfinger was a top ten hit in the US and abroad. Thunderball performed well and consistently ranks as one of the series’ best.

YOLT performed very well, reaching US Billboard 44 and adult contemporary top 10...not bad considering it was released in 1967, a year dominated by psychedelia and rock.

Even We Have All The Time In The World, whilst failing to chart on original release, became a surprise hit in the 90s, after gaining a second life via featuring in a UK alcohol advertisement. If anything, this proved Barry’s music was more than viable and relevant to the “generation X”

Not to mention his music was heavily featured in samples by bands like Portishead, Fatboy Slim, Sneaker Pimps, etc. And he was cited as a major influence on a number of 90s and 2000s acts such as Air, Pulp, etc. The "Barry sound" was quite prominent in the DNA of a lot of popular 90s music. Even popping up in a Wu Tang Clan sample, if I remember correctly.

It’s a stretch to say his title songs were the kiss of death. His weakest tunes (Moonraker, All Time High) were attempts at recapturing the success of Nobody Does It Better, probably at least partially due to the wishes and directives of the filmmakers, so it’s not entirely fair to place their failures solely on Barry. TLD was not a huge hit in the US, but it was the producers who chose A-Ha as the title act, and aside from "Take On Me," they never really gelled with American audiences. I think Barry would have worked with The Pretenders on the title song if it had been his call. They were still pretty popular in the US circa '86, '87.

Score wise, he was still at his top game circa early 90s (coming off several Oscar wins in recent years and a lot of attention for Chaplin) so he was still “relevant” and capable of writing melodies that were catchy as hell.

Barbara Broccoli and Michael Wilson were short sighted idiots. Sheryl Crow? Seriously? They chose her over Pulp and KD Lang as more Bondian? They have more often than not shown that their musical taste is not attuned to popular taste since they took over the franchise. Even now many are scratching their heads at Writing On The Wall being picked over Radiohead’s song. Cubby may not have always had a great sense of where pop music winds were blowing but more often than not he was justified in allowing his composers to at least have partial control in composing the title songs. I blame most of the musical missteps in the last two decades on Barbara Broccoli and Michael G. Wilson. And I think the missteps during Barry's tenure are not entirely his fault, as you have to remember he was just a hired hand acting on the wishes of Saltzman and Broccoli who both had the final word.

THE LIVING DAYLIGHTS is now posted.

DR. NO is now posted.

Sadly, not a lot that could be done with the limited sources available. I am sure someone could top this if they wanted to but it is what it is.

Many thanks indeed! Am looking forward to listening to this!

THE LIVING DAYLIGHTS is now posted.

Thank you. My favorite Bond score and movie till date. Looking forward to the rest.

---------- Post added at 03:20 PM ---------- Previous post was at 03:20 PM ----------


THE LIVING DAYLIGHTS is now posted.

Thank you. My favorite Bond score and movie till date. Looking forward to the rest.

Looking at those numbers, I would forgive the producers for deciding to take Barry off title song duties, he was the kiss of death!

What total nonsense.

TLD, my fave latter day Barry score. Thanks.

---------- Post added at 08:07 AM ---------- Previous post was at 07:50 AM ----------


I don't think they were as interested in making massive hit singles back in the day, not like it is today. The albums, however, may have been a different story. The Goldfinger LP knocked The Beatles off the top of the charts!

Soundtrack albums were a pretty big deal back then. Even score albums with all instrumentals often sold pretty well. Nowadays it's a little more of a niche market, so I imagine the producers are more concerned with getting a hot big name act to do a title song, whilst the film score becomes an afterthought, so long as the composer drops the Bond theme in at key moments, I doubt they really pay a ton of attention and don't really give a flying fuck if the score is completely untied to the DNA of the title song.

Hence why we see someone like Adele (not to trash her, I quite enjoyed her Bond tune and I'm not really an Adele fan), Sam Smith over Radiohead, or why we'll probably never see Shirley Bassey chosen. It's not going to be about talent or who's a better fit in many cases, but rather who is the most current and relevant, big name prestige acts or whatever--so Jack White and Alicia Keys it is, sorry, Ms. Bassey. I'm pretty sure it's why Crow was chosen over Lang. Lang could hit the notes and most I talk to agree her tune was superior and more Bondian, but an openly gay singer with tomboy looks vs one of the biggest pop acts of '97? No contest as far as dollar signs go. I like how Arnold basically said screw it and still heavily referenced Lang's song throughtout that score though. He knew they'd written the better song. My dream alternate reality for TND would have been Barry and Pulp working together though.

I'd have like to have seen Newman get a shot at co-composing the songs to one of the films he scored. I think he could've done something interesting with Adele. Boggles me why they weren't paired up.

Thanks KFG for this new score. One of the best of the serie.

Thanks for TLD, some nice additions there.

THE LIVING DAYLIGHTS is now posted.

THANK YOU!

My favorite Barry Bond score of all time, along with AVTAK.

I the Dr No soundtrack here, does the James Bond Theme (John Barry version) feature in the movie or any of the trailers?

I the Dr No soundtrack here, does the James Bond Theme (John Barry version) feature in the movie or any of the trailers?

That's a single version recorded by the John Barry Orchestra. I'm not sure when it was recorded but it appears on several Barry compositions.

DR. NO is now posted.

Sadly, not a lot that could be done with the limited sources available. I am sure someone could top this if they wanted to but it is what it is.

You did what you could. And two unreleased clean tracks as heard in the film with great sound are better than non imo. Thank you very much!

---------- Post added at 06:10 PM ---------- Previous post was at 06:01 PM ----------



In some ways the women in Connery era were more "feminist" icons than those in the Moore era[/QUOTE]

Yes, clearly they were

---------- Post added at 06:12 PM ---------- Previous post was at 06:10 PM ----------


I won't post any of the Dr No ones at this point, not until after KFG posts his DN selection. I feel like we are already intruding enough on to his thread. I'll dig out some of the others, although some of them really aren't up to much. But they are the best I've got for now.

Keen on listening to what you came up with now that No have been posted :)

I don't think they were as interested in making massive hit singles back in the day, not like it is today. The albums, however, may have been a different story. The Goldfinger LP knocked The Beatles off the top of the charts!

What EON would have really wanted from a theme song is radio plays; publicity for the movie rather than vinyl sales. Hit singles are a better generator for that than albums (realistically, �Teasing the Korean� would not get a lot of airplay!); a high chart placing, and a long time on the chart, would result in considerable exposure of a 3 minute long free commercial!

Ironically given the Beatle-topping achievement you mention, it was probably Paul McCartney who drew attention to the underperforming nature of the Barry themes and made EON realise what a powerful weapon they really had in a Bond theme song. I used the UK chart positions for comparisons, but on the US chart �Live And Let Die� was a much bigger hit, reaching number 2 and staying there for several weeks IIRC. Hard to put a price on the kind of exposure that would have got.

THE LIVING DAYLIGHTS is now posted.

MUCH appreciated. Ambitious and thanks also for the many bonus tracks including 'Sacred Heart' :D

DR. NO is now posted.

THE LIVING DAYLIGHTS is now posted.
Thanks for these 2 albums. :) :)
Best regards.

This is selective horseshit. You�re cherry picking. You chose 4 Barry compositions to prove your point. He either wrote or arranged title music for TWELVE Bond films. And you failed to even mention non-Barry penned themes that didn�t do as well, I.E. LTK

No, I didn�t cherrypick, I listed a continuous run of movies leading to where John Barry was demoted to co-composer of the theme song. His track record for producing hit songs was not good to that point.

�Licence To Kill� actually did well on the UK chart (which the other placings are from), reaching number 6, better than any of Barry�s solo efforts. Sorry but �We Have All the Time�� becoming a hit off the back of a Guinness commercial 25 years later doesn�t count here, because the comparison is between Bond themes as contemporaneous �support acts� for their movies, that is why they exist after all. In that respect the song was another misfire, failing to make the Top 100 chart in both the UK and US; that sounds crazy now, it�s a classic song not just in Bond terms but in wider culture, but originally it made little impact at all.



Do you know which Bond song was the only one to hit number one on the US Billboard chart?

A View To A Kill, co-composed by Barry. His penultimate Bond title. It also performed well in the UK. It consistently appears on Duran Duran best of/hits compilations (considered one of their better known songs alongside Rio, Girls On Film and Come Undone) and it usually rounds out the top 5 in any list of best Bond titles, with perhaps Live and Let Die, Nobody Does It Better, and the original Bond theme edging it out more often than not.

His final composition, The Living Daylights, reached the top 10 in the UK and several other countries.


A significant new factor was in play with these particular theme songs; the rise of MTV and the pop video. Duran Duran and a-ha were well-known for their extremely successful videos (Girls On Film, Rio, Take On Me) before getting the Bond themes, and they would undeniably drive airplay on VH1 and the like. Must have been awful for a genius like Barry to be forced into composing with a �flavour of the month� pop band. But if JB subsequently refused to collaborate with contemporary pop acts, unfortunately the promo video exposure provided by a �pop star� would be seen as a greater asset to the next movie than a score by John Barry, and his past record (excuse pun) in the charts would not have helped win any argument for retaining solo composer duties.

Personally I think they should stop messing about with pop singers and just use OHMSS as the theme music for EVERY Bond movie.

THE LIVING DAYLIGHTS is now posted.

Brilliant! Thank you! My favorite score from Barry.

That's a single version recorded by the John Barry Orchestra. I'm not sure when it was recorded but it appears on several Barry compositions.

I'm not sure that it is; the 7" single version doesn't seem to be on the new expanded album at all. Was the John Barry single on the old expanded album? It is on my iTunes copy, but I sometimes add in extra tracks to albums so am not certain if that's how it was issued originally.


I'm comparing the new expanded album to the old one (so that I can just drop in any new tracks to iTunes), as far as I can tell the differences are;

James Bond Theme/Main Titles/Kingston Calypso Same music, but is now one track instead of two

Sexy Golf is new

The old track Drugged is renamed A Visit From The Doctor

Kingston Calypso (Coupland vocal version) is new.

James Bond Theme (John Barry version) is new, not the 7" single version.

OK, according to wikipedia the 7" single is 1.48 long, so it isn't the single version

This one is around 1.48 -

https://www.youtube.com/watch?v=ye8KvYKn9-0

but this one is longer, but listed as the single version -

https://www.youtube.com/watch?v=hSD9uJCR2Nw

The Living Daylights Main Title (Film Ver.)
https://mega.nz/#!IlcXxBDI!Pcu4LBPSHk60wY-qjVGKX4trTdRnFNlX6g1jUGRo_2E

No, I didn’t cherrypick, I listed a continuous run of movies leading to where John Barry was demoted to co-composer of the theme song. His track record for producing hit songs was not good to that point.

Ah, well then we misunderstood each other.

Is there any documentation on who exactly contributed what to "A View To A Kill"? I had assumed Barry was mostly responsible for the melody and that Duran Duran were more responsible for the lyrics. Barry had said his experience working with them was difficult, that all of the DD members argued with one another and had difficulty agreeing on anything, so I have to wonder how much of the final melody came from them and how much from Barry. I am not formally trained so forgive me if my terminology seems amateurish but as a fan of both Barry and 80s period Duran Duran, the song bears a lot more resemblance to Barry's music from that period than to DD songs. I don't just mean in the most obvious elements like the Orchestra hits, but in things like chord progression and general structure.


Sorry but “We Have All the Time…” becoming a hit off the back of a Guinness commercial 25 years later doesn’t count here, because the comparison is between Bond themes as contemporaneous “support acts” for their movies, that is why they exist after all. In that respect the song was another misfire, failing to make the Top 100 chart in both the UK and US; that sounds crazy now, it’s a classic song not just in Bond terms but in wider culture, but originally it made little impact at all.

I thought it was perfectly relevant to the topic of Barry as a potential 90s era Bond composer/song composer. It was proof that even if 25 years late, his music was relevant and appreciated by a younger, "hipper" crowd. That is why I mentioned heavy sampling of his music by many 90s acts, not to mention the number of pop musicians who've name dropped him as an influence over the years. I'm surprised Broccoli and Wilson didn't take note of that when negotiating with him over Tomorrow Never Dies. There's no good reason the producers could not have at least kept him at co-composer status and had him working with newer pop acts.


Must have been awful for a genius like Barry to be forced into composing with a “flavour of the month” pop band. But if JB subsequently refused to collaborate with contemporary pop acts, unfortunately the promo video exposure provided by a “pop star” would be seen as a greater asset to the next movie than a score by John Barry, and his past record (excuse pun) in the charts would not have helped win any argument for retaining solo composer duties.

I doubt it was that awful for Barry. He'd been working with flavors of the month since the late 50s in his days in The John Barry Seven. Adam Faith, Matt Monro, Ms. Bassey, Tom Jones, Diana Summer...take your pick.

The industry may have changed a lot by '85, but he wouldn't have been a stranger to the way marketing in pop music worked. He would've been quite used to working with the occasional diva or moody pop star.

The MTV era was certainly an amplification of looks over substance, but that element was always part of the DNA of music marketing.


Personally I think they should stop messing about with pop singers and just use OHMSS as the theme music for EVERY Bond movie.

No argument from me on this point :)

Although it's not just any pop singers I have a problem with performing Bond titles. I just want them to be a good fit. Jack White and Alicia Keys...both very talented producers and writers, but turned out a terrible fit for Bond. Same is true with Sheryl Crow and Madonna, IMHO. Sometimes the least obvious choices make for the best performances. For instance (and I know opinion tends to be sharply divided here), I thought Garbage were a great fit, but if I hadn't heard the song I might not pick them as first choice--by the way, an instance where Arnold was allowed to compose the music! My point here being that the most obvious choice shouldn't be the biggest flavor of the month (i.e. Sheryl Crow circa '97) and that it's a lazy way to go about recruiting singers.

thank you so much !

I'm not sure that it is; the 7" single version doesn't seem to be on the new expanded album at all. Was the John Barry single on the old expanded album? It is on my iTunes copy, but I sometimes add in extra tracks to albums so am not certain if that's how it was issued originally.


The version on the original Dr. No expansion (at approx. 2:00 length) is, IIRC, the original Barry 7 single released on EMI (appears on the EMI Years collection as well) was recorded circa '62 or early '63. I am not sure if the "Norman" version saw single release or if it appeared exclusively on the OST album.

The version on the new Dr. No expansion appears on multiple Barry compilations, including Themeology and if I remember correctly a '66 Barry compilation. I believe it was recorded for Columbia records, and I think it was circa '65 or '66. I had spent a lot of time researching this at one point and I used to have bookmarked links on my last computer but of course I do not now. The orchestration and guitar lead me to believe '66. It reminds me a bit of the Bond theme as it sounded in the YOLT gunbarrel sequence, particularly with the muted guitar. He also did a re-recorded version of Capsule in Space (also on Themeology and other comps) sometime circa '67 but I am not sure if it was released as a single or B-side or was exclusively recorded for a best of collection. It wasn;t uncommon for him to do re-recorded versions of theme for those collections (probably due to licensing and whatnot), for instance the collection Ready When You Are, J.B. consists exclusively of re-recordings, making it an interesting album as he used a scaled down orchestra, so it sounds like a more direct evolution from his JB7 days. If you ever have a chance, I recommend seeking it out, there are 4 tunes from OHMSS in addition to an instrumental "The More Things Change," rumored to have been a rejected theme he'd intended for OHMSS.

Anyway, the interesting thing is I've seen either version of the Bond theme pop up on different compilations, depending on which label was responsible. If it's an EMI collection, you get the earlier JB7 version, if it's a Columbia or Sony collection, you get the other, longer version. I personally prefer the latter version and feel it does the tune more justice. I could see it being dropped into any of the later Connery films and fitting flawlessly.

---------- Post added at 01:12 PM ---------- Previous post was at 01:05 PM ----------


OK, according to wikipedia the 7" single is 1.48 long, so it isn't the single version

This one is around 1.48 -

https://www.youtube.com/watch?v=ye8KvYKn9-0

but this one is longer, but listed as the single version -

https://www.youtube.com/watch?v=hSD9uJCR2Nw

I'm not trying to be contentious but I have found Wikipedia is not always very reliable for info pertaining to older discographies. I had to really dig and scour the internet when I was researching old Barry singles, often cross-referencing message boards like FSM, discography sites devotied to cataloging old vinyl releases, Barry fan site discogs, etc. And I'm still not sure my information on this topic is 100% accurate. There are some Barry fans on facebook groups who might be able to help, as some are collectors of old Barry vinyl.

Thanks for Dr. No and The Living Daylights.

I thought it was perfectly relevant to the topic of Barry as a potential 90s era Bond composer/song composer. It was proof that even if 25 years late, his music was relevant and appreciated by a younger, "hipper" crowd. That is why I mentioned heavy sampling of his music by many 90s acts, not to mention the number of pop musicians who've name dropped him as an influence over the years. I'm surprised Broccoli and Wilson didn't take note of that when negotiating with him over Tomorrow Never Dies. There's no good reason the producers could not have at least kept him at co-composer status and had him working with newer pop acts.


I doubt it was that awful for Barry. He'd been working with flavors of the month since the late 50s in his days in The John Barry Seven. Adam Faith, Matt Monro, Ms. Bassey, Tom Jones, Diana Summer...take your pick.


(I won�t quote the whole posts to save some space!)

The situation with earlier themes was very different IMO, as Bassey and Jones etc weren�t co-writers. They may have kicked up a fuss in the studio about a certain note or phrase, but they were there to record a song already written. Collaborating with a group like a-ha right from the start must have been a whole different ballgame, and as JB refused to ever do it again, maybe it was not a great experience.

To me, A View To A Kill does have more of a John Barry sound to it than the TLD theme. Maybe Duran Duran were smart enough to defer to the master, and a-ha preferred to have more input? No idea if that�s what happened, but I would say one of those themes is a classic and one isn�t!


The sampling situation I think may only have made the case stronger against Barry as solo composer; songs could be hits if a current pop act incorporated some JB input into their own style - apparently the route the producers wanted to go, but Barry didn�t.


Yep, wiki is unreliable on the point of those track timings; the original movie version is 1:48 and the John Barry single version is 1:58. Certainly agree that the longer version newly included on the expanded album is superior to the single version, I suppose because Barry really had the full "Bond sound" and orchestrations nailed by '66 (around '66 is a good guess for this version by the sound of it). Even so, I won't be ditching the single version, and will create my own "expanded expanded" album with both!

(I won’t quote the whole posts to save some space!)

...

Do you have any soild proof to all of this or are you just assuming?

---------- Post added at 09:35 PM ---------- Previous post was at 09:30 PM ----------


Thank you as always for your work on these scores. Much appreciated. Someone could top it only if they were to do a proper rerecording.

Agreed. I don't know if you saw my previous post, but I just wondered if you're planning on posting some more unreleased music from Dr. No and From Russia With Love?

Do you have any soild proof to all of this or are you just assuming?

As Anaximander says, Barry did express negative views on the pop group collaborations, and the EON producers did prioritise getting pop stars over sticking with Barry as score composer. They apparently wanted his style of score, because they hired David Arnold to mimic it instead when JB wouldn�t come back. By the 90s, musical integrity for the movies came second to the publicity draw of a pop star (see what happened to Arnold on �Tomorrow Never Dies� for proof of that).

Bassey and Jones were not co-writers, that�s well established I think.

Songs which sampled JB could do very well indeed (e.g. see Robbie Williams for proof).

The original Bond theme track is 1:48, the single is 1:58, proof of these facts is easily checkable.

Proof for the origin of the longer �James Bond Theme� cover version being �66 is less definitive; it may be the version included on this album;

https://www.discogs.com/John-Barry-His-Orchestra-The-Great-Movie-Sounds-Of-John-Barry/release/1640819

which would make it �66 at the latest, but possibly earlier.


And I will be making an expanded album which includes the single version and the longer version, but you�ll just have to take my word for that!

Do you have any soild proof to all of this or are you just assuming?

---------- Post added at 09:35 PM ---------- Previous post was at 09:30 PM ----------



Agreed. I don't know if you saw my previous post, but I just wondered if you're planning on posting some more unreleased music from Dr. No and From Russia With Love?

Hey there. I'll try and get a few things loaded up in the next few days. Bit short of time so far this week. Don't build your hopes up though for anything too exciting. We'll be barrel scraping.

I don't know, I think there's a fine distinction between incorporating a snippet or riff from an original JB composition and just aping the style, as Arnold and every title composer since Barry have done--I don't think the Robbie Williams, Portishead, Sneaker Pimps, et al songs that used Barry samples would have been as memorable or successful had they not contained those samples, which in almost every case served as the main hooks of those songs. Maybe I'm biased but I always felt Arnold's scores were too hollow and frenetic. They got the brassy bang of Barry right but usually lacked the soul and conveyance of emotion and excitement of Barry scores. I've tried to enjoy Arnold's Bond scores, but sometimes I think his desperate aping of Barry's style has almost turned me off more than say, the work of Hamlisch, Conti, Kaman, et al, as they brought more of their own voice to their respective scores, even if the final results weren't always the most "Bondian." Even when he quotes motifs from movies like FRWL and OHMSS, it sounds off putting and artificial to me. If it were up to me, I'd just hire someone with a sampler and drum machine to construct scores from all the old Barry 007 music. I'd track the hell out of the new films with his music and I think it would fit perfectly.

It's akin to getting other composers to do Star Wars...Kevin Kiner and Michael Giacchino are able to nearly replicate the sound and yet something is missing.

For someone who wrote fairly simple and repetitive arrangements, I don't feel like any current composers or songwriters have ever come close to being able to replicate that Barry sound, except maybe an occasional Japanese composer (Hisaishi sometimes sounds like the second coming of Barry's more romantic side). "Night At the Opera," "Vesper," and a few snippets from Skyfall came very close to capturing the sound, but still sound a little "off."

Still, in fairness, I will concede the Bond film series never needed Barry to continue, just as it was proven it didn't need Connery to continue, even if both men contributed elements and measuring posts that survive in the series' DNA to this day in terms of what makes a proper Bond film.

---------- Post added at 07:39 PM ---------- Previous post was at 07:33 PM ----------


Hey there. I'll try and get a few things loaded up in the next few days. Bit short of time so far this week. Don't build your hopes up though for anything too exciting. We'll be barrel scraping.

Yeah, between you and Kafaraq, I really can't imagine what else is left to post.

I did enjoy your Bond 77 recreation on your youtube channel :D

I don't know, I think there's a fine distinction between incorporating a snippet or riff from an original JB composition and just aping the style, as Arnold and every title composer since Barry have done--I don't think the Robbie Williams, Portishead, Sneaker Pimps, et al songs that used Barry samples would have been as memorable or successful had they not contained those samples, which in almost every case served as the main hooks of those songs. Maybe I'm biased but I always felt Arnold's scores were too hollow and frenetic. They got the brassy bang of Barry right but usually lacked the soul and conveyance of emotion and excitement of Barry scores. I've tried to enjoy Arnold's Bond scores, but sometimes I think his desperate aping of Barry's style has almost turned me off more than say, the work of Hamlisch, Conti, Kaman, et al, as they brought more of their own voice to their respective scores, even if the final results weren't always the most "Bondian." Even when he quotes motifs from movies like FRWL and OHMSS, it sounds off putting and artificial to me. If it were up to me, I'd just hire someone with a sampler and drum machine to construct scores from all the old Barry 007 music. I'd track the hell out of the new films with his music and I think it would fit perfectly.

It's akin to getting other composers to do Star Wars...Kevin Kiner and Michael Giacchino are able to nearly replicate the sound and yet something is missing.

For someone who wrote fairly simple and repetitive arrangements, I don't feel like any current composers or songwriters have ever come close to being able to replicate that Barry sound, except maybe an occasional Japanese composer (Hisaishi sometimes sounds like the second coming of Barry's more romantic side). "Night At the Opera," "Vesper," and a few snippets from Skyfall came very close to capturing the sound, but still sound a little "off."

...



---------- Post added at 07:39 PM ---------- Previous post was at 07:33 PM ----------



Was about to write an answer to the previous post, but Animaxander beat me to it :)
In the end it all comes down to personal taste what you prefer or don’t.
The Norman version of the Bond theme is not listed as a single release om discogs, but I did find this: https://www.discogs.com/Monty-Norman-Excerpts-From-Dr-No-Film-Sound-Track/master/993078 and https://www.discogs.com/John-Barry-Seven-And-Orchestra-The-The-James-Bond-Theme/release/1764651
No timing info sadly.
There seems to be some confusion surrounding who actually played the version of the James Bond theme used in Dr. No. The sources Wikipedia uses names The John Barry Orchestra as performing https://en.m.wikipedia.org/wiki/James_Bond_Theme while on The Best of James Bond 30th... the performer is credited as The Monty Norman Orch https://www.discogs.com/Various-The-Best-Of-James-Bond-30th-Anniversary-Collection/master/116626
The main title credits read “James Bond theme played by John Barry and Orchestra”[COLOR="Silver"]

---------- Post added at 06:08 PM ---------- Previous post was at 05:41 PM ----------

[QUOTE=vzok;3686699]Hey there. I'll try and get a few things loaded up in the next few days. Bit short of time so far this week. Don't build your hopes up though for anything too exciting. We'll be barrel scraping.

Hey. Ok. Sounds good all the same.

Here is Death Of Trueblood, as best as I can clean it up.

https://www.youtube.com/watch?v=YvSlCFeNAaQ