Interview With Bond Guitarist Vic Flick

By Matt Sherman:

Vic, you were handpicked for Paul McCartney's Thrillington album as his favorite guitarist, and have played on studio sessions with a Who's Who of international musicians. What's it like to know you've inspired several generations of rock and pop artists?

Speaking of early work with McCartney and Lennon, I recall George Martin (Beatles arranger and LIVE AND LET DIE composter) had specifically asked for me to play the guitar solo for Ringo's tune. In reality it was just another date and I didn't know who or what it was until I got to EMI # 2. I was contracted by EMI's booking office and was just told, "Electric Guitar, EMI Studio 2, 10 AM to 1 PM. It was there that George told me how pleased he was I could make the date. And the Thrillington album was quite an experience.



Working with the top musicians and with McCartney lurking in the background was conducive to good music and a couple of enjoyable sessions. Overall, I am very pleased to know that I have influenced many guitarists, Justin Hayward of The Moody Blues for one notable example. I am also humbled to know how successful many of them have become.


What was the most unusual place you recall hearing the JAMES BOND THEME played aloud, or some Bond score section, and thought, "One can't get away from this stuff anywhere?"

It does hit home how long the Bond theme has been following me, down through the years, when various TV channels have one of those "Bond Bonanza Weeks" of James Bond films. It seems like every five minutes the theme is being played, sometimes I'd think it's me playing on the film trailers with an original track, but mostly it would be other guitarists I'm hearing from covers.

Often, when I go store shopping in a mall somewhere, I hear a Bond song and think, "Maybe this will be going on for another 50 years..."


What was your favorite of the Bond films/soundtracks? And also, your second favorite, and why?

As a complete track, I like the GOLDFINGER music. John Barry was fresh back then and he put a lot of good ideas into the music. My second favorite would be LICENSE TO KILL where Michael Kamen wrote the music. I also feel attached to that score because Michael Kamen, Eric Clapton and I worked on the title tune. We all thought it was perfect for the film, but EON thought otherwise and commissioned Gladys Knight. One of my many jousts with that elusive lady, Fame!




What advice do you have for young musicians and guitarists? And what about people wanting to break into scoring for film and television?

Practice makes perfect, and always keep your enthusiasm for the work you are involved with. Sometimes we all think, 'What the heck am I doing this for... but it's all for a purpose." My advice for guitarists is turn off that FX pedal now and then, stop flying about with a lot of meaningless notes and make music with each note you play on the guitar.

It is very tough to get into film scoring nowadays as there are so many at it and so many willing to work for nothing, hoping for the big break. The only big break is the one the film producer gets when he gets a score for nothing, plus the publishing, plus half the writer's royalties. Stick out for a good deal for your composition and, meanwhile, keep your day job!