Love or hate Bill Conti's For Your Eyes Only score?

Matt SMatt S Oh Cult Voodoo ShopPosts: 6,596MI6 Agent
I both love and hate the FYEO score.

Things I love:
- Title theme holds up very well
- Title theme used well throughout the score
- Bond theme not overused, but it's used in the right moments
- Music fits the on-screen action very well
- One of the most epic gunbarrels (though it doesn't need the cowbell)
- Runaway is a fantastic track that feels like a proper piece of music but still fits the action
- Ski...Shoot...Jump is a very creative track

Things I hate:
- The music sometimes makes the film feel more lighthearted than I think it should feel. John Barry used serious music throughout MR to make a silly film feel a little less silly, and FYEO could have used that as well.
- Doesn't have a Bond sound or a spy sound
- Makes the film feel dated. If Barry was able to score the film, the film would without a doubt hold up better than any of Moore's other Bond films.

Though the music sounds dated, that doesn't by any means make it bad music. It's just bad in the context of the film. Overall, I absolutely love the music but I think it holds back the film. What are your thoughts?
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Comments

  • HigginsHiggins GermanyPosts: 16,618MI6 Agent
    I absolutely love it!
    And this hasn't changed since the first time that I've seen the movie in the cinema back in 1981!
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  • ACACIA_AVENUEACACIA_AVENUE UKPosts: 1,774MI6 Agent
    Higgins wrote:
    I absolutely love it!
    And this hasn't changed since the first time that I've seen the movie in the cinema back in 1981!

    That makes three of us -{

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  • HigginsHiggins GermanyPosts: 16,618MI6 Agent
    I can tell you where you can get a nice and bright pair :D
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  • HigginsHiggins GermanyPosts: 16,618MI6 Agent
    wanted to add, that I am listening to the FYEO CD right now - a wonderful track - full of ideas and with a mediterranian tone.

    There are some disco bits and synthie bits now and then, but the score is much better than often repeated here on the board.

    Everyone stating that it has not aged well, I suggest to put it in the player and think again.

    FYEO with the Fluegelhorn solo by Derek Watkins - if you don't like that you must have a heart of stone!
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  • PaperbillPaperbill FloridaPosts: 810MI6 Agent
    I love it too!
  • ThunderpussyThunderpussy Behind you !Posts: 63,792MI6 Agent
    I'd be another fan. {[] love it, some great tracks on it like
    Runaway and Submarine.
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  • BarbelBarbel ScotlandPosts: 36,053Chief of Staff
    It improves drastically after the snow scenes, and I like the flugelhorn piece too.
  • Matt SMatt S Oh Cult Voodoo ShopPosts: 6,596MI6 Agent
    Barbel wrote:
    It improves drastically after the snow scenes, and I like the flugelhorn piece too.

    It's mostly the action cues in the first half that are the problem, like A Drive in the Country, Melina's Revenge (the part that is Bond's revenge against Blofeld) and Runaway. I love all these tracks, especially Runaway, but even in the parts of the soundtrack that hold up well, I still really want to hear Barry's music in the film. Barry wrote some of his best scores between MR and OP, like Somewhere in Time, Body Heat and especially Raise the Titanic. I think it was his best few years, which makes the lack of a Barry score in FYEO even more disappointing.
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  • BarbelBarbel ScotlandPosts: 36,053Chief of Staff
    {[] Agreed.
  • Bondage007Bondage007 AustraliaPosts: 371MI6 Agent
    I used to like it when I was young, then I found it ok, now I hate it. It drags the film down in my rankings. The gunbarrel music is the 2nd best though
    2019 Bondathon...in progress (6) FRWL (7) GE (8) FYEO (9) TND (10) MR (11) GF (12) LALD (13) DAF (14) LTK (15) TMWTGG (16) TB (17) TSWLM (18) DAD (19) AVTAK (20) YOLT (21) QOS (22) SF (23) TWINE (24) SP
  • heartbroken_mr_draxheartbroken_mr_drax New Zealand Posts: 2,073MI6 Agent
    Watching this film recently, I found that the soundtrack has improved in regards to how it fits with the film. I noticed that the quality of the composing and the almost constant scoring (as opposed to Barry who I get the feeling didn't add music if it didn't fully need it) creates an excellent atmosphere that is unique. Unlike LTK, where I feel Kamen's soundtrack just feels a bit lacking in soul, Conti's score is full of character.

    I re-listened to the soundtrack in entirety on the way to work this morning and right from the get-go, including the title song, you can hear Bill Conti's talent for putting together that true feeling cinematic sound.

    What's great:

    - The lushness of the soundtrack and blend of electronic and full orchestra - particularly the brass notes.
    - Usage of Bond theme within A Drive in the Country, Submarine, Gunbarrel, Melina's Revenge - Conti has used the Bond theme in one of the most creative and excellent sounding ways out of all the non-Barry composers.
    - The suspense created in Gonzales Takes a Dive, St. Cyril's, Ski Shoot Jump, Run Them Down, The Climb.
    - Espionage cues when Bond is in Italy.
    - Instrumental versions of the title theme when Bond is in Corfu.
    - Title song is a great Bond song and fits the film perfectly - it's also an excellent song when not in context of Bond too.

    What's no so great:

    - Same as Matt S said at the top of this thread - sometimes the tone is a little too lighthearted.
    - Overuse of percussion at times.
    - Ending of Runaway could've been toned down a bit, in the film it doesn't totally match the pictures, again makes it lighthearted.

    FYEO would be my favourite non-Barry/Arnold Bond soundtrack.
    1. TWINE 2. FYEO 3. MR 4. TLD 5. TSWLM 6. OHMSS 7. DN 8. OP 9. AVTAK 10. TMWTGG 11. QoS 12. GE 13. CR 14. TB 15. FRWL 16. TND 17. LTK 18. GF 19. SF 20. LaLD 21. YOLT 22. NTTD 23. DAD 24. DAF. 25. SP

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  • Le SamouraiLe Samourai Honolulu, HIPosts: 573MI6 Agent
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  • heartbroken_mr_draxheartbroken_mr_drax New Zealand Posts: 2,073MI6 Agent
    Barbel wrote:
    It improves drastically after the snow scenes, and I like the flugelhorn piece too.

    Is that in "The PM Gets the Bird"?
    1. TWINE 2. FYEO 3. MR 4. TLD 5. TSWLM 6. OHMSS 7. DN 8. OP 9. AVTAK 10. TMWTGG 11. QoS 12. GE 13. CR 14. TB 15. FRWL 16. TND 17. LTK 18. GF 19. SF 20. LaLD 21. YOLT 22. NTTD 23. DAD 24. DAF. 25. SP

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  • BarbelBarbel ScotlandPosts: 36,053Chief of Staff
  • Silhouette ManSilhouette Man The last refuge of a scoundrelPosts: 8,644MI6 Agent
    Barbel wrote:

    Yes, that is a really beautiful piece. :) -{
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  • heartbroken_mr_draxheartbroken_mr_drax New Zealand Posts: 2,073MI6 Agent
    Barbel wrote:

    Yes, that is a really beautiful piece. :) -{

    To me that track (while it is a little cliched like a Kenny G piece), highlights the quality of Conti's score.

    It has that heavily produced album sound that appeared in the 1980s that to me is similar to Julio Iglesias' 1100 Bel Air Place.
    1. TWINE 2. FYEO 3. MR 4. TLD 5. TSWLM 6. OHMSS 7. DN 8. OP 9. AVTAK 10. TMWTGG 11. QoS 12. GE 13. CR 14. TB 15. FRWL 16. TND 17. LTK 18. GF 19. SF 20. LaLD 21. YOLT 22. NTTD 23. DAD 24. DAF. 25. SP

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  • Napoleon PluralNapoleon Plural LondonPosts: 10,239MI6 Agent
    I would pay good money to have a Barry score superimposed on this film. That said, the title track is superb and the Drive in Country stuff does have a loud, modern sound. Barry did tend to drag some films down a bit, OP for instance. Perhaps if they had gone with a younger Bond Conti's score would not all sound so incongruous with the newly creaky Moore.
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  • thenoisydrumthenoisydrum Posts: 84MI6 Agent
    I absolutely love this soundtrack, there are some brilliant pieces on it.
    One that springs to mind, which I think is very creative, is the piece used when Rog is trying to get away from the bad dudes and gets in the lift with the skiers. He looks genuinely scared when the door re-opens.

    The music used for tne climb is very suspenseful and the gunbarrel with cowbell is absolutely stonking. Stonking? Yes, stonking!

    Oh, and Ski, Shoot, Jump is just perfect.
  • IanTIanT Posts: 573MI6 Agent
    edited March 2016
    Love it! I also loved Conti's score for The Thomas Crown Affair.

    In fact, I am just listening to the score now and the title song is one of the best ever!
  • MarcAngeDracoMarcAngeDraco Piz GloriaPosts: 564MI6 Agent
    I like it. I love how 80s it is, I love how Mediterranean it is, and I especially love the 'Run, Ski, Jump' track. Definitely up there with the best cues in the world of Bond. Very atmospheric, classy and with a great helping of espionage. Very James Bond.
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  • BruceMurdockBruceMurdock OhioPosts: 133MI6 Agent
    I enjoy it greatly so add +1 to the love column. :)
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  • heartbroken_mr_draxheartbroken_mr_drax New Zealand Posts: 2,073MI6 Agent
    PM Gets The Bird/FYEO is an incredible track.

    The mix between the love theme and the theme for the government is brilliantly done - the drums and brass instruments. Then what tops it off is the brilliant blend into the title song - very seamless.

    IMO, Conti's soundtrack is one of the most polished and cinematic scores from all of Bond. Not saying it's better than Barry/Arnold - it just has an excellent different sound.
    1. TWINE 2. FYEO 3. MR 4. TLD 5. TSWLM 6. OHMSS 7. DN 8. OP 9. AVTAK 10. TMWTGG 11. QoS 12. GE 13. CR 14. TB 15. FRWL 16. TND 17. LTK 18. GF 19. SF 20. LaLD 21. YOLT 22. NTTD 23. DAD 24. DAF. 25. SP

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  • smirkingrevengesmirkingrevenge Posts: 150MI6 Agent
    I remember a friend and I in the 90s were obsessed with finding this album. it was surprisingly hard to find Bond scores in the early 90s. We got one on vinyl in Hanway Street (amazing record shops) for £8 and when we got it home, it was even better than we had hoped for. He thought it was funny and cheesy, I actually thought it was completely cool, and being a DJ was a great addition to the LP collection. I still have it at home somewhere. I was so chuffed when they finally released the complete score in 2000. I love that CD ski...run...jump (or whatever it's called) was a very welcome addition. And then I found the Theme Song on 7" in a charity shop and the B side is Runaway, which is such a great piece of music. Unlike "Make it last all night" which is definitely terrible. :))
  • MilleniumForceMilleniumForce LondonPosts: 1,214MI6 Agent
    I really like it. Really fits the film, and it suits both the scenes in Greece and in Italy.
    1.LTK 2.AVTAK 3.OP 4.FYEO 5.TND 6.LALD 7.GE 8.GF 9.TSWLM 10.SPECTRE 11.SF 12.MR 13.YOLT 14.TLD 15.CR (06) 16.TMWTGG 17.TB 18.FRWL 19.TWINE 20.OHMSS 21.DAF 22.DAD 23.QoS 24.NSNA 25.DN 26.CR (67)
  • WadsyWadsy Auckland, New ZealandPosts: 410MI6 Agent
    I love it to death, for me it is the best score of the entire series, followed by The Living Daylights, A View To A Kill and Octopussy (all by John Barry).
    1. FYEO 2. OHMSS 3. LTK 4. FRWL 5. TLD 6. TSWLM 7. GF 8. AVTAK 9. MR 10. DN 11. SF 12. LALD 13. TB 14. OP 15. CR 16. GE 17. YOLT 18. TMWTGG 19. SP 20. TND 21. TWINE 22. QOS 23. NTTD 24. DAF 25. DAD 26. NSNA 27. CR '67

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  • hehadlotsofgutshehadlotsofguts Durham England Posts: 2,107MI6 Agent
    When Bond was running up the steps, the Rocky theme could've been used. I feel this would've killed the suspense and made it look camp.
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  • ToTheRightToTheRight Posts: 314MI6 Agent
    I love the score, dated and all for what it is. Some of the music is a bit too upbeat, but it doesn't bother me.
    Hard for me to picture the Citroen chase without A Drive In The Country. I imagine Barry might have created something along the lines of He's Dangerous, or possibly kept the majority of the scene music-less until a pivotal moment for it to kick in a'la the Mustang chase in DAF. Or, it might have been the scene to include a rendition of The James Bond Theme for this particular film.
    The gunbarrel I love!!! It's a traditional gunbarrel with Conti's own flair. In other words, he didn't change music cues like Arnold in TND or Hamlisch in TSWLM. I think it's great!
  • Matt SMatt S Oh Cult Voodoo ShopPosts: 6,596MI6 Agent
    ToTheRight wrote:
    I love the score, dated and all for what it is. Some of the music is a bit too upbeat, but it doesn't bother me.
    Hard for me to picture the Citroen chase without A Drive In The Country. I imagine Barry might have created something along the lines of He's Dangerous, or possibly kept the majority of the scene music-less until a pivotal moment for it to kick in a'la the Mustang chase in DAF. Or, it might have been the scene to include a rendition of The James Bond Theme for this particular film.
    The gunbarrel I love!!! It's a traditional gunbarrel with Conti's own flair. In other words, he didn't change music cues like Arnold in TND or Hamlisch in TSWLM. I think it's great!

    I'm pretty sure John Barry would have scored the Citroen chase with the light-sounding Bond theme he used in the Moore films, just as he did the gondola chase in MR and the car on the train tracks chase in OP. He would have saved a new action cue for the ski chase where we hear Runaway, or used the Bond theme there. He would have written a romantic theme for the occasions when Conti uses the FYEO theme, and its easy to imagine what that would have sounded like. It's easy to know what to expect Barry, and by this time he got lazy with some of his scores. I love the (over)use of the Bond theme in MR and OP, but it's lazy. TLD shows how to use the Bond theme alongside new cues. The biggest upside to Conti scoring FYEO instead of Barry is that we got something completely fresh. Barry could have done just more of the same with FYEO, though I appreciate all of Barry's later works despite this.

    I think everyone loves the FYEO gunbarrel. It has such power, and it sounds more cool than it sounds dated.
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  • heartbroken_mr_draxheartbroken_mr_drax New Zealand Posts: 2,073MI6 Agent
    Matt S wrote:
    by this time he got lazy with some of his scores. I love the (over)use of the Bond theme in MR and OP, but it's lazy.

    I disagree that his work came across as lazy. My only observation is that because the themes weren't as jazzy as they were in the 60s that perhaps they become less iconic.

    TMWTGG IMO would be his most underrated work, it's stunning. Especially listening to some of the extended tracks that have been stripped out of the film (on YouTube).

    Moonraker features Barry's deepest work, Flight Into Space IMO is up there with the greatest pieces of soundtrack in any film. It highlights Barry's talent to switch from a jazz composer, to a great film composer. It perfectly captures the mood, expanse and style of the film - and outer space themed composing.

    OP is probably Barry's flattest score, it isn't deep or dark, and it isn't overly light. It does feature an incredible love theme, in particular the track That's my little Octopussy which IMO is the most romantic Bond music that Barry has made. The score reflects an eastern theme without being overly cliched (elements of YOLT/TMWTGG are guilty of this) and maintains a serious Cold War feel.

    AVTAK and TLD begin bringing in a bit of experimentation (guitar and bass) and give the scores a bit more edge than his previous three. IMO TLD is his best work and a great soundtrack to end Bond on.
    1. TWINE 2. FYEO 3. MR 4. TLD 5. TSWLM 6. OHMSS 7. DN 8. OP 9. AVTAK 10. TMWTGG 11. QoS 12. GE 13. CR 14. TB 15. FRWL 16. TND 17. LTK 18. GF 19. SF 20. LaLD 21. YOLT 22. NTTD 23. DAD 24. DAF. 25. SP

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  • Matt SMatt S Oh Cult Voodoo ShopPosts: 6,596MI6 Agent
    Matt S wrote:
    by this time he got lazy with some of his scores. I love the (over)use of the Bond theme in MR and OP, but it's lazy.

    I disagree that his work came across as lazy. My only observation is that because the themes weren't as jazzy as they were in the 60s that perhaps they become less iconic.

    TMWTGG IMO would be his most underrated work, it's stunning. Especially listening to some of the extended tracks that have been stripped out of the film (on YouTube).

    Moonraker features Barry's deepest work, Flight Into Space IMO is up there with the greatest pieces of soundtrack in any film. It highlights Barry's talent to switch from a jazz composer, to a great film composer. It perfectly captures the mood, expanse and style of the film - and outer space themed composing.

    OP is probably Barry's flattest score, it isn't deep or dark, and it isn't overly light. It does feature an incredible love theme, in particular the track That's my little Octopussy which IMO is the most romantic Bond music that Barry has made. The score reflects an eastern theme without being overly cliched (elements of YOLT/TMWTGG are guilty of this) and maintains a serious Cold War feel.

    AVTAK and TLD begin bringing in a bit of experimentation (guitar and bass) and give the scores a bit more edge than his previous three. IMO TLD is his best work and a great soundtrack to end Bond on.

    I agree with all your points. The laziness I'm referring to is in comparison to the other scores he was doing at those times, not in comparison to other Bond works. Overall, Barry's works had become more and more similar to each other. His Bond works feature the most creativity of the era, though if it weren't for differing instrumentation we'd hear even more similarity in his works.
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