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Re: Listening to my new CDs

My thanks to Sir Miles.

The two pieces of music in question ARE legally available- in cover versions. Still, they're good versions which should satisfy all but the most obsessive of Bond music collectors (ie The Cat and myself!).

Nic Raine (who worked with John Barry as orchestrator on his last two Bond soundtracks) has recorded many Bond tracks with the City Of Prague Philharmonic Orchestra on the Silva Screen label- I've written an article on this which may be of some interest- including the "Freefall" and "Arrival At Chateau Drax" cues from MR.

These are available on the following CDs (and box sets)-

"Bond Back In Action Again"
"The James Bond Collection"
"The Ultimate James Bond Film Music Collection"
"James Bond The Gold Edition" ("Freefall" only)

A quick check on Amazon or eBaY should uncover at least some of these.

The soundtrack versions are officially unavailable and I can present no information on the availabiltiy of these for obvious reasons....

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Thanks Barbel, certainly didn't mean to slight you, appreciate you sharing your knowledge.

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You're welcome, Barry.

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Hey Nap, I stumbled on Freefall while on You Tube, is this the track you are looking for?

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Ah, thanks guys, I didn't pick up on this.

On most, bizarrely, Arrival at Chateau Drax seques into Freefall.

Barbel, you say The Gold Edition doesn't have Drax Chateau but it seems to here*:

http://www.amazon.co.uk/James-Bond-Prag … sim_m_h__3

Or is it listed wrongly? *Though on the actual back cover it's only got Freefall. It's certainly on the James Bond Collection with the gunbarrel and red background, which seems to have mostly the same tracks when I quickly perused it. Edit: Not true, JB Collection has a lot more. Gold Edition has the better cover, and I'm a sucker for that...

Last edited by Napoleon Plural (8th Mar 2010 12:55)

"This is where we leave you Mr Bond."

Roger Moore 1927-2017

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For more detail on these CDs, see http://jamesbond.ajb007.co.uk/silva-scr … nd-series/

Chateau & Freefall are sequed because that's the way it's done on these releases- many of the unreleased (although some of the originals have since appeared) pieces are quite short so linking them together makes sense, and the suites and medleys allow the producer to cram in more. Yup, I missed that Chateau is on that album because it isn't listed on the cover or the slipcase (though it is mentioned inside).

I'd go for the Ultimate version (well, I'm a mug, er, completist so I've got them all) since it's the most complete. A lot of Bond music, some of which has still not appeared on the official albums, for a reasonable price. They're still cover versions, of course, but acceptable until the real thing comes along.

And no, I'm not on a percentage from the label!

Last edited by Barbel (8th Mar 2010 22:36)

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Thanks Barbel, now I think about it I recall someone maybe  you talking about this stuff a few years ago and me losing track of the name of the orchestra that came highly recommended so I may snap these up.  ajb007/smile

"This is where we leave you Mr Bond."

Roger Moore 1927-2017

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Thanks, picked up a copy of Ultimate Collection on eBay for £3.50 last night!  ajb007/martini

"This is where we leave you Mr Bond."

Roger Moore 1927-2017

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Good price! Hope you enjoy it; star attractions are the Dr. No suite, "Tank Drive" from GE, and of course the tracks mentioned above (since none of them have been officially released).
I didn't care for the version of the MR main theme, though, and some of the TLD cues are a bit too fast. But these are minor crits, with so much Bond music in one package.

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Listened to YOLT last night, it was alright, but a couple of the tunes sounded similar to other Bond riffs I have heard before.  I did enjoy the title tune though, best Nancy Sinatra ever sounded.

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I picked up Octopussy for £3 at HMV, most have gone back to £8 now.

When John Barry took a break by not scoring TSWLM, he came back refreshed with MR, one of my fave soundtracks. Here he had another break, from FYEO, but his return is a relative disappointment. I understand he didn't get so much time to score this, due to questions as to whether he'd be available.

It opens with the song All Time High by Rita Coolidge. It's a lush, opulent song that anticpates the film quite well. Rita's voice doesn't sound as flat as I remembered it, maybe they tweaked it in the remaster.

The opening sax is quite horrible. It's Bond with cheese. It evokes the image of a 50+ Bond, double whisky in hand at a golf club dinner, chatting with Freddie Fisher about the new improved greens, and has he checked out the chairman's secretary, she's a bit of alright, I'd say... It's Abigail's Party, with Alison Steadman looking down her nose and putting on a vinyl record while dancing around to herself, G+T in hand while her nervous Nehrys friend looks on. It's the laughter from the last sketch fading away as Misters Barker and Corbett sit besuited behind the news desk, shiny and benign with their big TV-shaped spectacles, saying: "And now, ladies and gentlemen, will you please welcome our very special guest, Rita Coolidge..."

The rest of the album is a disappointment. ajb007/wink

There aren't many tunes on it. I mean, early stuff of Barry's was almost an operetta. With FRWL you can pick up what the film is like from tunes like Girl Trouble or The Golden Horn. Here you'd be none the wiser really, the music doesn't have any narrative, it just creates a mood. In YOLT Barry immersed himself in the culture and it sounds quite authentic, (if sometimes just as opulent and heavygoing as OP) the Wedding Theme for instance. You don't get this here, although I suppose it avoids the John Barry Does George Harrison approach. But it lends OP the feel of a tacky package holiday, as Bond sweeps in and out briefly.

The Bomb Theme (typo on the album, they call it Bond Theme!) I always liked the sound of, but it doesn't have the fast-moving flavour of the train, it's just the quiet, suspenseful mood thing and the album never really gets going. There's scarcely an action toon on it, which makes the whole thing seem middle-aged.

Then it's Rita back again, with the tune that sounds like something you'd hear in a north London Tandoori, on a mix tape between Barbra Streisand's A Woman In Love and Elaine Page and Barbara Dickson's I Know Him So Well. In that sense, it's an appropriate enough song I suppose.

"This is where we leave you Mr Bond."

Roger Moore 1927-2017

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Interesting review.
I think it is naff too. The only thing about the soundtrack that I do like are Rog's long legs on the cover art

Last edited by thenoisydrum (31st Mar 2010 08:15)

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A View To A Kill is better (I prefer the film too) as it has Duran Duran's punchy tune and Snow Job, the OHMSS derivative we hear in the Siberia pts.

That said, Snow Job gets used in different formats maybe three times. Otherwise you have slow, romantic variations on the theme tune which don't quite work, certainly not as well as the lush Moonraker romantic moments. Aside from that, there isn't too much on the album left, and Death of Tibbet is the moodiest, best track on it.

You can't compare this stuff with Barry's previous efforts on the likes of Moonraker, DAF, OHMSS etc, which come packed with tunes offering different themes and moods. This isn't really a sountrack in that sense, it's just background music.  ajb007/frown  It works fine in the film, but that's where it should stay.

"This is where we leave you Mr Bond."

Roger Moore 1927-2017

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I have all of the James Bond OSTs except for DAD (expanded) which I will get next week

I have

1) Dr No
2) From Russia With Love
3) Goldfinger
4) Thunderball (Expanded)
5) You Only Live Twice (Expanded)
6) On Her Majesty's Secret Service (expanded)
7) Diamonds Are Forever (Expanded)
8) Live and Let Die (Expanded)
9) The Man with the Golden Gun
10) The Spy Who Loved Me
11) Moonraker
12) For You Eyes Only (Expanded)
13) Octopussy (re-release with dialogue)
14) A View to Kill (remastered)
15) The Living Daylights (expanded)
16) Licence to Kill (import)
17) Goldeneye
18) Tomorrow Never Dies (non Expanded)
19) The World is Not Enough
20) Casino Royale (deluxe)
21) Quantum of Solace
22) Chris Cornel single - "You Know my Name"
23) Four Tet single  - "Crawl, end crawl"

"And if I told you that I'm from the Ministry of Defence?" James Bond  - The Property of a Lady

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perdogg wrote:

18) Tomorrow Never Dies (non Expanded)

By non-expanded, do you mean the standard version of the OST, which starts with the Sheryl Crow song and ends with Moby's take on the  "James Bond Theme"?

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Barbel wrote:
perdogg wrote:

18) Tomorrow Never Dies (non Expanded)

By non-expanded, do you mean the standard version of the OST, which starts with the Sheryl Crow song and ends with Moby's take on the  "James Bond Theme"?

The original OST. There was a second one released about 2000 with 5 extra tracks, including the "Bicycle" chase.

"And if I told you that I'm from the Ministry of Defence?" James Bond  - The Property of a Lady

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Yes, I know; just wanting to clarify.

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Had to take a drive up to Wisconsin yesterday, it's about a 4 hour drive to my destination so I took a number of Bond CD's with me.  Listened to the soundtracks from GF, YOLT, FRWL, TB, DAF, and OHMSS.  Surprisingly (at least to me) was that the one I liked the least was GF.  I love the film, but the soundtrack seemed to have more percussion than I remembered and lacked some of the more romantic Barry melodies I enjoy.  It had been awhile since I heard FRWL and I really enjoyed it, the music has a definite sinister mood to it. However, I was disappointed in the length of it, couldn't look while I was driving, but it seemed mighty short.  I was also surprised I like DAF, with the exception of a few of the Las Vegas lounge act tunes it had a nice Bond/Barry feel.  But, as I have stated before TB and OHMSS are still in a class by themselves.

Last edited by Barry Nelson (7th Jun 2010 19:18)

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Barry Nelson wrote:

It had been awhile since I heard FRWL and I really enjoyed it, the music has a definite sinister mood to it. However, I was disappointed in the length of it, couldn't look while I was driving, but it seemed mighty short.  I was also surprised I like DAF, with the exception of a few of the Las Vegas lounge act tunes it had a nice Bond/Barry feel.

Equally always surprised by DAF, which I really enjoy now; my earliest memories of it (while watching the movie) were how cheesy it sounded. But I think it's a superb soundtrack that more than many Bond OST can really be identified as being from a specific time and place.

My version of FRWL is about 36 mins, which is very short for 18 tracks. I'm not an expert, but as I understand it that is the complete original OST as released in 1963. I think the possiblity of extra tracks is unlikely given the masters don't exist.

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FRWL: The original LP release, the first CD release (1988 if my memory serves) and the 2003 remaster all have the same number of tracks.

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Ok, I tried to find a thread which talks purely about the CD issue of TND, but couldn't find it, not even with the search facility, so I'm bumping one of my old threads - one I'd forgotten - and talking about the additions to my collection which I have only recently got around to purchasing.

TND
starts with a dreadful theme song. I don't know if this is popular with most OO7 fans, personally, I can't stand it. I can't hear the lyrics, Sheryl Crow is straining to hit notes, its a dirge of the most inarticulate quality. I'm not a music expert, but it sound very, very, simple, as if she and her co-writer simply bolted the notes together and said 'that'll do'. I am not surprised it doesn't feature in David Arnold's soundtrack, which uses k.d.lang's Surrender to much good effect. I like Surrender. It's a fine song in its own right and would have suited the opening credits, leaving Moby to occupy the end titles with his rampaging Bond Theme. [Or even vice-versa]

So the songs are kind of hit and miss, but the soundtrack itself I found more than satisfying. The only false note was Paris and Bond, somewhat melodramatic and over-wrought. The opening salvo of White Knight was a lovely tension mounted reminisce through Bond sounds and sets the overall tone of the piece. Hamburg Break In / Out were urgent and Backseat Driver fun and fairly pounds along. Generally, Ms Crow's antics aside, I enjoyed this immensely.

Can anyone explain why the selections only come from the first half of the film? Is this because A&M had to press it before Arnold had finished his score?

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I'm sure we have a thread discussing this but like you I can't seem to find it just now, so in the meantime this may help: https://raymondusrex.wordpress.com/2016 … ever-dies/

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Barbel wrote:

I'm sure we have a thread discussing this but like you I can't seem to find it just now, so in the meantime this may help: https://raymondusrex.wordpress.com/2016 … ever-dies/

Nice link. Thanks.

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I do agree with your comments about the "Paris & Bond' cue chrisno1. I love Arnold's score, and I certainly do enjoy that cue as a standalone piece of music, but I've always felt that the big orchestral build is a overplaying it a bit.

By the way, if you haven't got the second TND soundtrack release that includes music from the second half of the film I do highly recommend it. There is a lot of great music to be heard there. I've always really liked the Bike Chase cue, and Kowloon Bay is also really good. I also enjoy the big orchestral finale in All in a Day's Work.

Golrush 007 Fan Art - http://007fanart.wordpress.com/

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I think I got the Tomorrow Never Dies soundtrack before seeing the movie. It's possible that the soundtrack came out before the movie. At first I thought the Sheryl Crow song was ok. I still like the background music of the song. I like the tech images during the credits. But I do feel that Surrender is better overall.

"Better late than never."