James Bond Letters

Compiled by Lukas Kendall

Ready for another detail of my personal life you could probably live without? I just got back from a batting cage where I hit the cool 80mph fastballs, but I created around five huge blisters all over my hands. So it actually is very uncomfortable for me to type right now. Here are the letters we got about our James Bond column recently.

Be here tomorrow for our Friday news update!

From: Karl Dworak <karl.dworak@twcable.com>

The Bond composer wish list was a fun read, but why does does George Martin's score for LIVE AND LET DIE rate as an "experiment?" For my money, it's the best non-Barry Bond soundtrack, and (horrors) has the best title track of all the films. I understand the lather Bond fans were in with David Arnold's take on the series, given his return to sound of the 60's. But really kids, it was nothing more than attempt to copy the Barry Sound, making it sound hollow to me. George Martin's sound was unique, but no less Bondian.

The Bond theme is heard throughout Martin's score, unlike the Hamlisch, Conti, Kamen, or Serra contributions, moreso even (to my ears anyway) than Barry scores for DIAMONDS ARE FOREVER and A VIEW TO A KILL. Martin also wrote a lush theme for Solitaire that consistently threads its way through the score. These other composers' Bond scores lack themes that could tie their music together, which is why TND is so revered (I'm assuming). Finally, LIVE AND LET DIE features the scariest track on any Bond film, "Snakes Alive."

Ok, so I'm not writing this objectively. LIVE AND LET DIE was the first Bond film I saw in the theater. It was also the first soundtrack I purchased (at age 8) which I played to my father's delirium on his QUAD stereo. So, if the litigation over the rights to the remaining Bond soundtracks not yet released by Ryko is ever settled, may I humbly suggest that LIVE AND LET DIE be the next score to get the deluxe treatment.

From: "RomanDeppe" <roman.deppe@metronet.de>

Hm,... well, I guess it is most likely that Graeme Revell will get that job, coz I am sure the producers already know him through Martin Campbell (director of GOLDENEYE). I was surprised why he didn't score GOLDENEYE... well, as you said, THE SAINT really proved that Revell would be a perfect choice for a Bond-movie, although I think his purely orchestral action-cues are still a bit unconnecting... but his lovetheme was definitely a great pleasure. Revell said once, he would love to score a Bond-movie and was disappointed that he wasn't asked for GOLDENEYE.

By the way I find it pretty bad, that Arnold used his RA-theme again in TOMORROW NEVER DIES as he used it already in ID4. He seems not to have any other ideas for the villains... (and do you know that statement by Barry himself "When I listen to my bond-scores, I can't tell for which Bond-movie which score was written for..."... doesn't that say a lot about Barry?).

Well, another composer I think would be perfect and has good chances is Christopher Young (he already worked for MGM for SPECIES). He is not the typical Hollywood-composer and it seems like the producers are at least looking for a voice of its own and not for a copyist like John Debney or whoever. Maybe his HARD RAIN and SPECIES scores make some impressions on the makers.

Hans Zimmer has good chances, because he is a European (British more or less...), so that could help, but after the Serra-desaster with the electronic music, they maybe don't want electronic music again and he is too Hollywood-ish.

Patrick Doyle, well, he is British, but I don't think his music would fit to a movie like Bond... too classical.

Joel McNeely may have chances, depends on what he comes up with for THE AVENGERS...

but my personal favorite is Christopher Young, though I think Revell is most likely to get it.

All in all it surely depends on the director, he may have a composer he always works with, then it would all have been said.

From: Kyu Hyun Kim <kyukim@ucdavis.edu>

This is a rejoinder to Mr. Loughlin's very interesting and stimulating "wish list." I wholeheartedly endorse two of Mr. Loughlin's choices; Howard Shore and Patrick Doyle. I simply think that Shore is one of the three or four most talented and versatile composers working now. But he will make an especially intriguing and, in my opinion, truly inspired Bond composer. There's his jazz background and proven ability to work in a variety of genres, (PRELUDE TO A KISS, VIDEODROME, ED WOOD) not to mention distinct, atmospheric coloring he brings to scenes of suspense and tension, which is sorely missing in all non-Bond scores, old or new. To give an example, I can just imagine how beautifully Shore would have handled assassination of the "fake Bond" sequence in FROM RUSSIA WITH LOVE, with his pervasive, low-rumble strings in the background, punctuated by horns and brass, a sort of snazzy version of SEVEN or THE FLY. As for Patrick Doyle, I am primarily thinking of DEAD AGAIN, NEEDFUL THINGS and CARLITO'S WAY. Again, my spine tingles at the thought of how Doyle would have handled any number of the set pieces in the classic Bond films; take one of the many underwater investigation sequences in THUNDERBALL, for instance, and superimpose Doyle's The Buoy from CARLITO'S WAY on it. There is an old-fashioned Bernard Herrmann-Alfred Hitchcock feel to his thriller scores, which I think will render his Bond scores more romantic and nostalgic than Shore's, but that would be within the perimeter of acceptable tastes. As for the rest of Mr. Loughlin's choices, Trevor Jones, maybe, although I don't really understand the relevance of DARK CRYSTAL in terms of the present topic. Graeme Revell's score, from all indications, is likely to be far more interesting as a updated version of the James Bond theme than as an independent work. As for Basil Poledouris, I just have to say, I don't get it. Poledouris is a brilliant composer, but I am afraid that his Bond scores will accentuate, intentionally or not, those elements which have ruined the more recent Bond movies; explosions, gadgets, macho swagger, "action scenes" consisting of a bunch of guys firing submachine guns at each other. I mean, yes, STARSHIP TROOPERS was an exciting score, so was HUNT FOR RED OCTOBER, but again, what is the connection with James Bond here? One name I would like to add to the list is Carter Burwell. Burwell is unfortunately associated in public consciousness with Coen brothers, but he is another composer who has proven his mettle in a wide range of genres, including comedy (RAISING ARIZONA), horror (PSYCHO 3), mystery (STORYVILLE) and action film (CONSPIRACY THEORY), and who never fails to infuse these works with his own distinct style. As the more recent example of CONSPIRACY THEORY attests, Burwell can write exactly the kind of slightly but not overly tongue-in-cheek suspense music a Bond film requires. But of course, composers can do only so much. If the next Bond film is going to be another loud, crude, Jackie-Chan movie without Jackie Chan like TOMORROW NEVER COMES, bad music will be the least of its problems. (Terri Hatcher as James Bonds girlfriend? How about Rosie ODonnell as Miss Moneypenny?)

From: Michael Schramm <mschramm@ftw.nrcs.usda.gov>

I'd like to extend my appreciation to Lukas Kendall and Rykodisc for their tireless efforts to please the small niche of soundtrack fans. I have been collecting film music for 25 years and only with in the last two or three years am I consistently witnessing releases exclusively for the serious and demanding soundtrack collector. Case in point, the reissue of "The Living Daylights". When I read about the impending release in "This News Friday", that same weekend I went to the local Blockbuster to view the film again. I had almost forgotten the wealth of unreleased themes, lush tempos and "stealth" cues punctuated with brassy jabs that occur throughout the film (though I never did quite forget the superb cue that Barry composed for Bond's struggle with the Russian jailer). I purchased the CD back in 1987 and remember regarding this as Barry's best effort since "Diamonds are Forever". I think that the Roger Moore years unfortunately prevented fans from hearing that wonderful bold, brassy sound they enjoyed so much in the Connery/Lazenby years and I think it's no accident that Barry's most enjoyable score for the four Moore films he did was for "Octopussy", the one film (besides "For Your Eyes Only" which features a terrible score) that comes closest to the original series concept. Too bad Ryko did not add extra music for the "Octopussy" release as it now appears skimpy by comparison to "Living Daylights"; though the themes in the former are somewhat repeated in the film's second half unlike "Living Daylights" where the themes heard are based primarily on the film's setting. This CD will probably remain a personal favorite until reissues of the Bond films from 1963 - 1971 become available. (A complete "OHMSS" serves as my "holy grail"). Until that time I'll let myself be swept away to Gibraltar , Vienna and Afghanistan to the bountiful sound of Barry's flutes, strings and horns...

From: Indysolo@webtv.net (Neil Bulk)

To whom it may concern:

I didn't realize you guys had so much to do with the re-release of The Living Daylights soundtrack. Great job!! The only Bond CD I'm missing now is For Your Eyes Only. Maybe someday I'll have it.

As far is Bond 19 is concerned, David Arnold has my vote. Let's just hope when the score is released, we get the whole thing.

From: "Madapaty, Lakshmikanth (Lax)" <lmadapati@lucent.com>

Thanks for alerting me about the TLD reissue some time back. TLD was the first score I ever got into (after watching the film about 6 times in the cinemas back in 1989!). When I came to the US in 94, I searched a lot of music stores for TLD on CD in vain and came to know that it was a limited release and became a "hot collectible". I then mounted the biggest ever hunt for a CD that had an uncanny resemblance to a Bond adventure!! Through a network of people via e-mail and phone all over the world, I finally got hold of a used copy of this CD in a remote store in Milan, Italy.

I just got the reissue last week and no doubt was amazed at the new "sound", the great liner notes and the bonus tracks which were just a remote dream that came true! The new release also seems to have beefed up the lower frequencies (or is it because I have a better stereo now?!?!) and it just sounds FANTASTIC!! Listening to this CD yet again brings back such sweet memories. Unless someone out there has the proper sequencing of music on this release, I'd like to see the film again and get the sequencing right.

I really hope Ryko would reissue FYEO and AVTAK. About a year ago, Tower Records got hold of a big stash of AVTAK Jap issue CDs and I got hold of a copy for about $26. This issue is available at many on-line CD stores like CDNow and CD Connection. I am not sure if this has the complete music from the film but if not, it would be nice to have a Ryko reissue. As for the rest of the Barry-Bond scores, I heard that Barry is thinking of re-recording all of his Bond scores. Any news on this, anyone? I hope Arnold gets to do Bond '99 if not Barry. J N Howard or Poledouris may be the only others who can do a good job with Bond music.

From: mike.coppin@cableinet.co.uk

I have been a die-hard Barry fan since 1971 when the Persuaders theme burned its way into my psyche. The Living Daylights was for me the first time that the real James Bond had been on screen since Diamonds Are Forever, due largely to the debut of Mr. Dalton, but mostly due to Barry's fantastic score.

This was dissed at the time in Soundtrack magazine as being too "pop" sounding, with a straight-jacketed John Barry being better than no Barry at all. How wrong can you get. This score is landmark Barry/Bond, and deserves to be heard by a much wider audience, so well done on an fantastic re-issue. The additional material illustrates just how well crafted this score is as all the material is very cleverly inter-related, with regard to the three main themes in particular.

(One minor niggle, what happened to the end of the pre-title music? It's only a few additional seconds as Bond lands on the canopy of the yacht; and what of the saxaphone cue that scores Bond's meeting with the two CIA lovelies? OK so that's two niggles.)

This surely sets the bench-mark for future Ryko CD's. I understand the legal wrangles that hold up re-issues of the other Bonds, but hopefully when these are sorted out, we can look forward to complete versions of Diamonds, OHMSS, You Only Live Twice, et al.

From: "Ceth Eslick" <marritza@cs.montana.edu>

Regarding the Living Daylights reissue . . . I ordered it along with the new King Kong "recreation" from Music Boulevard. KK came lickety split, but LD was backordered. I was wondering if this is just an abnormality with Music Boulevard, or is it a sign that the new LD reissue is doing unusually well? If it's the latter, then that's great news for film music nuts hungry for more "expanded" releases. (But then again, since I still don't have my disc, it's not *all* great.

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