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All I'm gonna say—completely redundantly—is that You Only Live Twice is a fabulous score with a fabulous song—as were all John Barry's 007 scores, especially so in the 1960s.
This is why I am still so disappointed that we can't get two disc new editions of all the Barry-Bond scores, with the complete and chronological score on one disc and the album programme and extras on the other.
Oh, and, to be honest—I'm glad they didn't go with that Julie Rogers song. It's a nice curio but it is not good enough to headline a Bond movie and I'm sure Barry and Bricusse must have known that. Presumably that's why they sacked it and wrote another song.
Cheers
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Stephen, I agree on both of your points. The Rogers song is good but does not reach the haunting, sweeping heights of the one eventually used.
Also, being one of those Barry fans who have been around since he first became known to U.S. audiences, the mid to late seventies were a strange period for Barry. I was disappointed with most of those scores at the time, not because they weren't good, but they didn't reach the heights of that incredible and seemingly endless run of scores in the sixties into the early seventies, peaking perhaps with The Last Valley, Mary, Queen of Scots, Diamonds Are Forever, and Walkabout, But now it is easier to appreciate The Black Hole, King Kong, and Night Games (love that tango!) and the others individually, out of the context of their timeline. I wish I could go to a movie now and hear something as haunting as The Black Hole.
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Barry's demo certainly was inferior to the final version of the song, but it's still MILES ahead of every single Bond song since Die Another Day.
Alex
Yes, but it's still a stunning leap in quality from the first-try song to the final YOLT. The new melody and lyrics are both a huge improvement. It's like they wrote the first one without trying very hard.
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Well, underrated because it wasn't nominated, again probably because of the
nature of the Bond films.
And underrated because I never hear it on the radio, on TV, or anywhere else
except when Starz replays the Bond films.
.
Used memorably in MAD MEN!
Along with GBU, greatest score of all-time!
Brm
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Along with GBU, greatest score of all-time!
Brm
What is GBU?
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Along with GBU, greatest score of all-time!
Brm
What is GBU?
Think man!
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Searching on GBU alone wasn't helping at all. With the benefit of all three abbreviations, Google came with a relevant hit. Barely. But okay. It's the film with no name.
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Barry's demo certainly was inferior to the final version of the song, but it's still MILES ahead of every single Bond song since Die Another Day.
Alex
I do love YKMN.
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I was very pleased to hear the inclusion of the alternate version of the main theme that was available only on the 2 L.P. set "Ten Golden Years" that was retitled "Twice Is The Only Way To Live" as a bonus track on the Expanded Edition. A nice surprise!
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As much as I like the score to Il Buono, Il Brutto, Il Cattivo (1966) ... it doesn't even feature in its Maestro's top 30 for me. But then, I'm not sure You Only Live Twice (1967) features in this Maestro's top 30 either
Mitch
very funny!!!!!
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I do love YKMN.
Good for you  .
Alex
Great track!
SKYFALL is also great!
brm
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I’m sorry but her inability to pronounce some perfectly normal words (crumbole...) takes the shine off it for me. As far as I’m concerned nothing after 1971 comes close to YOLT as a Bond song.
I like Skyfall (the song more than the movie). I would change a couple of words, though. Instead of
I know I’d never be me
Without the security
Of your loving arms
Keeping me from harm
How about this:
I know I’d never be free
Without the security
Of your steady arms
Keeping me from harm
See, when the song opens, it's Vesper Lynd talking to Bond. She drowned and dreamt this moment. But as the song progresses and Bond sinks deeper into his dream state, the vocalist could become a personification of England itself, which wants Bond and the UK military to protect her. "Be free" and "steady arms" (weaponry) would support that double meaning, beyond just the simple lovey-dovey interpretation.
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Honestly, at the very least, GOLDFINGER, YOU ONLY LIVE TWICE, WE HAVE ALL THE TIME IN THE WORLD and DIAMONDS ARE FOREVER, were good enough to be nominated for best song.
They are all great songs.
But, at the time, I guess James Bond films were the kind of 'pop' entertainment Oscar didn't want to reward. Whereas in it's fiftieth anniversary year, it's like Bond films had finally become something to celebrate.
Cheers
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. Oddly enough, Barry had the opposite situation with Thunderball: plenty of time to write Mr. Kiss Kiss Bang Bang, and only a few days to pen the song that actually made it into the film. If you ask me, Barry's second effort was much better than the first, even though Mr. Kiss Kiss is a good song in its own right. The creative process of a composer is never entirely predictable. 
