 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I was having one of my periodic James Bond music obsessions when THE WRATH OF KHAN hit, and my KHAN order hasn't arrived yet, so the Bond flare-up is still a welcome distraction from waiting. The Cat and I had been talking about Roland Shaw's Bond oeuvre, those magnificent LP's Shaw put out on the London label, including these...
and with The Cat's help I arranged the tracks on my iPod to re-create all three classic albums. That's the way to play it. I love his work on the first five official Bonds plus CASINO ROYALE '67. Shaw has always been my only source for DR NO, and getting back into Shaw in a big way apparently put it on the front burner for me. NO finally made my Yes List.
So now I've just picked up the official DR NO soundtrack after meaning to do so for many years. Thus I finally have every Bond soundtrack up to and including THE LIVING DAYLIGHTS (Barry's last, and the point at which my completism ends).
DR NO is from 1962, much like myself, and the music is very "period" today. While playing it you can almost imagine that you are using a boxy, mid-century record player like the one in Miss Taro's living room. I'm not sure it will seem right on the iPod; I might have to use my imagination more to wish away the 21st century.
In a somewhat related matter, I'm re-discovering this old LP from my past thanks to a digital conversion that plays great in the car:
I was two when the Ray Martin GOLDFINGER came out, so when I bought it (used) as a teenager it was already ancient history. But damn good ancient history. The title track swings like crazy, with a syncopated, kick-ass yet innocent vibe that would be unthinkable for music being recorded today. It's just fun. It's as far from jaded and world-weary as you can get. I got so hung up on the first two tracks while driving, I haven't even gotten through the LP yet.
And I don't have this, but look what was on eBay:
I wonder if it plays, by any wild stretch of the imagination, as music that is "James Bond appropriate."
I love that you can make out most of the liner notes. "Now a frankly admitted 37 years of age, Honor is considered to be the outstanding mature leading lady in British films."
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 24, 2009 - 10:28 PM
|
|
|
|
By: |
OnyaBirri
(Member)
|
Thus I finally have every Bond soundtrack up to and including THE LIVING DAYLIGHTS (Barry's last, and the point at which my completism ends).
You've gone way too far. Your post had me hooked until I read this.
DR NO is from 1962, much like myself, and the music is very "period" today. While playing it you can almost imagine that you are using a boxy, mid-century record player like the one in Miss Taro's living room. I'm not sure it will seem right on the iPod; I might have to use my imagination more to wish away the 21st century.
I have one of those boxy, mid-century record players, and I wouldn't waste my time playing "Dr. No" on it, other than the James Bond Theme.
I was two when the Ray Martin GOLDFINGER came out, so when I bought it (used) as a teenager it was already ancient history. But damn good ancient history. The title track swings like crazy, with a syncopated, kick-ass yet innocent vibe that would be unthinkable for music being recorded today. It's just fun. It's as far from jaded and world-weary as you can get. I got so hung up on the first two tracks while driving, I haven't even gotten through the LP yet.
I have both of the Ray Martin Bond LPs, and yes, they are gems. I listen to them more than any of the Barry albums.
|
|
|
|
|
|
|
You've gone way too far. Your post had me hooked until I read this.
Well, you have an odd approach. For instance I enjoy Ray Martin, but putting him over Barry is outside the mainstream. Like you're a Bond eccentric.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
All these years of following JB007 and I've never even heard of, let alone seen a copy of, that Honor Blackman album. I'm not anxious to hear it but I'm happy I know of it, now - thank you.
I was happy to find it. Vintage Bond-related LP images are strangely compelling.
As for the Ray Martin covers: these definitely fall in the "I'm not sorry I bought it ... but I'm glad I didn't pay that much for it" category. I have the Italian RCA vinyl release with the lurid cover design ... see - about 1/3 down page:
http://www.spyboproyale.com/coverme.html
That topless cover art is one for the books. I haven't heard Ray Martin's cover of THUNDERBALL, but his GOLDFINGER is really good.
|
|
|
|
|
|
|
|
|
|
The fact that either of us care enough to discuss this puts both of us way outside the mainstream.
I meant the mainstream of Bond music fanaticism.
It's me and six other guys.
You sir, are out. 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I love the first 6 or 7 Bond scores but the aesthetic begins to change after that (for me, at least), so I check out at that point.
Well, number 7 was DIAMONDS ARE FOREVER and now that you mention it, the change brought in next by LIVE AND LET DIE is pretty dramatic. It's like they wanted to say "The Sixties are over" and say it with a sledge hammer.
But Barry then offers a return to adult non-superfunk with his interior score for GOLDEN GUN. The title song is embarrassing (in the age of the iPod, I can play a lot of things without embarrassment and happily so), but there are wonderfully silky moments in the score. It just needed more depth and variety.
I wouldn't trade the Ray Martin albums (there are at least two of them) for all the post "Live and Let Die" scores.
THE SPY WHO LOVED ME is an acquired taste; I like it but I understand the allergic reaction among some classic-Bond guys. FOR YOUR EYES ONLY brings an even more exuberant disco attitude, but then later in the score there are Bond-classical, Barry-esque cues. The expanded FYEO reveals a rich, deep well of James Bond goodness.
All the later Barry Bonds are worthy. MOONRAKER has "Flight into Space." A VIEW TO A KILL has "Bond Meets Stacey" -- perhaps the best love theme of the series. THE LIVING DAYLIGHTS has maybe too much synth percussion in parts, but the melodic, timeless cues are so good that many fans say Barry went out (of Bond) on his strongest work.
But that's just me. I appreciate the fact that I am not the only person that loves all those 60s Bond knock-offs.
We have to preserve our own history, with LP conversions and so forth, because I don't think even the boutique soundtrack labels will ever rescue it for us.
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
