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To be honest, on A View To A Kill and The Living Daylights, I don't think the songs were 'true' collaborations - I think the bands basically wrote the songs and then Barry wrote an orchestral backing track to give them the Bondian sound. That does mean the final songs are written both by Barry and the bands, but not written 'together' and the melody is probably the band's. I guess that's why the bands are credited where Barry uses the melody in the scores.
I can see why Barry wanted to walk away from that after Broccoli died. Right or wrong, he wanted to the true author of the main theme in the song. He must have felt like something was taken away from him when the bands came in.
But anyway, yes, no love lost at the time. A-Ha seem to have softened a little over the years now, as their concession about Barry's strings being good seems to demonstrate.
Cheers
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Posted: |
Jul 25, 2018 - 6:19 PM
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By: |
Alex Klein
(Member)
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To be honest, on A View To A Kill and The Living Daylights, I don't think the songs were 'true' collaborations - I think the bands basically wrote the songs and then Barry wrote an orchestral backing track to give them the Bondian sound. That does mean the final songs are written both by Barry and the bands, but not written 'together' and the melody is probably the band's. I guess that's why the bands are credited where Barry uses the melody in the scores.
I can see why Barry wanted to walk away from that after Broccoli died. Right or wrong, he wanted to the true author of the main theme in the song. He must have felt like something was taken away from him when the bands came in.
But anyway, yes, no love lost at the time. A-Ha seem to have softened a little over the years now, as their concession about Barry's strings being good seems to demonstrate.
Cheers
Tomorrow Never Dies seems to prove your point, Stephen. If Barry had been offered full creative control for both the song and score (which he DID ask for), and on top of that the fee that he felt entitled to as a composer (Burlingame claims Barry was offered a lower fee than the one he expected), I am sure he would have tackled that project. Alas, it never happened, and the James Bond series kicked their true musical legacy goodbye.
Alex
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Is an orchestral backing track composition? Surely that's arrangement and yet the credits say The Living Daylights song was composed by Pal Waaktaar and John Barry.
Was there some agreement that Barry would get a credit for the song regardless of who wrote what or did he actually compose part of the song? Certainly the original demo has significant differences to the final film version.
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Posted: |
May 18, 2022 - 1:48 PM
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By: |
townerbarry
(Member)
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To be honest, on A View To A Kill and The Living Daylights, I don't think the songs were 'true' collaborations - I think the bands basically wrote the songs and then Barry wrote an orchestral backing track to give them the Bondian sound. That does mean the final songs are written both by Barry and the bands, but not written 'together' and the melody is probably the band's. I guess that's why the bands are credited where Barry uses the melody in the scores.
I can see why Barry wanted to walk away from that after Broccoli died. Right or wrong, he wanted to the true author of the main theme in the song. He must have felt like something was taken away from him when the bands came in.
But anyway, yes, no love lost at the time. A-Ha seem to have softened a little over the years now, as their concession about Barry's strings being good seems to demonstrate.
Cheers
Yes that Last Deal you wrote about is what I also heard them say…As time went on and they A-Ha finally got it. I can hear a Bond Song when John Barry did his own magic.
A View to a Kill, Duran Duran still heap on Praises for John Barry. His Orchestration on The Song A View to a Kill is Damn Good.
Off Subject a Bit..but sort of ties it up…
When Elton John and Bernie Taupin were writing all that great music…together!
Bernie said what made the Partnership/Relationship work so good was, that I was in One Room and Elton was in another!
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To my ears TLD sounds very unlike a Barry song in almost every way. Even the orchestral backings do not particularly add much to the song, basically mirroring the melody. And the melody sounds way too busy to be a Barry composition, imo. AVTAK's orchestral backings sound much more in line with what I would expect Barry to write, with those bold brass punctuations that dance around the melody and the soft, vaguely foreboding sounding strings underneath the mix. It just feels like it has Barry's musical fingerprints all over it. TLD does not.
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So... absent confirmed fact (!), my vote goes to Barry's contributions being on the lesser side but with contractual credit
Aha! I knew it!
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