As mentioned; John Barry did – NOT – use the – "Swing Section Extension" – music within the scores themselves – which only lasts seven seconds in the arrangement of the James Bond Theme...
I wanted to chime in here because the "Swing Section Extension" as you call it, is and has always been my favorite part of the theme. It IS actually used in several of the films that Barry scored however it is just the original recording of the theme, played over the scene--here is an example from YOLT starting at 6:04
And again in From Russia With Love, this time very awkwardly much like it's usage in Dr. No, sounding almost more like background diegetic music than an actual score:
It's very interesting that Barry decided to shy away from using the B section of the theme and I think it's fairly telling as to what Norman's involvement in the original composition may have been. It could be that Barry didn't want to use that part of the theme because he didn't write it.
In any case, here is a great analysis by Rick Beato of the JB theme. He refers to the Swing Section Extension as the "B theme," which is how I always heard it--sort of the piece of music that plays when Bond does something EXTRA BOND and over-the-top. I also really like how he identifies the call and response section at the beginning, something I had never picked up on before:
The elements 1. The gun barrel fanfare 2. Rising and falling semitones 3. The twangy guitar theme 4. The big band swing section
I think this is a superficial approach to Bond music though and is why we have some of the most generic music coming out of the Daniel Craig Bond films.
Much of Barry’s music did not contain the twangy guitar and big band swing section at all, and doesn’t sound as “spy” as movies like AUSTIN POWERS and THE INCREDIBLES would make you think they do. I think Barry, very intelligently, adapted his scores to fit the moment and moved away from the big band and guitar pretty much after GOLDFINGER. What you’ll see is that Barry attempts to come up with a concept that fits the setting of the film as a whole. THUNDERBALL introduces elements that sound like floating underwater. YOU ONLY LIVE TWICE introduces deep bass that was popular at the time and little flourishes that match the setting in Japan. ON HER MAJESTY’S SECRET SERVICE has pretty much no guitar at all, innovatively moving into synth.
The only person that brought back the guitars and big band sound was David Arnold, but he doesn’t overuse it and his scores benefit from extremely strong melodic work and orchestrations that make them extremely interesting listens from beginning to end.
But all the Daniel Craig films after Arnold have the most generic, almost spoof-sensibility for the music. How many Daniel Craig title songs just sound like a variation of the Bond theme? Whereas the majority of title songs for Bonds 1-19 were different melodies each time. The elements of a Barry score are not the “spy” sounds but strong melodic material, developments of that melodic material and additional themes, variations of music based on locale, songs for the danger and excitement of the plot of the villain being set into motion, and for James Bond spying.
The latter are missing nowadays - we hear nothing that resembles the type of song like “Searching for the Vulcan”, “Gumbold’s Safe”, “Over And Out”, “In Search of Scaramanga’s Island”, “Flight Into Space”, “Bond At The Monsoon Palace”, “The Sniper Was A Woman”, “Hercules Takes Flight”, etc. Those types of cues are really the heart of Barry’s scores, the danger, intrigue, and mystery - and they are utterly absent from the new scores.
I completely agree with what you are saying about the sound of the earlier Bond films being so distinctive but I think a lot of that, IMO, has to do with orchestration. Barry had a very specific tool kit that he used in his Bond scores--piccolo flutes, vibraphones, drum kit, big band brass with lots of Harmon muted trumpets, and pop-sounding strings (for the time period). The other stylistic elements evolved over time but he always had that same basic sound. You can hear George Martin trying to duplicate that orchestration with the high woodwinds and vibes in the gunbarrel sequence from Live and Let Die:
We don't hear that kind of orchestration in the modern Bonds--Arnold pretty much moved away from cribbing that style by Die Another Day. But if you look at the other composers in the Bond franchise, it's interesting to see what little pieces of the Barry vernacular they decided to use. The common theme seems to be the guitar as it appears in almost every non-Barry score except Goldeneye.
“In any case, here is a great analysis by Rick Beato of the James Bond Theme. He refers to the Swing Section Extension as the "B theme," which is how I always heard it. Sort of the piece of music that plays when Bond does something EXTRA BOND and over-the-top”.
It is interesting how Rick Beato states:
“Here is the ‘B THEME’ – which you all know!
He might be cynical in saying that… because it was not used after “Doctor No”…
Sure…. The “Doctor No” arrangement was re-used in –
– “From Russia With Love” – “Thunderball” – “You Only Live Twice” – “On Her Majesty’s Secret Service”
But; Dearest Readers – John Barry did not approve of these usages – as he would have preferred to write up a brand new composition for the scenes – (for the new films) – rather than simply recycling old material! Which could explain why most of you prefer the original version – ...as it was the most used version in the franchise.
But; Dearest Readers – John Barry did not approve of these usages – as he would have preferred to write up a brand new composition for the scenes – (for the new films) – rather than simply recycling old material! Which could explain why most of you prefer the original version – ...as it was the most used version in the franchise.
And each time it sticks out like a nose pimple, drawing attention to itself. It sounds horribly dated as early as the second film in the series and when it's used in the beautifully slick OHMSS, it lands like a clang.
But; Dearest Readers – John Barry did not approve of these usages – as he would have preferred to write up a brand new composition for the scenes – (for the new films) – rather than simply recycling old material! Which could explain why most of you prefer the original version – ...as it was the most used version in the franchise.
And each time it sticks out like a nose pimple, drawing attention to itself. It sounds horribly dated as early as the second film in the series and when it's used in the beautifully slick OHMSS, it lands like a clang.
That's a bit harsh but I'll give it to you--it does have a very over-the-top feel, even if it is only a 6 note phrase repeated 4 times. I love every instance of it though because it seems to ground the character for me--Bond as a character is rooted in that era of film noir/espionage thrillers and any time the producers decide to acknowledge that, it feels like a link to the origins of the character--the classy sophistication and bold brutality rolled into one idea.
David Arnold's score for Casino Royale is notable for its restraint in NOT using the classic James Bond theme,
Which they stated was done because "Bond isn't Bond" yet (whatever that's supposed to mean; actually, I do know what it means, but I find it lame) and hasn't "earned" his theme until the end, a notion that seems to have greatly influenced many prequels/remakes/firsts-in-a-series that has become really tiresome. Look at all the older films that were the first of a series (or essentially just one-offs) that had great main themes right out of the gate, providing a hook with which we could identify the character and film, and providing a memorable piece of music. None of this "they have to earn their theme" nonsense.
Right. One of many reasons i didn't like the first two 'reboot' Bonds! bruce
Interesting. For me, James Bond became more interesting with the Daniel Craig movies. Those were a bit grittier than the earlier Bond films, and for the first time, something that happened in one movie actually had consequences in the next movie.
Before the Craig movies, the Bond films basically had not real continuity, a few loose connections at best. With CASINO ROYALE, a new era of Bond films started, and as far as the movies themselves are concerned, they are probably my favorite Bond era. (I acknowledge that the Connery era is the classic and defining era though against which all others are measured.) So, with the end of CASINO ROYALE, classic "Bond" was born and the "Bond Theme" entered.
Now the Craig era is over, and whatever follows next will be something new. Now I don't know what follows next, I don't think you can just repeat that (another Bond origin story, another continuity, another gritty Bond, etc.), they will probably (and hopefullly) try something "new" again within that franchise. For me, the Craig era will be hard to beat though.
I was lucky enough to catch the double bill of FRWL & Goldfinger in a cinema in Sydney earlier this year shortly before we went into our 2nd lockdown (there is light at the end of the tunnel - YAY!). Then the other day on my daily walk I decided to listen to the various versions of FRWL that I have on my phone. It got me thinking that I actually think FRWL is the best film and soundtrack combo. Is the film the most disciplined of the canon? The cold war vibes are so well conveyed. The villian (Grant) is quite formidable and Rosa Klebb is a classy yet sick mastermind. The journey on the train is so exciting/gripping and there is much exoticism in the various locales. And Kerim is a great, wonderful character. It was also an amazing step-up for Barry and there is such a variety of music on the soundtrack.
If you listen to the James Bond theme from the album the music of John Barry you can hear John Barry’s classic theme. But the last portion sounds like the part that came from Monty Norman. It sounds very much like from Dr. No. Yet if you listen to the James Bond theme on John Barry Seven it ends classically the way we know it. Don’t know why it was that way in the Music of John Barry.
