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Well, I did the unthinkably horrible last night and sat through LIVE AND LET DIE again. It wasn't nearly as good as I remember it (and I never liked it much in the first place), but I was mainly watching to hear the music.
To me, this one appears to be the least important of the five new expanded versions. Most of the unreleased cues seem to be fairly short: the cues for the flying school and the bus chase are fairly short, as most of the scenes are left unscored. I certainly didn't spot another 30-40 minutes of music in there (the current CD runs 32:27, and that includes the New Orleans funeral music and the title song).
NP: WHERE EAGLES DARE (Ron Goodwin)
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There is also some banjo music as we are introduced to Goldfinger's racing horse stud farm. Only about 30 seconds, but I liked it. Guitarist Vic Flick told me he not only played it but also wrote it!
I always liked that cue as well. I didn't know Flick wrote it. The only other missing cue that pops to mind is the extension of "Into Miami." It's a strange edit in the movie, and it's in a different key.
Roger
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I always liked that cue as well. I didn't know Flick wrote it. The only other missing cue that pops to mind is the extension of "Into Miami." It's a strange edit in the movie, and it's in a different key.
Roger
You're quite right. The music underscoring Leiter's walk around the hotel, and the shot of the ice skaters.
Neil
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To me, this one appears to be the least important of the five new expanded versions.
I certainly didn't spot another 30-40 minutes of music in there (the current CD runs 32:27, and that includes the New Orleans funeral music and the title song).
I think the full score, as heard in the film, runs for around 55 minutes or so. I wouldn't be surprised if certain cues are truncated in the film. Some stop abruptly on a transition or foreground sound effect.
The album itself has a few small edits here and there. For instance, the James Bond Theme has several repetitive seconds missing and probably works better because of it.
So there's around 23 minutes of additional music that will probably turn up. I do agree that much of the score consists of short cues, but Geoff's (actually Gareth's) Moonraker list reveals how short some from that movie are.
Incidentally, to be pedantic there's one (?) more cue from Goldfinger unreleased. It's the guitar source music heard during the pre-credits sequence after Bond plants the time bomb, and we see Bond girl Bonita (who is then slugged in the "positively shocking" scene.) One more (possibly) is the very short piece when Odd-Job takes the head off the statue at the golf club with his hat.
Chris Malone
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Someone please mention Pussy Galore's Flying Circus. That, is a James Bond cue.
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MS-
That was on the original British soundtrack, so it'll be on the new release of "Goldfinger."
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I don't know about all this slinging off at each other regarding cues, re-recordings and chronology! Hey, this CD collection release is the most wonderful thing for Bond/Barry/Broccoli fans yet. It's the biggest thing since Sean traded in his toupee.
Now all I need is the money to indulge.
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If only "The Man with the Golden Gun" was expanded. That's one of the most under-rated of all the Barry scores - and totally different from all that came before.
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As a matter of interest - how are the Martin, Hamlisch, Conti, Kamen and Arnold scores regarded by film music fans compared with the original. Are there film music fans out there who place them up with the John Barry scores?
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Arnold RULES, so did Kamen.
George Martin should hung for his score.
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The sound quality of the expanded discs may be "stunning," but what is the word on those which contain the LP program?
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'I don't know about all this slinging off at each other regarding cues, re-recordings and chronology!'
Hey, I agree; and certainly not worth calling someone 'a fanboy.'
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Kamen did a great job under an extremely tight deadline (a terrific thriller score) and George Martin's LALD is one of the very best non-Barry Bonds.
John
I actually enjoy many parts of Arnold's scoring (which I grew to like more and more from the repeated isolated music track viewings I examined - sorry Ford - but it was there so I listened to it) even though I think it's so, very, very Emmerich-esque and Devlin-ish.
Martin's score did something brilliant for McCartney's song in LALD, and it all works very well in the film. On its own, I think it is the most lacking dramatically, except for the voodoo stuff which works brilliantly in the film.
Hamlisch's score bugged the hell out of me in the 1970s (except for the brilliant song) - but I now can watch the film without flinching.
Conti's score is one of the most un-Conti things he's ever done - and I think that his chameleon underscoring works well in the film.
Just like Michael Kamen's approach. It is so understated - almost like it isn't there. (But like "Company Business", a score that I can listen to often for its grand moodiness, and then play all over again while doing the dishes, as rumbling sound effects music.)
But more importantly, I, too, can't bring myself to comment on "Goldeneye". Oh, why did this have to happen on Martin Campbell's watch? He was such a great director in the U.K. in television ("The Professionals" and the stunning "Edge of Darkness" miniseries), and then in feature films. Why didn't he persuade the film's producers and 'suits' to ask Goldsmith (with real instruments) to work with him again on this?
Don't lambast me for this thought - because I know he wouldn't even try to be Barry, but he'd be Great.
But what would John Barry say to all this? Something Bondian like, "This never happened to the other fella".
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Goldeneye's music was weirdly interesting.
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