 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The second of six consecutive Barry Bond scores that are, collectively, a considerable achievement in that they all have a "Bond" sound as created by Barry, and they are each unique. Barry's rep for a jazzy James Bond sound is somewhat overstated. Goldfinger certainly has that, and I think Barry went that route because most of the film was set in America, but, really, aside from the Bond theme and those seductive late-night source cues, Barry's Bond scores rely more on a non-jazzy orchestral approach.
Also interesting, especially when listening to countless spy scores that followed in the sixties, how little of Barry's Bond sound relies on the favored spy instruments of the day: electric guitars, organs, and bongos are heard infrequently. (Yes, this is where you note all the exceptions, if you wish. I do know what they are.)
listening
Finally, I can not overestimate the impact of this score. Barry's instinct to make an impression runs throughout. At the end of the teaser, the timing of that big brass opening of the theme is startling, both in and out of context.
Okay, one more thing: As much as I love Barry's music, and this score, the Fort Knox raid music has never worked for me on record. In the movie, yes, which is the important thing.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
The trouble with Goldfinger is, he loves only gold. Only gold. Other than that, he's the man.
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Sep 12, 2020 - 5:54 PM
|
|
|
|
By: |
Ray Worley
(Member)
|
It's always interesting to me how people can enjoy the same favorite score, yet have wildly differing views on what is the best or worst cue. To me, the high point of the score is "Dawn Raid on Fort Knox". And yes, on the record as a stand-alone listening experience. Far from being boring or "mind-numbing", the repetition and variations create great intensity and excitement, at least to me.
Although completely different in style and tone, Ennio Morricone does this kind of thing all the time, with phrases repeated over and over with slight variations in instrumentation, color, etc. Those are never boring to me either and some are my favorite pieces. I'm quite sure that some folks find them grueling listening experiences.
But hey, different strokes!
|
|
|
|
|
|
with phrases repeated over and over with slight variations in instrumentation, color, etc. Those are never boring to me either and some are my favorite pieces.
You would love the music of Morton Feldman, Ray W. (if you don't already, that is)
|
|
|
|
|
|
|
|
|
|
Massive, massive praise for Goldfinger for many of the reasons already stated. In my case, it was the second soundtrack I purchased with my own money (after Return of the Jedi) and it started my love of John Barry’s oeuvre. The song and score are masterworks, both in supporting the film and standalone on album. Legendary on every level—spotting, composition, orchestration, performance, recording.
Chris
|
|
|
|
|
|
Massive, massive praise for Goldfinger for many of the reasons already stated. In my case, it was the second soundtrack I purchased with my own money (after Return of the Jedi) and it started my love of John Barry’s oeuvre. The song and score are masterworks, both in supporting the film and standalone on album. Legendary on every level—spotting, composition, orchestration, performance, recording.
Chris
Fantastic, Chris. You clearly get this score the same way I do.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Hi ZardozSpeaks I just received Goldsnake from Amazon, a bargain at £10.00! Can't wait to hear it.
Very nice, PollyAnna. That is lower than even Digitmovies' retail store. Hope you like it. If you're a fan of De Masi, then Savina is not too great a leap to take.
I'm on a (not-so) secret mission myself to turn FSMers into Savina fans, though Savina is closer to the Lavagnino camp than any other (with very little in common with John Barry).
Listening to Goldsnake, I feel aural affinities with TV thriller music and Asian exotica more so than James Bond. Imagine Duning's The World of Suzie Wong blended with an episode of I Spy or The Man from U.N.C.L.E.. It's swingin' 1966 - 'shake' well ... until switched-on, baby!
|
|
|
|
|
|
The mono version of the "Goldfinger" theme on the mono US LP sounds great.
The problem with the version on the CD is that it is out of phase.
It sounds as if the producer took the rechanneled stereo version from the stereo LP master, collapsed it back to mono, and didn't bother to notice that it was out of phase.
I save all my old-edition soundtracks, so I just compared that instrumental on the first EMI CD to the 2003 expansion. They both sound fine to me. What the heck are you talking about? Is there any chance your personal copy of the 2003 is defective, or your file of it is corrupted?
In other news, I just played the GOLDFINGER expansion in film order, and it really is better that way. I had a similar experience with the GNP CD of THE WRATH OF KHAN: you put it in film order, and you had a major upgrade for free. Who came up with these stupid LP orders in the first place? What were they thinking?
|
|
|
|
|
|
|
|
|
|
"....It sounds like it is being suffocated with a pillow..."
Onya wins the Ben Carson Music Description Award for the week!! 
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
