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Can I just say that I was sneaked onto the 007 soundstage by someone who worked at Pinewood when they were building the underground tunnel set for TWINE. That is all.
You can't be " sneaked in" anywhere!
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Does anybody else think that Arnold got a little bit of the Conti Bond sound in there with the brass section in Caviar Factory?
Or is it just me?
Might be just you. But I can see what you're saying.
Caviar Factory is a hoot. But it also sounds like "OK, one more frivolous, fun track. Because the rest of the score is SERIOUS."
I can't hear any actual similarities between "Caviar Factory" and Conti's FYEO action music, but there's definitely an energy and a sense of fun shared by both, and so I can see how one would make you think of the other.
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You actually own FYEO!?
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You actually own FYEO!?
I am a completist with respect to some things. I'll freely admit that FYEO put me off seeking anything else out from Conti. Some of it is pretty fun ("Submarine," "Runaway," "Ski...Shoot...Jump..."), but the cheese is strong in this one. All in all, not one of the better scores of the series.
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If you are a completist you must have the 12" dance remix of DAD.
Right?
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If you are a completist you must have the 12" dance remix of DAD.
Right?
What else would I possibly wash my car to?
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The last quote of the Bond theme in “Caviar Factor” with the bass guitar part in brass just struck me as similar to Conti's arrangement of the Bond theme. Listening to them back-to-back, I admit that it is a pretty superficial similarity, but it was my immediate impression when I first heard it on the original CD.
Either way… looking forward to hearing this album.
And here's hoping this series continues.
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This has always been my favorite Arnold Bond, so I had to order this one toot suite, though it'll take a while through Intrada. And it's also been my favorite Brosnan Bond.
So I started watching the movie for the first time in many years last night on Hulu, and I was surprised how corny and cheesy some of it came off. All of his nauseating smirking looks at the ladies. A smoke bomb cleverly concealed - in his gun?! Straightening his tie whilst underwater. A fierce lady assassin who thinks she'll get away in a hot air balloon fer crissakes?! The dumb sex scene with Dr. Evil Watcher (yes, I've been doing a Buffy re-watch). The stupid ski/parachute/flying-machine-what-makes-it-difficult-to-shoot-at-the-hero sequence (stupid because it is a fake, and who would seriously mount resources to create a fake-to-no-purpose attack that actually kills some of your own employees?). Well, that's as far as I got so far, but may continue later.
Point is, I was kind of astonished at how dated it felt - we had just watched A Shot in the Dark before Thanksgiving, and it was reminding me of a Pink Panther movie. I never expected to feel this way, but there it is.
Music rocked though - funnily enough, I don't find the techno dated, but I have always enjoyed that sort of thing. Can't wait to hear the whole album, and yes, especially that wonderful Barryesque skiing cue.
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Congratulations to Neil Bulk and the rest of the production team on this. Thanks La-La Land for helping to initiate this latest Bond score album project.
That said, I could never get into the Arnold scores. The Brosnan Bonds began a period of serious narrative bloat for the franchise, from which it has yet to recover...
...and the Arnold Bond scores failed to appreciate the Herrmann-Stan Kenton fusion that drove much of John Barry's composition style in the best, early Bonds. Arnold has his thematic talents, but the Barry "mickey-mousing" did as much for Bond movies (at least up to Thunderball) as the great photography and stunts.
The Stargate-Independence Day sound may have kept Bond music fresher than it would have otherwise been, but as a "sit-down" listening experience, I can't imagine it stirring me much.
Anyone disagree?
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the Barry "mickey-mousing" did as much for Bond movies (at least up to Thunderball) as the great photography and stunts.
"Up to"? So not including Thunderball? That's exactly two scores, honestly. FRWL is amazing and the perfect score. Goldfinger is exceptional. Thunderball...that's as bloated as the film and is a grating, repetitive listen.
YOLT is lyrical and beautiful, but for some reason not exciting to me on album. OHMSS is brillant and easily my favorite Barry score. Ever.
After that, it's all down hill. Moonraker is one last shine for John Barry in the Bond franchise. He's on autopilot for the remainder of his tenure. As much love as he gets and as devoted as his followers are, I find his work maddening. He's brilliant but lazy (like Peter Parker - lol). He would find a nice theme and then repeat it - over and over and over and over - throughout the score.
I like David Arnold, honestly. He would harken back to the Barry style and then make it his own. Which is lovely. I would enjoy having him back.
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spook:...but I know I play CASINO ROYALE etc. much more that SKYFALL and SPECTRE.
Agreed, I will purchase Arnold's Casino Royale in remastered/expanded form when destiny decrees it. His best Bond by far, in my opinion.
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Scott M (Oldsmith): "Up to"? So not including Thunderball? That's exactly two scores, honestly. FRWL is amazing and the perfect score. Goldfinger is exceptional. Thunderball...that's as bloated as the film and is a grating, repetitive listen.
Thunderball's score had its brilliant moments, though the whole conception of the thing, the whole "Bond saves the world" thing, was badly executed, and even poorly directed and photographed in some spots, and wouldn't be done competently until The Spy Who Loved Me.
Barry put all he had into Thunderball--that's obvious. Yet the whole Thunderball-through-The Man with the Golden Gun period is--excepting only Barry's scores for You Only Live Twice and On Her Majesty's Secret Service--a series of misfires on the part of the Bond team.
Connery and Moore both had their stretches of excellent Bond. 3-4 excellent ones each, with about half their respective Bonds being B-and-C grade Bonds.
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Posted: |
Nov 30, 2018 - 12:30 AM
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By: |
Glissolia
(Member)
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Yes, it was Casino Royale, and it may well have been Bacardi. Specifically it was the music from the trailer. Not sure who composed it.
Parodi/Fair (aka Starr Parodi and Jeff Eden Fair).
Casino Royale, I believe, was released in full on iTunes...
Almost; it missed out on, most notably, the full versions of African Chase parts 1-4, which make up African Rundown on the OST and the film version of Blunt Instrument (which has a different ending).
It's interesting that I think this is the first James Bond soundtrack release to ever have its main title song in the proper chronological place.
That is indeed wonderful. All the Bond scores should be presented as such!
No, crossfades are used constantly. To not use them leads to audible ticks between cues.
Surely you can either declick those areas or crossfade a few milliseconds of tail/silence to smooth the join?
We can't forget Eric Sierra and John Altman for GoldenEye. I want that score in complete and chronological form as well. Or just get me the film version of a A Tank Drive in St. Petersburg and I'll be happy.
In addition, I'd love the gun barrel and Tiger escape music!
I like David Arnold, honestly. He would harken back to the Barry style and then make it his own. Which is lovely. I would enjoy having him back.
Agreed.
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The sample of Orbis Non Sufficit on LLL's site sounds slightly different to the actual track used over the end credits. How did that come about?
Our tapes had one take marked "End Credits". This is it. Like DAD (the cue titled "James Bond Returns") it was the very last thing on the tapes. These are the intended end titles. Most of what's here is in the film. It sounds like the opening in the film was replaced with something from "Tomorrow Never Dies". We couldn't do that.
Context:
TND Company Car - https://www.youtube.com/watch?v=1P5S7ICvfDM
TWINE credits CD version - https://johndadlez.com/MP3/WorldIsNotEnough/2_06_ONS.mp3
TWINE credits film version - https://www.youtube.com/watch?v=6hspGv0ChzM
That's interesting. I knew that the film version was Company Car and Boat Chase (any White Knight in there?) It would never have occurred to me that that might prevent a "film version" from being released.
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Iirc
GOLDFINGER was the only ost that had the gunbarrell- precredit.
Until the expansions.
? Ohmss?
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