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Yes, a little bit is missing, but the score presentation covers most of it. Unless there is something substantial missing, I think the Rykodisc is a superb listening experience and would be at the bottom of my list for a reissue - and I say this as a fan of the score. I'm sure it will happen, probably 2027.
I can take no credit for this complete list of cues for The Living Daylights but hope it helps it was produced by Bond_scores who posts on this message board
THE LIVING DAYLIGHTS (1987) - COMPLETE LIST OF CUES
Composer: John Barry
01 Gun Barrel & Exercise At Gibraltar
02 Death To Spies (Exercise At Gibraltar Continued)
03 Land Rover Fight (Exercise At Gibraltar Continued)
04 A Real Man* (0.26)
05 The Living Daylights (Main Title) (2.49)
06 The Sniper Was A Woman
07 Koskov Escapes
08 Where Has Everybody Gone? (Necros Headphones Source)
09 Kitchen Fight
10 Necros Attacks
11 Approaching Kara
12 Kara Meets Bond
13 Why Didn’t You Learn The Violin?* (0.30)
14 Ice Chase
15 Into Vienna (Film Version)* (0.55)
16 Ferris Wheel Ride* (0.43)
17 Murder At The Fair
18 Tailing Pushkin
19 Then I Must Die* (1.25)
20 ‘Assassin’
21 Looking For A Party?* (0.23)
22 Drugged
23 Aboard Hercules* (0.39)
24 Cold Heart* (0.32)
25 Airbase
26 Jail Fight
27 Jailbreak
28 The Work Of The Mujahadin
29 Bond & Kara* (1.49)
30 Mujahadin & Opium
31 Afghanistan Plan
32 Bond The Stowaway* (1.16)
33 Afghanistan Plan Continued
34 Hercules Takes Off
35 Inflight Fight
36 He Got The Boot* (0.26)
37 Air Bond
38 Final Confrontation
39 Kissing Kara* (0.28)
40 If There Was A Man (Film Version)* (2.50)
BONUS
41 The Living Daylights (Album Version)
42 The Living Daylights (Extended Version)
43 The Living Daylights (Instrumental)
44 The Living Daylights (Demo)
45 The Living Daylights (A-ha Version)
46 Into Vienna (Alternate)
47 If There Was A Man (Album Version)
48 Alternate End Titles
49 Chris Blackwell - Sacred Heart (Ghetto Blaster Source)
50 Johnny Hawksworth & De Wolfe Music featuring Hampton Hawes - Jazz Compass (Aston Martin Radio Source)
51 Mozart - Symphony No. 40 In G Minor, K. 550: I - Molto Allegro
52 Borodin - String Quartet No. 2 In D: III - Notturno: Andante
53 Strauss - Wein, Weib und Gesang Waltz
54 Mozart - Il Nozze Di Figaro K. 492 - Act II - 07 - Aprite, Presto, Aprite - Recitativo O Guarda Il Demonietto!
55 Dvorak - Cello Concerto In B Minor
56 Tchaikovsky - Variations On A Rococo Theme
*12 minutes 20 seconds approx. unreleased music
Notes:
The 1998 Rykodisc CD fills in a lot of the gaps from the OST released in 1987, but there still are a number of cues missing. Most of them centre around the melody of ‘If There Was A Man’ from the end titles. There is a variation of it when Bond picks up Kara’s cello and a slower version when they ride the ferris wheel in Austria. Speaking of the end titles, the film version differs very subtly in that the drum pattern is crossfaded into Chrissie Hynde’s vocal, whereas the soundtrack version just has it from the start of the track. Other notable missing cues include the scene where Bond and Kara embrace in Afghanistan. This is exactly the same as the end of the latter half of ‘Kara Meets Bond’ on the OST, but it ends on a major tonality rather than a minor. Cues when Bond is unconscious aboard the Hercules, which are a slower tempo version of ‘Where Has Everybody Gone?’ with a new counter-harmony, also have sadly never seen the light of day. I've also listed the sizeable amount of classical music featured in the film.
Having watched the movie recently I noticed only approx. five minutes of missing music (short cues 30 seconds to 1 minute). I don't count source music, if not written for the movie. So I think the Ryko-version is good and quiet complete.
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Sometimes this board feels like an interesting exercise in the psychology of obsessives.
Is the FSM forum really a psychology lab? Are we being studied?
I know what you're thinking: What's he talking about?
Neil couldn't have been clearer thar LLL do not have another Bond in progress right now.
But it's not what we want to hear so we make up comforting stories in our heads ("it was a small business lie") and tell ourselves that the story we made up is the real truth.
Someone posts an inference that LLL are working on The Living Daylights, and then other people wade in with their inferences, confabulations, and misquotations and then people who half-read the headline gap-fill foe what they didn't read, misquote it, and add wishful thinking before they post it someplace else, and before you know it, you have an urban myth as hard to squash as "The Moonraker tapes are lost" and "John Williams wants to score the next Bond movie."
Why do we find it so hard to accept what Neil said?
Cheers
I do not buy that either. If LLL does not release a 60th anniversary "Goldfinger" or at least a 50th anniversary "The Man With The Golden Gun" this year, I'll be very disappointed.
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BY THE WAY
Here are the liner notes from the RYKO and 2003 release
The Living Daylights
There is a special historical significance attached to the United Artists Pictures (now a subsidiary of Metro-Goldwyn-Mayer Studios Inc.) release THE LIVING DAYLIGHTS: at the time, it marked James Bond's cinematic 25th anniversary. No series of feature films had previously reached this milestone. In addition to having all the classic elements that made James Bond a worldwide phenomenon - including an elaborate plot involving East-West espionage, a glamorous musician, arms dealing and drug trafficking - the film celebrated the occasion with a new actor playing 007, Timothy Dalton, and the last new score to date by longtime series composer, John Barry.
The Film
When Roger Moore decided against reprising the role of James Bond after 1985's A VIEW TO A KILL, scriptwriters Michael Wilson and Richard Maibaum were left to complete their first draft of THE LIVING DAYLIGHTS with the role of Bond still in some confusion. The role was offered to Pierce Brosnan, who was unable to accept it due to his commitment to the hit series REMMINGTON STEELE. Producer Cubby Broccoli then turned to Timothy Dalton, whom he had originally tested for the part in DIAMONDS ARE FOREVER, but Dalton appeared to be unavailable due to a conflicting London theatre engagement in THE TAMING OF THE SHREW; but good fortune intervened when the play finished its run unexpectedly early, leaving Dalton available.
Before taking on the role of 007, Timothy Dalton's career had been divided between the theatre, television and films, but he was probably best known for his work with The Royal Shakespeare Company. With the full agreement and support of the producers, Dalton was determined to give his interpretation of Bond a harder edge, more in keeping with the style set by the early Bond films and by Ian Fleming's own personal vision. The writing team immediately set about making the necessary script adjustments in order to accommodate this reinvention.
Once casting began, one other notable change took place. The much-loved Lois Maxwell (Miss Moneypenny), up to that point an ever-present player, was replaced by Caroline Bliss. Other Mainstays were more fortunate. Robert Brown, Desmond Llewelyn and Geoffrey Keen (as 'M', 'Q' and the Minister of Defence respectively) were all asked back to add continuity to this fresh approach.
The film's plot is intricate and fulfilling. The always exciting pre-credits teaser is set in Gibraltar, where Bond is participating in an action-packed Ministry of Defence exercise. The plot begins in earnest with the assassination of one of Bond's colleagues, Agent 004, and Bond's successful attempt to avenge it. Soon after, Bond's superiors dispatch him to Czechoslovakia to mastermind the defection of KGB General Koskov (played by Jeroen Krabbé). In the action of Koskov's getaway, which Bond stages during a classical concert in Bratislava, he wounds Kara (Maryam d'Abo), a beautiful cellist, who he believes is doubling as a KGB agent. Koskov is smuggled via a gas pipeline into Vienna and from there transported to England. Upon his arrival in England, Koskov reveals that KGB General Pushkin (John Rhys-Davies) has initiated an operation to assassinate secret agents and cites Agent 004 as the operation's first victim. When Koskov is subsequently abducted by a ruthless killer named Necros (Andreas Wisniewski), British intelligence mistakenly credit the KGB with the kidnapping. As a consequence, they issue a termination warrant for General Pushkin and send Bond to Tangier, where Pushkin is visiting with a trade delegation, to deliver it. Bond, however, is convinced of Pushkin's innocence and spares him as he believes Koskov's accusations are simply a smoke screen for his involvement with international arms dealer Brad Whitaker (Joe Don Baker).
All the main ingredients of a classic Bond adventure fall into place, once this tangled web of deception reveals itself: Koskov and Whitaker turn out to be opium dealers, whose trafficking scam takes Bond and Kara - now romantically linked - into Russian-occupied Afghanistan. There, Bond liberates Kamran Shah (Art Malik), the leader of a group of Afghan freedom fighters. Necros meets his death in a spectacular aerial duel with Bond, while Whitaker is eventually crushed by the falling statue of the Duke of Wellington, thanks in part to Q's exploding key-ring. Special effects, sinister villains and ingenious gadgets, all staple parts of the Bond tradition, proliferate throughout, woven into a cohesive storyline through which Dalton delivers an earnest characterization.
Initial filming began at Pinewood Studios on September 29, 1986, and ended at the same venue on Friday the 13th of February 1987. Location work commenced in Gibraltar before switching to Vienna, Morocco, Italy and England. In Britain, the film received a Royal Premiere in front of the Prince and Princess of Wales on June 29, 1987, at the Odeon Leicester Square. In America, the opening was held a month later on July 31. With a worldwide gross of $ 191 million, THE LIVING DAYLIGHTS became the fourth most successful Bond film.
The Music
One constant thread that binds the Bond series is its distinctive musical style. Given the risks involved in introducing a new Bond, the producers approached the ever-reliable John Barry to give musical credence to Dalton's reinterpretation. Barry's emergence as a film composer took a circuitous route that assimilated a cornucopia of musical idioms. In 1962, the classically trained jazz enthusiast was leader of a highly successful instrumental group, The John Barry Seven, as well as an arranger/director at EMI's Abbey Road Studios. His wonderfully inventive arrangement of "The James Bond Theme" for DR. NO drew on these influences with stunning effect, and became as dynamic an introduction for cinema audiences worldwide as one could possibly hope for. His work on GOLDFINGER, which spawned a long-running number one album in America, established Barry in the Bond hot seat; THE LIVING DAYLIGHTS was to be his eleventh complete score.
As director John Glen told film music journalist John Williams: "John was lost to the Bond films for a number of years and I was fortunate that he was able to return for three of the films I directed: OCTOPUSSY, A VIEW TO A KILL and THE LIVING DAYLIGHTS. As a director what can one say to John Barry about the music for a Bond film? His contribution to the success of the series has been enormous. His needs were always very simple; a piano, a Moviola and not very much time. Six weeks was about as long as he got. Bond films always had a pressing release date and then there was always the title song."*
Following the success of Duran Duran on reaching numbers one and two in the USA and UK respectively with "A View To A kill" two years earlier**, the Bond camp were keen to continue using a currently fashionable group. Recording executive Ray Still, who had initiated the Duran Duran project, was by now director of the US label Warner Bros. Records. On their current roster was the Norwegian trio, a-ha, whom he recommended to Barbara Broccoli, Associate Producer on the film. Barry witnessed their popularity first hand by attending one of their concerts. For his part, Pal Waaktaar, leader of the group, knew much about Barry's considerable reputation and liked the idea of working with him. Ultimately, their title song "The Living Daylights" became a great success throughout Europe and particularly in the UK, where it reached number five in the national charts.
Barry started work on his instrumental score for THE LIVING DAYLIGHTS in May 1987, Writing 57 minutes of music in just four weeks. The score was recorded digitally on a 24-track machine over a seven-day period at CTS, Wembley, the bulk of it incorporating synthesized rhythm tracks which prompted Barry to note, "I wanted to put in these tracks and they really cut through. We've used them on about eight pieces and when we got them mixed in with the orchestra it sounded really terrific with a lot of energy and impact - a slight freshness and a more up-to-date sound." +
This contemporary sound is particularly evident on the cues "Ice Chase," which incorporates "The James Bond Theme," and "Hercules Takes Off," an instrumental variation on the main theme. Barry also wrote what would subsequently become a regular feature of all modern Bond productions: the exclusive theme song for the end titles sequence. Barry felt that, rather than repeating the main title song at the end of the movie, a ballad which was the theme used in the film's love scenes would be more interesting.^ The song in question, "If There Was a Man," was sung by its lyricist, Chrissie Hynde of The Pretenders. The love scenes he alludes to are represented on the soundtrack by "Kara Meets Bond" and "Into Vienna."
Another Barry/Hynde original, "Where Has Every Body Gone," was used as a principal motif for the heavy, Necros. Although in the film this was initially heard on Necros' personal stereo, the full instrumental version, "Necros Attacks," dominates Koskov's kidnapping from the save house. It is revisited in the form of "Inflight Fight," during the scene where Bond and Necros are hanging precariously from an airplane while engaged in combat. "The Sniper Was a Woman" introduces Kara for the first time, while "Koskov Escapes" represents just that, ending with a few bars of the original Bond theme. John Barry, incidentally, makes a rare cameo appearance as conductor of Kara's accompanying orchestra at the end of the film.
Should THE LIVING DAYLIGHTS prove to be Barry's Bond swansong, then it represents a triumphant finale. Barry's adeptness at reinvigorating a tried and trusted formula without ever losing sight of its essential character is never better illustrated than on this fine score. Expect to be shaken and stirred once again.
Geoff Leonard & Pete Walker
The soundtrack to THE LIVING DAYLIGHTS was originally released in the twilight of the LP format, when recordings rarely exceeded 40 minutes. This long-awaited reissue utilizes the expanded capabilities of the compact disc to add nearly a half hour of previously unreleased music written and recorded for the film by John Barry, arranged into a new suite after the original program. Among the highlights are: the entire opening of the movie (with the "gunbarrel" theme and pretitle action sequence); exciting instrumental variations of the songs; the suspenseful Afghanistan desert sequence; the triumphant piece heard during Bond and Kara's airborne escape; the entire Bond vs. Whitaker climax of the movie; and an alternate end title, an instrumental version of "If There Was a Man." It's classic Bond, and vintage Barry. To hear the entire album in film sequence, program: 13, 1, 3, 6, 2, 7, 14, 5, 4, 15, 16, 17, 10, 18, 9, 11, 19, 20, 12. Tracks 8 and 21 are not heard in the film.
* As told to John Williams and published in 'From Silents to Satellite'
** Source: Billboard (US), Guinness Book of British Hit Singles (UK)
+ From an interview with Kevin Williams for Pro Sound News
^ As told to Geoff Leonard
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A 35th anniversary release Licence to Kill would also seem to be a potential release.
AND OHMSS - why do people forget that was from 1969
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Considering that EON mostly ignored the 60th anniversary of the series in 2022, and that the original tapes for Goldfinger are not known to exist (only a music and effects track), this seems unlikely. TMWTGG seems more likely as the 16 track masters exist.
Hopefully it's both (or all three). Even IF a music & effects source is still all that survives for Goldfinger (and I'd point out that lost things have later been discovered on many occasions, now) Chris Malone, who worked on LLL's new edition of Live and Let Die, has worked from M&E sources to salvage more of a score in the past. Just last year he worked with the M&E track for War of the Worlds (1953) to salvage a good chunk of additional score, just by using his considerable skills to remove more minor SFX...the results were incredible: https://lalalandrecords.com/war-of-the-worlds-70th-anniversary-when-worlds-collide-expanded-and-remastered-limited-edition/
So I'm optimistic that a bit more of Goldfinger could be added to a new expansion, using modern tech and a skilled expert applying it...
Yavar
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Posted: |
Mar 12, 2024 - 2:05 PM
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By: |
seinmind
(Member)
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Hopefully it's both (or all three). Even IF a music & effects source is still all that survives for Goldfinger (and I'd point out that lost things have later been discovered on many occasions, now) Chris Malone, who worked on LLL's new edition of Live and Let Die, has worked from M&E sources to salvage more of a score in the past.
So I'm optimistic that a bit more of Goldfinger could be added to a new expansion, using modern tech and a skilled expert applying it...
Yavar
Pike Bishop's YouTube channel hosted some very good (by my ears) reconstructions of some of Goldfinger's missing score cues. As orchestral sampling has improved, and with the accepted realization that scoring sessions/scoring masters could indeed be lost, when the time comes for Dr. No, From Russia With Love and Goldfinger, reconstructions could be used in place of missing cues. I think Joe Kraemer did it for Star Trek and Randy Edelman re-performed cues for the recent Ghostbusters II score album.
I wonder why the scoring masters for the three earliest James Bond scores were misplaced, but then after Thunderball, greater care was taken. Recalling Monty Norman on the Dr. No commentary wishing the album had more of the cues he recorded in London.
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I do not buy that either. If LLL does not release a 60th anniversary "Goldfinger" or at least a 50th anniversary "The Man With The Golden Gun" this year, I'll be very disappointed.
And let's be clear. Those things could happen and LLL would be all over them if they get that opportunity.
I hope they do.
However, I don't believe for a minute that Neil was lying when he said on the podcast that nothing was in the works and I think it's embarrassing and insulting that some people insinuate that he was.
Honestly, sometimes I'm ashamed to be a soundtrack fan.
If anything does happen, which we all hope it will, it will be because cicrumstances have developed, not because Neil was lying.
Because, as Neil also said in the podcast — and had already been hilariously, polarisingly misquoted on — things can change.
The bit that nobody seems to understand, perhaps because a lot of people don't read past the headlines, or because they can't hear what people are saying over their own assumptions and confabulations, is that LLL can't autonomously make these titles happen. They're at everyone's service, but they're not in the drivng seat of what can happen and when.
I thought that's what Neil made very clear on the podcast.
Cheers
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I don't believe for a minute that Neil was lying when he said on the podcast that nothing was in the works
Then how do you explain the official information from a few years ago that they were working on OHMSS, MR & LTK, but NTTD production had stopped this work? Do you think they threw those three projects in the bin and completely forgot about them and abandoned them?
Simply because of production problems today, delays at the pressing plants, the labels prefer not to say anything, and this is completely understandable, I would do the same myself. The easiest thing to say is that we are not working on anything. And it's ok.
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hen how do you explain the official information from a few years ago that they were working on OHMSS, MR & LTK, but NTTD production had stopped this work? Do you think they threw those three projects in the bin and completely forgot about them and abandoned them?
First, nobody in authority confirmed that NTTD production stopped that project. That's fans doing what fans do: filling in the gaps by assumption, rumour, and inference, and turning it into urban myth.
(And, to be clear, nobody said it **wasn't** NTTD either. But nobody who really knew said anything concrete.)
Second, "How do you explain..." is exactly the kind of suspicious inferencing that gives birth to irrepressible urban myths.
All we know is that LLL **wanted** to do those titles in 2019, their anniversary year, but for reasons unstated, were unable to proceed and stopped working on them.
That does not make Neil Bulk a liar (even if we only mean white lies) when he goes on a podcast in 2023 and says that there are no more Bonds in the works at LLL right at that moment.
It also doesn't mean he said "never" about more Bond titles (never say never, right?  ), which is how he was ridiculously misquoted on Intrada's soundtrack forum on Facebook. (In a post since taken down.)
Or that LLL's desire to do OHMSS, etc., in 2019 was "fake news" which was another distortion posted in that same thread.
My explanation: Yes, they stopped working on those projects five years ago when they realised they weren't going to fly.
Your explanation: Neil Bulk was telling a white lie in the podcast.
As a fan base, we really need to confront the problems with inferences, rumours, assumptions, wishful thinking, suspicious thinking, misquotation, and confabulation (gap-filling).
Unfortunately, the amateur and amateurish journalists who dominate the blogosphere and work with these things outnumber the professional journalists, who work by fact-checking and corroboration.
Take "The Moonraker tapes are lost."
If you'd have taken the first "episode" of the story to get Octopussy out in isolation, then it would have been simplified and polarised into, "The Octopussy tapes are lost," and gotten all over the blogosphere.
Except, they weren't lost. They never were. It's just that at the time the Octopussy project was initiated, nobody actually knew what was stored, or where. That shouldn't shock anyone, because we're talking about recordings that were archived long before archiving was computerised and bar-coded.
So, it took a search. And they searched. And they found what they had.
If they'd have done a search for Moonraker back in 2003, they might also have found what they had, but, they didn't. There wasn't the time or the budget, and that became "The Moonraker tapes are lost."
This is one of the other ways I found Neil's podcast very insightful about the process.
LLL's desire to do OHMSS, etc., in 2019 is another example of glorious fan misquoting.
That quickly became, "LLL has new OHMSS and MR discs ready to ship, but Eon is blocking them."
It never ceases to amaze me how fans can take an inch of real truth and within one of two whispered passings-on, spin out a mile of myth that gets everywhere and lots of people believe.
Same with that variation of "The Moonraker tapes are lost," which was, "The Moonraker tapes were dumped (or wiped, depending on which whispered distortion you hear) by Davout."
To the people who believed that one, I have a question: how do you think the music actually found it's way onto the film soundtrack if nothing left that studio and the dubbing happened in England?
My point is that we need to start challenging ourselves on what did people **actually** say, what do we **actually** know, and what's supported by corroboration and a paper trail, versus what we are assuming or inferring.
As an over-enthusiastic fan, I've done assuming and inferring too, but we need to get wiser.
Cheers
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"The new movie delays" - so it was because of NTTD, simple.
Producing/filming/editing/promoting/delaying this movie, whatever. NTTD was the reason (one of two mentioned above).
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OK, and in a personal mea culpa, I gave you the ammunition to distract from the most important points of my message.
So, okay, hands up, NTTD was confirmed as **PART** of the reason, (**NOT** the whole reason.) My mistake. My faulty memory.
But now, how about replying to my core point, which is that all the inferences and suspicions and gap-filling and wishful thinking that's going on in your head doesn't mean that Neil Bulk was lying on that podcast.
Cheers
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I am not creating conspiracy theories and have not been involved in the distortion of facts.
It's clear that at least the 3 Bond scores already mentioned are of interest to this label, and it doesn't need to explain today whether it's definitely making them or not. That doesn't make them or Neil liars. Anyone in their position, knowing the current realities of production, film studio and copyright issues, would say they are not working on anything. And I completely understand that. And that I take these declarations with a pinch of salt is another thing...
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Adam, if you want my honest assessment, I seriously doubt that Octopussy and L&LD will be the last of the Bond scores that LLL does. Neil said, "And things can change," and I'm sure they will.
However, you did say above that you took Neil's declaration as "a small business lie."
Like you knew for a fact he was misleading us.
That's what I took exception to.
Anyway, let's drop it. I think we've cleared the air. But please take my point about how hard it is to stop polarised misquotations and assumption based thinking from becoming urban myth.
Cheers
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