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Posted: |
Dec 11, 2018 - 5:09 PM
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By: |
NUMBER 6
(Member)
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I don t understand why this great Barry score is still not expanded. It was supposed to be done in 2003 and was ready to be done. Instead, we get some other Bond score ! As a Bond fan and a Barry fan, this great John Barry score is one of his best. His exotic music from the Far East is almost all missing from the recording we have.
Here is what Lukas said in his magazine in 2003:
http://www.filmscoremonthly.com/fsmonline/images/covers/print_large/v08n05.jpg
Yeah, yeah, yeah—where’s Moonraker, and so on. If five of the Bond soundtracks could be done properly, why not all the others ? The answer: time and money, and in some cases, lack of master elements.
Master tapes to the first three films—Dr. No, From Russia With Love and Goldfinger—are not at EMI’s Abbey Road vaults in London, where most of the expanded Bond material was kept. (The four additional cuts on the Goldfinger CD come from the British LP master.) I would presume they are lost.
Moonraker is missing because it was recorded in Paris—maybe the tapes are still in France. A View to a Kill was recorded in London, but the tapes are not at Abbey Road for whatever reason. For Your Eyes Only and The Living Daylights were already expanded for the Rykodisc CDs.
This leaves three titles that theoretically could have been expanded: The Man With the Golden Gun, The Spy Who Loved Me and Octopussy. For Octopussy, there may be tapes of extra music at MGM in Los Angeles, but there was not time to evaluate them. There are 24-track tapes of The Spy Who Loved Me at Abbey Road, but I don’t know if these are for the film soundtrack or the LP re-recording; furthermore, 24-track mixes are very time-consuming and expensive. So we end up with only one title that missed narrowly:
The Man With the Golden Gun. Originally, EMI was going to try to remix and expand both Live and Let Die and Golden Gun from the 16-track tapes. As the transfers were being done at Abbey Road, I was informed that the process was becoming far too expensive and time-consuming, so Golden Gun would not be done. Had I known we could only do one of the early Moores, I would have suggested the Barry score rather than the George Martin one—but I didn’t, so we couldn’t. The only other thing that fell by the wayside due to a lack of time and money
was the tank chase from GoldenEye (the Bond theme arranged by John Altman), which was recorded on fancy modern digital tape that required expensive equipment to transfer. So that’s the true story. —L.K.
Well the good side of all this, is that we have LIVE AND LET DIE , but the sad part is that THE MAN WITH THE GOLDEN GUN is my second favorite Bond score !
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They didn't forget; didn't you read the article that you quoted?
Well, if they expanded it, I'd buy it, because I love John Barry, but honestly, TMWTGG is pretty close to the rear of Barry scores. Quickly done for a bad film, with a vocalist miscast for a mediocre song trying too hard to follow in the rock-n-roll shoes of Live and Let Die, the song and score are not first-rate Barry. It's all okay; it's nowhere near the excitement and grandeur of those first six consecutive Barry/Bonds; it lacks the atmospheric space music of Moonraker, the stirring action theme and darkness of AVTAK, the exotic flavorings of Octopussy, and the mult-themed inventiveness of The Living Daylights, plus it has a slide whistle. I must be having a bad day, because I'm criticizing John Barry. Still, I'd buy an expansion.
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Posted: |
Dec 11, 2018 - 6:24 PM
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By: |
NUMBER 6
(Member)
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They didn't forget; didn't you read the article that you quoted?
Well, if they expanded it, I'd buy it, because I love John Barry, but honestly, TMWTGG is pretty close to the rear of Barry scores. Quickly done for a bad film, with a vocalist miscast for a mediocre song trying too hard to follow in the rock-n-roll shoes of Live and Let Die, the song and score are not first-rate Barry. It's all okay; it's nowhere near the excitement and grandeur of those first six consecutive Barry/Bonds; it lacks the atmospheric space music of Moonraker, the stirring action theme and darkness of AVTAK, the exotic flavorings of Octopussy, and the mult-themed inventiveness of The Living Daylights, plus it has a slide whistle. I must be having a bad day, because I'm criticizing John Barry. Still, I'd buy an expansion.
1- i was not talking about LUKAS, i am talking about every others !
2- the exotic flavorings of Octopussy is not better just different, but i prefer very much TMWTG !
3- plus it has a slide whistle ? Its around 4 seconds long !
4- stirring action theme and darkness of AVTAK ? What about the instrumental of the song that appears a few times ?
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Like I said, I'd buy an expanded edition. It's like that Woody Allen joke from Annie Hall about life being full of misery, loneliness, unhappiness, and suffering--and it's over way too quickly.
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Posted: |
Dec 11, 2018 - 6:52 PM
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By: |
townerbarry
(Member)
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I don t understand why this great Barry score is still not expanded. It was supposed to be done in 2003 and was ready to be done. Instead, we get some other Bond score ! As a Bond fan and a Barry fan, this great John Barry score is one of his best. His exotic music from the Far East is almost all missing from the recording we have.
Here is what Lukas said in his magazine in 2003:
http://www.filmscoremonthly.com/fsmonline/images/covers/print_large/v08n05.jpg
Yeah, yeah, yeah—where’s Moonraker, and so on. If five of the Bond soundtracks could be done properly, why not all the others ? The answer: time and money, and in some cases, lack of master elements.
Master tapes to the first three films—Dr. No, From Russia With Love and Goldfinger—are not at EMI’s Abbey Road vaults in London, where most of the expanded Bond material was kept. (The four additional cuts on the Goldfinger CD come from the British LP master.) I would presume they are lost.
Moonraker is missing because it was recorded in Paris—maybe the tapes are still in France. A View to a Kill was recorded in London, but the tapes are not at Abbey Road for whatever reason. For Your Eyes Only and The Living Daylights were already expanded for the Rykodisc CDs.
This leaves three titles that theoretically could have been expanded: The Man With the Golden Gun, The Spy Who Loved Me and Octopussy. For Octopussy, there may be tapes of extra music at MGM in Los Angeles, but there was not time to evaluate them. There are 24-track tapes of The Spy Who Loved Me at Abbey Road, but I don’t know if these are for the film soundtrack or the LP re-recording; furthermore, 24-track mixes are very time-consuming and expensive. So we end up with only one title that missed narrowly:
The Man With the Golden Gun. Originally, EMI was going to try to remix and expand both Live and Let Die and Golden Gun from the 16-track tapes. As the transfers were being done at Abbey Road, I was informed that the process was becoming far too expensive and time-consuming, so Golden Gun would not be done. Had I known we could only do one of the early Moores, I would have suggested the Barry score rather than the George Martin one—but I didn’t, so we couldn’t. The only other thing that fell by the wayside due to a lack of time and money
was the tank chase from GoldenEye (the Bond theme arranged by John Altman), which was recorded on fancy modern digital tape that required expensive equipment to transfer. So that’s the true story. —L.K.
Well the good side of all this, is that we have LIVE AND LET DIE , but the sad part is that THE MAN WITH THE GOLDEN GUN is my second favorite Bond score !
OP...Please Contact This Lady.
Mrs. John Barry
007 Moneypenny Ave.
London, England
Mrs.John Barry has All answers to your very important question.
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The Man with the Golden Gun was the first Bond movie I ever saw. I was 12 at the time and was blown away by it. The suspense, the action, the gadgets, a great villain and a hilarious sidekick. I hadn't been conditioned to hate slide whistles yet, so this one gets a total pass. I laughed my ass off when the car did that flip.
I think it's one of the best themes he wrote for the series as used in the score, easily adapting it to action chases or exotic flyover scenes. And the suspense cues in Scaramanga's funhouse (where the theme is presented in Dixieland and western saloon piano style) are among my favorites among all the Bond scores. Barry sounds like he had a lot of fun on this one.
I'd love to see an expansion.
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The Man with the Golden Gun was the first Bond movie I ever saw. I was 12 at the time and was blown away by it. The suspense, the action, the gadgets, a great villain and a hilarious sidekick. I hadn't been conditioned to hate slide whistles yet, so this one gets a total pass. I laughed my ass off when the car did that flip.
I think it's one of the best themes he wrote for the series as used in the score, easily adapting it to action chases or exotic flyover scenes. And the suspense cues in Scaramanga's funhouse (where the theme is presented in Dixieland and western saloon piano style) are among my favorites among all the Bond scores. Barry sounds like he had a lot of fun on this one.
I'd love to see an expansion.
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Refreshing to see that there are still some people who can see and hear what is good !
The exotic island in Thailand, the mood of this film is fantastic. I also had a crush on Britt Ekland !
John Barry was quoted a few times saying..It is his worst James Bond Score.
https://youtu.be/R500VKA9-Zo
https://youtu.be/I-AN5mJF13A
Barry considered the theme tune – the only Bond film title track not to chart as a single in either the U.K. or U.S. – and score to be among the weakest of his contributions to the series: "It's the one I hate most... it just never happened for me.
May be true that the song is not among his best, but ANYTHING that Barry did is a thousand times better than any second of post-Barry Bond material.
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Having a better day today. I still think TMWTGG is the weakest Barry/Bond and I'll never like the recording of the song, but I think I'll spin the unexpanded cd today. I respect David Arnold and like some of his music, but his Bond scores are not my cup of tea. I'll take The Man With the Golden Gun over any non-Barry Bond score, gulp, slide whistle and all.
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I understand that TMWTGG is considered to be a lesser Barry score, but I like it a lot, and it means more to me than any Bond score that came after The Living Daylights.
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search engine.....
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.... it means more to me than any Bond score that came after The Living Daylights.
well, that's a low bar!
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