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It's okay. Works well instrumentally, but I'd put it the lower bracket of the Barry/Bond songs. Barry's best songs were always the ones where he was being innovative, following nothing but his own instincts--there were really no precedents for the songs Goldfinger, You Only Live Twice, Mr Kiss Kiss Bang Bang, We Have All the Time in the World, and Diamonds Are Forever. Whereas Thunderball imitates Goldfinger, Man With the Golden Gun tries to follow on the success of Live and Let Die, The Living Daylights trails A View to a Kill, and All Time High sounds like it wants MOR/For Your Eyes Only sales.
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I think it's a very good song. Very well composed and lyricised. I know some people say it's not 'Bondian' (presumably meaning, not like Goldfinger or Thunderball), but then again neither is 'Nobody Does It Better' and that figures high on the best-of lists. Cheers
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Posted: |
May 31, 2020 - 5:59 PM
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By: |
follow me
(Member)
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It's okay. Works well instrumentally, but I'd put it the lower bracket of the Barry/Bond songs. Barry's best songs were always the ones where he was being innovative, following nothing but his own instincts--there were really no precedents for the songs Goldfinger, You Only Live Twice, Mr Kiss Kiss Bang Bang, We Have All the Time in the World, and Diamonds Are Forever. Whereas Thunderball imitates Goldfinger, Man With the Golden Gun tries to follow on the success of Live and Let Die, The Living Daylights trails A View to a Kill, and All Time High sounds like it wants MOR/For Your Eyes Only sales. The Living Daylights is NOT a Barry-song (A View To A Kill is also not a Barry-song)! Where Has Everybody Gone however is a Barry song! I often read here that TMWTGG "tries to follow on the success of Live and Let Die". I have never had the feeling that TMWTGG has anything to do with the sound/atmosphere of LALD. I am one of the few people who actually don´t like the LALD-song (but I think George Martin´s score is OK). I am also one of the few people who really like the TMWTGG-song. It is not Barry´s best Bond-song but better than every single non-Barry-Bond-song imho. All Time High has nothing to do with FYEO except that it is a Bond-song for the lighter Moore Bond-era. There were also really no precedents for "Where Has Everybody Gone", "Moonraker" or "If There Was A Man" (all by Barry)...
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This was the end of the road for the Easy Listening Bond Song, started with 'Nobody does it Better' and peaking with 'For Your Eyes Only'. Like any Bond trend, it starts as something we've never quite seen before (at least in a Bond movie) and ends up being done one too many times. If 'All Time High' appeared in any other movie, it would be considered bland and unassuming but fine. In a Bond movie, it just kinda lacks everything you expect without bringing something to it you never knew you wanted. It's really only remembered because it is a James Bond song.
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This is a very nice song which I don't think gets enough credit. I love it, what about you guys? I like it a lot Henry. It's a good song in my opinion.
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This is a very nice song which I don't think gets enough credit. I love it, what about you guys? I like it a lot Henry. It's a good song in my opinion. One of the Moore Bonds I didn't see in the cinema and when I finally saw it on vhs, I thought "what a gorgeous song". So plush and melodic. So, yep count me in as one who loves it. Whereas FYEO has never had a great effect on me, and TMWTGG always struck me as tinny and rather shrill. Love LALD though. And Nobody Does It Better, and Moonraker. There are no bad 60s songs, and I actually like all the pre-Craig ones. I know, even the Madonna one. And while I do like The Pretenders songs I think the Aha one is a much better fit for the opening.
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Posted: |
Jun 1, 2020 - 11:30 AM
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By: |
PollyAnna
(Member)
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It's okay. Works well instrumentally, but I'd put it the lower bracket of the Barry/Bond songs. Barry's best songs were always the ones where he was being innovative, following nothing but his own instincts--there were really no precedents for the songs Goldfinger, You Only Live Twice, Mr Kiss Kiss Bang Bang, We Have All the Time in the World, and Diamonds Are Forever. Whereas Thunderball imitates Goldfinger, Man With the Golden Gun tries to follow on the success of Live and Let Die, The Living Daylights trails A View to a Kill, and All Time High sounds like it wants MOR/For Your Eyes Only sales. The Living Daylights is NOT a Barry-song (A View To A Kill is also not a Barry-song)! Where Has Everybody Gone however is a Barry song! I always assumed Barry had co-wrote both The Living daylights & A View To a Kill songs with the bands involved. Soundtrack Collector on the album listings even quotes Duran Duran-Barry on View and Waaktar-Barry on Daylights. I remember him being interviewed regarding both and I'm sure he must have done more than just arranging. He also incorporated the songs instrumentally into the both of the scores. I hope this not another case of the Monty Normans! Mr. Woolston can you shed any light on this?
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Ref: A View To A Kill and The Living Daylights, as the question has come up. They weren't the same as the previous songs. Previously, John Barry would write the music, a lyricist would add a lyric, and a singer would sing, all under John Barry's direction. John Barry was very much the author of the music of those songs, the melody, the counterpoint, etc., and very much the director of the final product. With the two 'band' songs, it didn't work that way. The bands essentially wrote the songs themselves, at least to a rough level. There may have been some supervisory input from Barry, and there may have been some polishing from the rough to the refined with John Barry, who may or may not have worked with the bands to enhance the melodies and counterpoint the bands were coming up with. I suspect that might be a bit more true of A View To A Kill than The Living Daylights, in which A-ha and Barry pointed at each other and said, "That guy isn't working with me on this." The one thing Barry definitely did do on both songs is he definitely wrote the orchestral augmentation track that added the extra lustre and Bond-ness to those songs. So, Barry clearly made a discernible contribution to the final versions of those songs, but the essential core of these songs belongs more to the bands, I think. Cheers
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