Any chance this would be the next expanded LALALAND Bond score. It's one of the most popular bond movies (And arguably one of the better ones) and was nominated for Score and song. Say what you want, it's deserving...
Any chance this would be the next expanded LALALAND Bond score. It's one of the most popular bond movies (And arguably one of the better ones) and was nominated for Score and song. Say what you want, it's deserving...[/endquotI
Its one of the first i was waiting for. Score so different from the album.
This is probably the James Bond Title that I am mostly interested in getting the Super Deluxe treatment. Mostly because – (please correct me if I am wrong) – but as far as I know – the entire album was re-recorded; and none of the tracks on the current album release are the film score cues… (!)
So what I would really like is the #2 CD set to have the entire film score – (including all the alternate / unused / complete film score cues)… Whilst Disc #2 – to be the remastered album release…
Fingers crossed… I really want to hear the Marvin Hamlisch in it's intended entirety; but maybe I shouldn't hold my breathe on that one.
I am hoping that – “The Spy Who Love Me” – will be next in line… (followed by – “A View To A Kill”)…
(Followed by – “For Your Eyes Only” – mostly because that one is nearly complete)…
Since La La Land have been releasing their albums in anniversary years, maybe we'll get this one in 2027. Next year we're more likely to get A View to a Kill and Thunderball. A View to a Kill needs the proper treatment, but The Spy Who Loved Me needs it more than any other.
My guess is you could probably put the film version and the album versions on one CD. There really isn’t that much score in the film, unless of course there is a lot of unused music. Hell, the album has a bunch of unused music.
Also, there is a direct copy of Barry’s “Stalking” cue from FROM RUSSIA WITH LOVE during the encounter with Jaws in the Egyptian temple.
It's true though that besides the Bee Gee imitations, there's a degree of temp track copying.
James mentioned Stalking from From Russia With Love.
You can also tell that Hamlisch was copying a temp track from The Man With The Golden Gun when the Lotus comes out of the sea.
That's not intended as a criticism or a belittlement, however. It's just an observation.
Let's hope a deluxe edition with both the album and film recorings does indeed come out.
The album contained the best tracks, but I'd love he underwater battle version of Bond 77, and I love the faster film version of Ride To Atlantis (all 30 seconds of it!) over the slower album version.
It's true though that besides the Bee Gee imitations, there's a degree of temp track copying.
James mentioned Stalking from From Russia With Love.
You can also tell that Hamlisch was copying a temp track from The Man With The Golden Gun when the Lotus comes out of the sea.
That's not intended as a criticism or a belittlement, however. It's just an observation.
Let's hope a deluxe edition with both the album and film recorings does indeed come out.
The album contained the best tracks, but I'd love he underwater battle version of Bond 77, and I love the faster film version of Ride To Atlantis (all 30 seconds of it!) over the slower album version.
Cheers
The music where the motorcycle chases them (before the underwater battle) also sounds similar to Live and Let Die.
Who knew there were so many surprises with Moonraker? Maybe there are lot of surprises with Spy's original recording...? We'll find out at the end of 2026 or sometime in 2027.
IIRC, the producers wanted an original soundtrack album for sales appeal, but Hamlisch refused. He wanted the album to be a standalone listening experience, rather than follow the exact needs and timing of the film. He got his wish, and I played that LP to death in 1977. I never got enough of it. I'd sure like to see LLL get this one done for us.
I've never understood the love for this one. I consider this far and away the weakest Bond score (I don't really count Dr. No since so much of it was removed and before anyone says anything, I hold the entirely controversial opinion that Goldeneye fits the movie like a glove).
I rewatched the movie not long ago. The score, when it's not just lifting Barry with some bizarre orchestrational modifications, strikes me as ranging from distracting to painfully inappropriate. Hamslich imparts a sound I can only describe as "disco/Broadway hybrid" onto some of his more original music that just yanks me right out of the movie. The music can stand at odds with what is on screen. Conti would pull off the early 80s discoesque sound so much better in FYEO (a score that shouldn't work but is gangbusters paired to the picture).
And the less said about the Broadway chorus version of Nobody Does It Better at the end...the better. *shudders*
I've never understood the love for this one. I consider this far and away the weakest Bond score (I don't really count Dr. No since so much of it was removed and before anyone says anything, I hold the entirely controversial opinion that Goldeneye fits the movie like a glove).
I rewatched the movie not long ago. The score, when it's not just lifting Barry with some bizarre orchestrational modifications, strikes me as ranging from distracting to painfully inappropriate. Hamslich imparts a sound I can only describe as "disco/Broadway hybrid" onto some of his more original music that just yanks me right out of the movie. The music can stand at odds with what is on screen. Conti would pull off the early 80s discoesque sound so much better in FYEO (a score that shouldn't work but is gangbusters paired to the picture).
And the less said about the Broadway chorus version of Nobody Does It Better at the end...the better. *shudders*
Couldn't agree more - and definitely about GoldenEye.
Conti absolutely nailed Bond IMO, but Hamlisch really didn't get it.
I've never understood the love for this one. I consider this far and away the weakest Bond score (I don't really count Dr. No since so much of it was removed and before anyone says anything, I hold the entirely controversial opinion that Goldeneye fits the movie like a glove).
I rewatched the movie not long ago. The score, when it's not just lifting Barry with some bizarre orchestrational modifications, strikes me as ranging from distracting to painfully inappropriate. Hamslich imparts a sound I can only describe as "disco/Broadway hybrid" onto some of his more original music that just yanks me right out of the movie. The music can stand at odds with what is on screen. Conti would pull off the early 80s discoesque sound so much better in FYEO (a score that shouldn't work but is gangbusters paired to the picture).
And the less said about the Broadway chorus version of Nobody Does It Better at the end...the better. *shudders*
I agree completely. I don't think a C&C release of this score would work at all, and think the re-recorded tracks of the official soundtrack are the best presentation possible.
Who knew there were so many surprises with Moonraker? Maybe there are lot of surprises with Spy's original recording...? We'll find out at the end of 2026 or sometime in 2027.
It was a huge hit when it came out and was a bit of a cultural phenomenon, and that's saying a lot, since it was the same summer as Star Wars. The Lotus underwater, Jaws, and the chemistry between Bach and Moore, the villains lair. The song was only the second Bond title song nominated for an Oscar. (None of which are Barry's).
Nobody Does It Better peaked at Number 2 on the charts and ended the year at #83 (For reference, Rocky's Main Title was #21, Williams Star Wars Main theme was #99, and a disco cover of the same Star Wars theme by Meco was #71)
I've never understood the love for this one. I consider this far and away the weakest Bond score (I don't really count Dr. No since so much of it was removed and before anyone says anything, I hold the entirely controversial opinion that Goldeneye fits the movie like a glove).
I rewatched the movie not long ago. The score, when it's not just lifting Barry with some bizarre orchestrational modifications, strikes me as ranging from distracting to painfully inappropriate. Hamslich imparts a sound I can only describe as "disco/Broadway hybrid" onto some of his more original music that just yanks me right out of the movie. The music can stand at odds with what is on screen. Conti would pull off the early 80s discoesque sound so much better in FYEO (a score that shouldn't work but is gangbusters paired to the picture).
And the less said about the Broadway chorus version of Nobody Does It Better at the end...the better. *shudders*
I think Hamlisch nailed the title song, and it works well when used in the score. The rest of the score is very odd. I completely agree with how well Conti did. I think that a Barry score would have given the film a more classic Bond feel, but Conti's score perfectly suits the film and makes for even better listening on its own.
I think that much of the love for Hamlisch's score is tied to an overall love for the film. It's a difficult thing for most people to be objective about. It's Moore's most iconic Bond film, so that gives the score a certain status. The Spy Who Loved Me is not one of my favourite Bond films, and maybe it's partially because I don't like the score in the context of the film. I prefer the much-hated Never Say Never Again score in the context of its film, but not by much.
