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Comments
Indeed. I only have a few dumbbells and a couple resistance bands. I have to admit I don't use them much, but at least it's a cheap alternative to a gym membership.
Yeah, that special edition and the other DVD (as a part of a James Garnder collection) was all I could find as well. Might end up getting that special edition eventually, but I'll definitely wait and see if the price goes down first.
I have quite a few resistance bands they are a god send, the ones I have that are just a band (no handles) literally are a mobile gym that fit in a small bag. Also the kick bag stand I have is great for using the bands as it's extremely heavy.
Yeah, it's a bit much for a DVD. If it goes down to £12 or less, I'll consider it.
Indeed, resistance bands are good equipment, and more than enough for me really. I'll have to use door handles, and that's not optimal (for the handles).
(Sorry for going off topic, mods!)
Back on topic FYEO is a decent album to train too, though Bill Conti often delivers in that respect for example his Rocky scores.
Great score, arguably Arnold's best overall Bond album.
I agree QoS is excellent also, I hope Arnold returns as I felt he was getting better with each score, also with the time away you would assume Arnold would have alot of fresh ideas for Bond
I've never listened to FYEO when doing a workout, but I can definitely see how it might work; his up-tempo songs on the score could definitely be suitable. Interestingly, they are also some of my favourite tracks (of the score). A Drive In The Country for example.
That's a good track I also like Runaway, spot on regarding the tempo
I really like how Runaway is used in the film. It's a moment I look forward to when watching FYEO. That's probably the best compliment I can give a track from a score; when the score itself becomes so much more than background music.
Re. Bill Conti; here's a video where he talks about FYEO:
Good interview, Donna Summer would have been an interesting choice. FYEO is not one of my favourite songs from the series though its very distinctive
Neither of them seem particularly popular, but I quite like both the FYEO theme song, and All Time High from OP. I listen to them quite regularly.
Donna Summer would have been an interesting choice, for sure.
Both decent there is only one Bond title track I can't tolerate the that's the abysmal Writings on the Wall.
Goldeneye - U2 demo
Agree. WOTW felt alright the first couple of times I listened to it, but it's not a track I've listened to after that.
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DAF is one of my favourite Bond scores, and one I feel does not get mentioned much here on the forum. I like how it varies from the more mysterious tracks like Mr. Wint and Mr. Kidd/Bond to Holland, to tracks like Airport Source, that's evocative of the sleazy 1970s Las Vegas. It's John Barry at his best.
Love this piece of music, Barry was genius
The bubbles tickle my…Barry!
Oh, how I love AVTAK. People can bash it all they want, but I find so much enjoyment in that film – and John Barry's score is a 10/10.
Despite its obvious issues its a fun film, its better than many of films that were made after IMO
Indeed. The entertainment value is sky high with AVTAK, which is something I feel is missing currently. There's nothing wrong with a few laughs now and then!
For OHMSS, it's easy to point out the brilliant thrilling tracks of the score, but sitting down with a beer late this evening (and the OHMSS score playing in the background), I found myself drawn towards the more slow tempo tracks – like Bond Meets The Girls. It does get a bit more dramatic toward the end, but throughout, it's just such a lovely piece of music by John Barry. It fits the scene perfectly, and just as well as slow background music.
This is John Barry at his best.
Great score one of my favorites, John Barry had the ability to create bizarre and disconcerting themes.
Indeed. I feel the bizarreness is more apparent with OHMSS; quite fitting the late 60's and the psychedelia of that period.
The first piece in Bond Meets the Girls has the strings playing these subtle dissonances which have a very provocative and sensual quality to them.
I thought about writing more about this track in particular, but I guess "provocative" and "sensual" covers it, really. The sexual tension is at max in that scene (who wouldn't want to be in Bond's place right there), and with that track playing over it… well, it certainly doesn't tone it down!
Absolutely. It's one of the most sexually charged moments in a Bond film. And I find this score contains two of Barry's sexiest cues in his entire Bond ouevre-- I'm thinking of Bond Meets the Girls and Sir Hilary's Night Out. A good number of his other softer pieces tend to aim for a slightly different feel, one that conveys deep romantic passion with a tinge of melancholy to it. No such thing here-- it's pure lust.
Good points. The interesting thing about Sir Hilary's Night Out is that it balances perfectly between very sensual and mysterious. I't quite incredible how Barry did it – yet it seems he did it with such ease.
For a moment there, you had me thinking: "There's a film named Carry On Erection?!"