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The problem with Amy at that time is that she was barely functional. I think given her physical and mental health state, it would have been impossible to work with her. Not to mention that she was potentially radioactive.
That’s a very good question. Both had huge talent as singers. Winehouse being a talented songwriter as well. A talent that left us far too soon.
I’d have to go with ‘old blue eyes’ though. His gravitas as a crooner and worldwide popularity would’ve been a massive boost to any Bond film.
Okay should we stay with music, a few times Barry had to step away from scoring the Bond films to create other movie music. In those times the producers were always able to secure top flight talent to take his spot.
Lets pair off a couple of the times other composers took the chair over from Barry and see which soundtrack you would rather listen to.
Would you rather listen to the soundtrack from TSWLM OR FYEO?
Marvin Hamlisch was an award winning composer and to get him for Bond and Beyond in 1977 was a big deal. Besides a wonderful theme song, Hamlisch was also able to craft a solid soundtrack. Though a product of it's time, Bond 77 was a disco infused bit of song that fit the epic car chase well. Also used in the PTS the theme was able to update the sound of Bond while also paying tribute to its past.
OR
Bill Conti, the man behind the Rocky soundtrack. Conti delivered a soundtrack that has movement and sass. The Runaway theme that plays during the ski chase is a stand out track as is Drive in the Country. While firmly rooted and a product of it's time, the soundtrack does a nice job of never detracting from the action.
Which one is playing in your headphones?
I don't really like Hamlischs score, even though some of Contis music doesn't quite work, it's a more enjoyable listen than TSWLM! I prefer the theme song too!
You forgot Kamen and Serra.
I'd say both scores are really good at creating atmosphere. They're very rich and varied, so to listen to them is almost like eating a box of chocolates. Check out that great Russian-style motif from TSWLM that plays when Bond runs into Gogol in Egypt, or the minimalistic percussion-and-strings that accompanies Bond removing the detonator from the nuclear missile, or the romantic rendition of NDIB in the Egypt boat sequence (preceded by a terrific, swriling woodwind melody) and, of course, the lifestyle-porn vibe of Ride to Atlantis, a track which might not have Bond's typical wah-wah brass (in neither album nor film) but which nonetheless captures a typically Bondian sense of near-excessive opulence and a larger-than-life quality. But also listen to FYEO's pastoral and quietly gripping St. Cyril's Monastery, or the endlessly inventive and frankly remarkable Ski...Shoot...Jump (especially that piano/synth motif), or the beautiful melancholy of Bond arriving in Greece to meet Melina, and the gorgeous renditions of the FYEO theme in Cortina and Greece.
Now which score do I prefer? I must say that despite my opinion that TSWLM is aesthetically more satisfying in how it honors the Bond sound, I just feel Conti's compositional style is closer to my heart than Hamlisch's. He's somehow more present, livelier, more passionate. I also much prefer the title song of FYEO to NDIB. And while Hamlisch does something very cool and stylish with Bond 77 and with a couple of other renditions of the Bond theme (like the ones heard in the beach scene and when Bond "rides" the tanker camera), Conti's versions of the theme, brief as they might be at times, blow my socks off. Just listen to that gunbarrel music, or the biting cruelty of the distorted guitar in Goodbye Countess. And last, but not least, once again putting considerations of the traditional Bond sound aside, Conti's action music is just ridiculously awesome. It's like the score is on cocaine or something. Sheer excitement and euphoria. Hamlisch, by contrast, is more reserved, more introspective in his style. He leans closer to John Barry in that sense, but can't beat him. Conti is doing his own thing and owns it.
So yeah, I'd rather listen to FYEO. I'm listening to it as we speak.
FYEOs score is hot garbage thrown in a flaming dumpster nuked by the same missiles that killed Bond
I'll go with TSWLM.
Wow @mattjoes really thoughtful and I think on point analysis. Course that might happen to be because I agree with it. LOL! Seriously I love the thought you put into it.
As for myself, I love me some synth, probably more than most, and I adore both Hamlisch' TSWLM as well as Conti's FYEO.
At the end of the day, though, if I have to pick one, I'd take FYEO.
It'd be interesting to know if the opinions in this thread are informed by the music as heard in the respective films, or the official soundtrack albums or fan-made expanded albums. Because I feel there are some great cues that have not been officially released for either film. Not having been expanded at all, TSWLM suffers from this the most, and more so because many of the unreleased cues are so short and thus were probably deemed not fit for an album program (they ended up re-recording the music for the album, though I suspect Mojaba Club wasn't re-recorded). FYEO still has some great cues left out (especially Sleigh RIde and the end of Ferrara Killed).
First two Bond films I saw - FYEO backed with TSWLM on telly! - so a lot of sentimentality here. Fond memories of our hero skiing through the ice tunnel to 'Bond 77', and Jaws disappearing into the shadows during 'The Pyramids'. Some other good ones in there. Forgot about 'Tanker'. 'Anya' is alright, but I can see why it was left out - no suitable moment for it to appear. Overall, there's some great cues but it feels rather short and the tracks sound different to what's in the film - and that bugs me a bit.
With FYEO, you get a lot more selection. I like that parts of 'A Drive in the Country' sound like it could've been in LALD, during the NY scenes. I probably prefer Sheena's theme over Carly's, and Rage's 'stripper music' is a real pleasure. Lots of energetic late disco vibes to bop to - maybe 'Runaway' can make my 80s playlist.
Would you rather listen to FRWL OR TLD?
Both films feature romance and a more grounded film.
FRWL features horns, a taste of Turkey. Barry creates a secondary theme song for our hero, 007 which features in the Gypsy Camp sequence. We have some delicate strings to highlight the evil SPECTRE. He knew enough to not score the fight sequence. Overall a great first effort for this young composer.
OR
TLD which was score nearly 25 years later. This introduces a new Bond to a new generation. Barry brings energy and a re-vitalized soundtrack. If ever music drives a beat and propels you this film does. He also peppers in some slower tunes and romance into the film. This soundtrack hits all the right notes. He even collaborates with Chrissie Hynde of the Pretenders with a couple of songs.
Which soundtrack are you playing if you are choosing between the two?
Dove to Warehouse is actually one of my favourite bits of music from FYEO. One of my favourite scenes from the film too.
I really love both FRWL and TLD, but I have a slight preference for early Barry over later Barry scores. There's something about those 60's tunes that just can't be matched. FRWL is an odd one though, as he's not perfected the "Bond sound" completely yet, and maybe it's a bit raw – but that is one of the reasons I like it too. TLD is a great 80's score, but I don't find myself picking that soundtrack to listen to particularly often.
FRWL is still great though.