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Would you rather listen to the soundtrack of LALD OR LTK?

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Comments

  • FoxRoxFoxRox
    Posts: 12,820
    I’ll go with TLD, though I think Barry has several better ones above both of those - and yet they’re both still very good.
  • Mathis1Mathis1
    Posts: 8,378
    Definitely TLD, really love what Barry did with it, and was a big fan of The Pretenders, so that was a bonus!
  • PrinceKamalKhanPrinceKamalKhan Monsoon Palace, Udaipur
    Posts: 3,282
    I've long thought of TLD as a FRWL for the 1980s. Both films feature a defecting Soviet military intelligence officer using a blond defector who falls for Bond while trying to increase Cold War tensions between the British and the Russians. The officer is added by an Aryan henchman who stalks around committing assassinations. And the 2 films bookend master composer John Barry's tenure as a Bond composer.

    Love both scores but since TLD is my 2nd favorite Barry Bond score(sandwiched between YOLT and OHMSS) I'll listen to TLD.

    There simply is no bad Barry Bond score IMHO. For that matter I've yet to hear a bad Barry non-Bond score either.

  • mattjoesmattjoes Joe Don baker
    Posts: 7,228
    Overall, I like TLD better because I find the atmospheric passages of FRWL, those parts where the music has to create an ambience and sustain it, to be less interesting. However, I've listened to TLD enough times, and lately I find myself discovering the hitherto overlooked or undervalued pleasures of the FRWL score. So today, I'd rather listen to FRWL. It has a masterful rendition of the James Bond theme (with bongos); the lyrical and exciting title music, with that genius transition into the Bond theme; the sinister piece that underlines Kronsteen's explanation of his plan (featuring that clinical SPECTRE motif); the hypnotic ostinatos of Tania Meets Klebb; the life-and-death drama of Girl Trouble; the 007 theme; some gorgeous renditions of FRWL (a theme John Barry didn't even compose himself) like the music box version on the train; that genius, mechanical-sounding piece for the Orient Express (by association it makes me think of Richard Rodney Bennett's waltz in Murder on the Orient Express); the brutal brass and off-kilter rhythm in the second half of Death of Grant; and some lovely, extremely brief cues like the "about that lunch" transition, and the driving pizzicato heard when Klebb declares "the cold war will not remain cold much longer." In its heavy use of heavy timpani, this score has echoes of Zulu, and like Zulu, it is quite masterful.
  • mtmmtm United Kingdom
    Posts: 18,647
    Yes I know what you mean about being a bit reminded of Murder on the Orient Express. And also thanks a lot: that’s stuck in my head now! :D
  • mattjoesmattjoes Joe Don baker
    Posts: 7,228
    mtm wrote: »
    Yes I know what you mean about being a bit reminded of Murder on the Orient Express. And also thanks a lot: that’s stuck in my head now! :D

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  • ColonelSunColonelSun
    Posts: 1,513
    Love the score for FRWL, so it wins for me, although I think Barry did great work on TLD.
  • thedovethedove hiding in the Greek underworld
    Posts: 5,993
    All right, both films get some love. I always thought TLD was on similar to OHMSS or is it the other way around? Both scores really add punch to the action scenes.

    Okay lets compare another two soundtracks not composed by Barry!

    Would you rather listen to the soundtrack of LALD OR LTK?

    Both films feature drugs as the main plot point. Both feature Bond out of his element. These films were also scored by a new composer to the series, but certainly not new to making music.

    Sir George Martin had his go with Bond and a new Bond to boot. Martin's score seems to hit some good notes and fits with the time and style of the movie. Very different from a Barry soundtrack yet somehow it works.

    OR

    Michael Kamen tried his hand with Bond. Kamen was an in demand composer at the time having done the soundtracks for the Lethal Weapon series, and the first three Die Hard movies. His soundtrack has acoustic feels and plays into the Latin American setting of the film.

    Which one are you preferring to listen to?
  • mattjoesmattjoes Joe Don baker
    Posts: 7,228
    Oh, I choose LALD. It's more up my alley because it's a highly melodic score. LTK is a more demanding listen.
  • TorgeirtrapTorgeirtrap
    edited July 30 Posts: 18,050
    For me, LTK is a decent score when watching the film, but not one I would often pick out and actually listen to. LALD on the other hand, being highly melodic as @mattjoes mentions, is a score I love to put on. It's up there with John Barry's work, in my opinion.
  • SecretAgentMan⁰⁰⁷SecretAgentMan⁰⁰⁷ Lekki, Lagos, Nigeria
    Posts: 2,804
    I love LTK. But it's LALD for me.
  • LudovicoLudovico
    Posts: 15,936
    LALD easily for me too.
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    edited 7:30am Posts: 7,697
    Tough one, I can see why one would find LALD an easier listen, but LTK takes me back to a film I really love. The Latin American motives are also very enjoyable, I'll be in the minority to vote for LTK here.
  • FoxRoxFoxRox
    Posts: 12,820
    LALD for me.
  • Mathis1Mathis1
    Posts: 8,378
    LTK for me!
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