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The only thing with CR and QoS is that the original releases are very complete - I dont think there is a huge amount missing from either (probably 90-95%) - maybe they could release demo's or unused music etc for them but I'm not sure the value is really there.
It's weird, but on my DVD copy, it sounds like B.J. Arnau's "Live and Let Die" is a different vocal take from the album version. I can hear the difference most clearly in the chorus vocals, on the third "Oh, say live and let die", when she goes for the high note.
Also, on my DVD, there's a tenor sax part in the right channel, doing some riffs, as she sings the verse... I've heard the film had a stereo remix at some point, was this one of the changes made? And if so, where did they get that sax part from?
Apologies if this is common knowledge.
That's true, most of the score is available. However, the bonus tracks for Casino Royale were an ITunes exclusive, so they could make those widely accessible now. There's at least 1 track I am aware of not on the score and it's an extended version of the prologue (License:2 Kills). The music in the film is longer than on the soundtrack.
Quantum is missing at least 2 cues. The scene where Bond flees from the CIA and the scene where Camille and Greene meet Bond at the Party in Bolivia. I am sure there's another but I can't recall off the top of my head
There's a short cue for the meeting between greene and the cia on the plane at the airfield before the opera arrivals, also for CR we could do with the film version of the Chris cornell song.
I've made a list of what’s missing from both films here.
Yes. I would like Dr. No as well. I quite like Norman's score. Even when it's evidently clear, that Barry later created the definitive Bond sound.
Not sure there’s much chance of an expanded soundtrack - IMO more likely we’ll get a remastered GF-style release, but would love to be wrong about this! Even so, an upgrade in sound quality for DN would be incredible.
Out of curiosity, does anyone know how much of the DN score can actually be traced back to Barry rather than Norman? Aware of the legal wrangling over the JB theme itself, but I think Barry wasn’t credited for the full score at the time, but I’ve heard suggestions that he might have had some involvement later in production. That could also explain why the released soundtrack (credited to Norman) includes cues not featured in the film - perhaps they were replaced by Barry’s arrangements?
For me DN is easily the worst Bond score and I must admit I probably wouldn’t buy it!
If the original tapes are indeed lost, this would be an ideal Plan B!
It's not my favourite, for sure - but I have a soft spot for it and would be a Day 1 purchase for me. It was the one that started it all.
It has always been my understanding that on DR.NO barry was only involved late in the day in the creative realisation of the james bond theme ONLY and of course played by his 7 and orchestra as er the title credits the ⁸reused edits of that theme at later points in the film where we clearly hear Vic flicks guitar were probably down to Peter hunt who seems to have had a strong prefence for this tune to be insertable at every possible opportunity .As far as the rest of the underscore is concerned that would seem to be arrived at only by composer monty Norman,orchestrator Burt Rhodes and conductor arranger Eric Rogers (of the carry on films fame).
Almost, but not exactly. In those cases they took the music from the music channel of the DME track, so the music was clean to begin with. For The Knack, they had a "monophonic music and effects (M&E) track", meaning a single channel where music and SFX were mixed together. Enter Chris Malone who had to remove the SFX. While it was not possible to include all the music, within the given limitations, the results are really good and listenable. What helps things too is the fact that the score is so melodic and tends to have tracks with sustained rhythms.
IIRC, for DN and FRWL, all there is just the mono mix, so dialogue, music and effects, rather than just the latter two. But I believe machine learning tools could help get rid of the dialogue, leaving the latter two elements to work on, much like The Knack. A M&E track (no dialogue) does exist for GF.
Edit: Would be interesting to know what kinds of limitations one runs into in this kind of task. I would speculate that gunfire SFX, which in those old mono mixes tends to "take over" the mix, so to speak, is hard or even impossible to get rid of. Ambient sounds on the other hand, like birds chirping or wind gusts, might be easier to deal with.
And failing that after la la and Neil hopefully complete the remaining do-able scores in expanded and sequenced editions maybe just maybe they might consider funding rerecording's of the first three problem scores DN-FRWL and GF.The notion of David Arnold and Q the music orchestra enlarged would seem to me to be capable hands to realise a project like that ,money and legalities assumed surmounted.