Last Bond Soundtrack You Listened To

Well, it's a nothing thread but I re-listened to Spectre for the first time in a year or two and was quietly disappointed. Parts like Backfire, Snow Plane and Eternal City are better than the whole. Really does feel that anyone connected to Spectre felt they could ride on the immense success of Skyfall. Would a second Adele song had been as lifeless? Consequently Spectre feels like Skyfall-lite.

Can't disagree there. I do also like Donna Lucia and Vauxhall Bridge, but that's about it. Would a second Adele song be as lifeless? I think anything would be an improvement on Smith's efforts.

I've had the FRWL soundtrack on loop. I think it's fast becoming one of my favourite. I'm unsure why Golden Horn is on the soundtrack (anyone have any ideas?).

I'm sure Adele would've been much better than Sam Smith (no doubting there) but this score...well.

I can't think about Golden Horn, lovely tune though. Hard to say my favourite track, either 007 Takes the Lektor or James Bond with Bongos. Girl Trouble is a close one. Score has a lovely sound overall, here you see what we come to know and love with Barry take shape.


I had a quick search, no site seems to have details on Golden Horn. Maybe Barry recorded it separately and felt it'd blend in with FRWL's sound on a LP.

Good choices. Girl Trouble in particular. I'd add Tania Meets Klebb and Gypsy Camp too.

Perhaps you're right. I've tried to think if it was perhaps an alternative track somewhere. Perhaps it was for the gypsy camp but it's too light for such a moody sequence.

Trying to think of other scores stuff gets included that you have no idea for. Magnum Force, non-Bond wise, has a track ("Portero Hill") that was never included in the film. Golden Horn might've been either for a scene and was changed (say the Orient Express) or for a scene deleted. I know it's included on some Barry compilation discs, treated as its own thing (like his 4CD Themependium has 'Who Will Buy My Yesterdays?', again a track not actually used in OHMSS I believe).

Listening to FYEO. As I've said recently, my favourite of the non-Barry Moore scores. Essential Bond book said it was effectively a Rocky-as-Bond type score (being Conti) but I think it does the job and lasts the course, time-wise, more than TSWLM and to an extent, LALD (which great as it sounds, is a product of 1973 and the legendary George Martin).

This being said, my top three tracks are Runaway, Drive in the Country and Submarine (do dig myself the Bond theme in the lattermost). This film's Run...Shoot...Jump (as I believe GE has a track called that too) is evolving in my mind as a great track.


They say, that the 007 Theme should've returned perhaps for Skyfall (being the 50th anniversary and all) but I sometimes, in my darkest moments, find myself hoping Runaway crops up somehow, somewhere.

You've just convinced me to vote FYEO, having reminded me of Run...Shoot...Jump. One of my all time favourite Bond cues so I'll be voting for Conti in your other thread!

Solid top three tracks, Hilly. I'd replace Run...Shoot...Jump with one of them, but I wouldn't know which one. I also like the Bond theme in Submarine. Gunbarrel/Flowers for Tracy/Sinking the St Georges is another exceptional track, and I love the exoticism of Melina's Revenge too. Yep, Conti gets my vote.

I don't mind if the soundtracks sound dated. I like that Bond films can be a time capsule to the greater yesteryears, and music is a great way in. The problem with TSWLM is less to do with it sounding 70s than it not being particularly melodic nor memorable. It has a cracker Bond theme rendition when 007 rides the camera to plant the bomb in the Liparus, though.

I had no idea I had massive powers of persuasion, bless you Fieldsy.

Your sentiment over TSWLM is angling towards probably my real feeling over it. Dated but it's nowhere as a score. I gave it a re-listen this week, well, selected tracks (I swear half of it is Eastern Promises, even the 'Conclusion' track is the same).

Bond '77 (the track) seems for the first half to be the PTS version and after the middle bit, the version heard when Bond breaks out the sub crews. The Tanker is alright but, again, there's a meandering middle. Though not a complete score in the film by any stretch -there's little bits I wish were crowbarred onto an OST -the music for Bond being attacked by the motorbike and I think a couple of other bits. An expanded score would perhaps have the 'film' version of Nobody Does It Better complete with camp chorus for the ending.

(Coincidentally, I'd love a film-version of Moonraker's Flight into Space. I appreciate the wind effect is not Barry but it's so much a part of the track, I think it'd work as a piece on a CD).

Your FYEO track noms Fields I think are good tracks. Outside of the three I mentioned, Melina's Revenge and Run..., are top notch. There's suspense in the climb portion of Run Them Down/The Climb.

The whole TSWLM album release was a rerecording much like many scores of the 60's and 70's. No version of the film mix has ever been done and is probably along with DN the most needed Bond score reissue.

Indeed, though I would venture LTK needs a proper release at some point. Even if it's tacked onto another Kamen score someplace.

Absolutely. The sequencing is atrocious. That being said it's one of the best sounding score releases in the series due to great mastering and good recording.
Then again so is FYEO and the TSWLM album rerecording.

It does sound magnificent, LTK, as you say.



I moved away from non-Barry stuff to The World Is Not Enough.

I never know. Personally it's a so-so score. It's better than DA's Craig efforts if you ask me. Top three tracks being Come in 007- Your Time is Up, Caviar Factory (there's a touch of high drama with the opening which I believe coincides with Bond lit by the searchlights, a sound which conjures to my mind some old film's action sequence) and Welcome to Baku.

Going Down and Submarine perhaps. Otherwise I'm not sure. It's behind TND and DAD I think. The sound you get in tracks like Access Denied don't always wash with me. Not a bad score but parts are better than the whole.

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EDIT, at the 1.29 mark

I really love the opening minute or so of Caviar Factory and the Bond theme rendition. Those blaring horns doesn't do it for me as much as Arnold's other stuff I'm afraid. Works fine in the context of the film, but listening to it independently doesn't quite match Arnold's overall greatness.

Top three tracks for me for TWINE is a difficult one. Body Double has always been a firm favourite of the entire series. I adore Come in 007, Elektra's Theme, Welcome to Baku (both versions) and Torture Queen, Remember Pleasure, Gunbarrel/Bilbao Bank Escape, Caviar Factory.. I love the score.

I really like Access Denied. What don't you like about it? I feel Arnold's best stuff comes from the non-action sequences if I'm perfectly honest - usually the travelogue music (i.e. Welcome to Baku, Kazakhstan in TWINE, Bond at the army base, Helicopter Ride and Kowloon Bay (TND), his Cuban tracks (DAD), Talamone, Bond in Haiti in QOS, and the espionage cues (Hamburg Break In, Body Double, Wheelchair Access (both versions), Night At The Opera, No Interest in Dominic Greene, A Touch of Frost, Ice Spy, Inside Man, and Access Denied fits perfectly alongside all of them. Even better that it's electronica rendition of Garbage's theme.

I don't know what it is about Access Denied, I wouldn't say I dislike it but sometimes it's a nothing track. Depends on the mood.

Those blaring horns I guess do work in the movie but not independently but the rest of the track has enough going for it.

I do agree that you have to be in the mood for most of TWINE. I think its the subtlest of Arnold's work which has been my biggest gripe with his tenure-that the scores are too bombastic, tech laden and reverential-then again he usually had to score the films piecemeal and often out of order.

I wouldn't think it matters him scoring the film out of order. Films are mostly shot out of order anyway.

Giving the YOLT expanded a fair bashing. Got to love the sound at the start of "Aki, Tiger and Osato". No idea the technical terms, but it has this dangerous undercurrent and splashes of sixties sound. Can't find it on YouTube but overall the score is quite good, far better than the film. Mountains and Sunsets is sumptuous, Fight at Kobe Docks/James Bond-Ninja/A Drop in the Ocean all exciting and it ends well, that 'drip' sound that comes at the very end just before the sub surfaces.

I've had a hankering for the Oriental Bond sound so popped in TMWTGG. YOLT will be next... Been a while since I've listened to that - though I think I know exactly what you mean by the "drip" sound. Pops up elsewhere in the series, too.

The drip sounds much more suited for YOLT, just before "M1" surfaces. Closest is the Bond theme in parts of OHMSS. I'm sure if Sharky were here he'd have the technical terms.

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Also listening to Diamonds Are Forever

Airport Source is pure sleaze, seems quite suited for the Vegas of old as well as that shot of Tiff walking from the plane. (Though before the transition to 'Following the Diamonds', the music seems to stutter and stagger, a bridge as if the notes are quickly tripping to the edge of a stage) Slumber Inc is at once nice and then devastating. Not to mention "Peter Franks". But what about "Bond Meets Bambi and Thumper"- a scene a little silly, Bond being thrown about and then it kicks off musically that moment you see Bond disappear over the edge and the explosiveness of the music makes you think -Christ, he's off a cliff.

Had listened to Living Daylights last week and before. I like it but it is hit and miss. Hercules Take Off, Air Bond, Airbase Jailbreak and Koskov Takes Off are highlights. Indeed, I prefer the version on the Bond Back in Action Vol.2 CD -"Koskov Escapes/Hercules Take Off".

Hmm perhaps I'm thinking of something else re: the drip.

Airport Source is one of my favourite tracks in the series. I love how it accompanies Tiffany's walk on the runway. Perfect. Similarly, The Whyte House is just as good.

I'd say TLD is mostly hit, if not all hit with no miss. What about the theme song?

Ha, like I say we need Sharky back.

I don't mind TLD's theme song unlike Barry who seemed to absolutely loathe a-Ha (if not for their name alone!), it's catchy (the lyrics like most Bond songs make no sense when stripped back) enough and to be honest I prefer it over Where Has Everybody Gone and If There was a Man or whatever the end song was called (I know Barry preferred the other songs more hence using them as he did). Though I like the song, I'm usually impatient to get the film going and so run through it to the post-credits opener. As I say I like the instrumental use of the theme for Hercules Take Off, Necros Attacks and Air Bond.



about 1.07 to 1.12, the 'drip' accompanies the camera zooming in on the life raft

Ah that drip!

Yeah, quite a neat little accompaniment with the edit points.

Personally TLD theme is probably in my top 10. I think all three songs are excellent. Where Has Everybody Gone is such an 80s song that I can't help but like it.

Did my customary every so-often listen to OHMSS.

Truly is my favourite and helped seal the deal for me as a wide-eyed seven year-old watching the film for the first time. I'm tempted to do a breakdown, a detailed review of my thoughts on each track but maybe for the anniversary, chortle, chortle.

The theme is on another level, almost like Barry thought to himself like Hunt was, about taking Bond back to basics but on his end, musically. Got to love how it's used in Over and Out, that brassy wailing that comes at the end.

Though not an absolute must, I sometimes wish the theme medley from Bond's office was on the album even if it's a few seconds long. Yes it's crowbarred into the film to hammer home this Bond is the Bond we've seen 1962-67 but I don't mind the arrangement. One niggle is how certain bits you see in the film are on the end of tracks like Bond driving up to M's home is on the end of Gumbold's Safe and Tracy driving up to Draco's bull-ring is at the end of Bond and Draco. Sure, by themselves a few seconds of music but in Gumbold's Safe's case, it seems to break up an otherwise fantastic suspenseful track.

A detailed review of the OHMSS score is a great idea. You'll have until October before we crack on with OHMSS. I'll think about whether I do that for TWINE....

OHMSS is probably my favourite Barry score. The big Bond sound, the OHMSS theme, WHATTITW, Try, etc...

I do wonder why so many tracks are clumped together as one. Happens quite a bit and hinders one's ability to make a playlist of like songs.

Indeed, I like the score and the expanded CD is great but tacking onto the end of tracks is a bit cumbersome. The only one I don't mind as such as Ski Chase, on the expanded you have the music that accompanies Bond staring out of M's window (with the image of Tracy being dragged off being played over it).

So mad am I about the theme, I wish the last use of it (kicks in when Bond gets shot at in the phonebox) was somehow crowbarred onto the album. But we have what we have.

Until October then. I've lost track of what anniversary is what. Still LTK I believe.