SCORES: The James Bond Franchise Scores - First Impressions/Thoughts/Analysis

[Rachael Foley 10,162]

I have been listening to the scores (basically) in order, I figured I would write down my thoughts as I listened to each score.


#1: Dr. No - Monty Norman

Interesting, but fairly generic, almost non of the later Bond sound is heard here, highlight is of course John Barry's arrangment of Monty Norman's theme.

#2 Goldfinger - John Barry

Now this is more like it, the Gunbarrel cue really demonstrates the sound that Michael Giacchino/Brad Bird was after in his score to The Incredibles, and the title song is pure Leslie Bricusse awesomeness.

#3 Thunderball - John Barry

At first it feels like we have heard this before, but then begins to come into its own, first time for me hearing the "007" theme, and loving it!

#4 From Russia With Love - John Barry

Very Good, love the instrumental main titles, first time that I knew that I was hearing the 007 in its purest form.

#5 Tomorrow Never Dies - David Arnold

Somewhat meh, a little too much rock drums and electronics.

#6 You Only Live Twice - John Barry

Nice, love the title song, underscore is a little meh, 007 theme is the standout as always, first Bond score with Blofeld's name in a track title.

#7 On Her Majesty's Secret Service - John Barry

Whoah, another Bond without a title song? its very good, the underscore is somewhat boring, but of course the theme is great.

#8 Diamond's Are Forever - John Barry

Interesting, the title song is pretty good, I am getting sick of seeing Blofeld's name in a tracktitle by this time.

#9 The Spy Who Loved Me - Marvin Hamlisch

Lame, though the orchestral/choral material is nice, its waaaayy too 70's disco for me.

To Be Continued.

[Jay 46,242]

#5 Tomorrow Never Dies - David Arnold

Pretty meh, too much rock drums and electronics.

[Rachael Foley 10,162]

I just didn't love it

These are just my first impressions anyways.

[Jay 46,242]

I guess I was more thinking that Tomorrow Never Dies is the perfect blend of orchestra and electronics, while with World Is Not Enough and Die Another Day he goes way overboard with the electronics

[Sharkissimo 1,978]

THE LIVING DAYLIGHTS is the perfect blend of orchestra and electronics. TOMORROW NEVER DIES needs to take some Ritalin.

[gkgyver 1,647]

Diamonds Are Forever is a stunning main title song IMO, and Barry's best score after OHMSS.

[Rachael Foley 10,162]

Diamonds Are Forever is a stunning main title song IMO.

I have since changed my mind, and like it, though not as much as Moonraker, You Only Live Twice, Goldfinger, or Mr. Kiss Kiss Bang Bang.

[Naïve Old Fart 13,021]

Does anyone know where I can get a (legit) recording of Dionne Warwick's "Mr. Kiss Kiss Bang Bang" (apart from on the iso "Thunderball" dvd)?

[Rachael Foley 10,162]

A View To a Kill: Song is rather meh in its title form, but good in the underscore, I like the repurposed action motif from OHMSS' appearance, though thats pretty much it.

[fommes 165]

Does anyone know where I can get a (legit) recording of Dionne Warwick's "Mr. Kiss Kiss Bang Bang" (apart from on the iso "Thunderball" dvd)?

The 30th Anniversary compilation.

[Rachael Foley 10,162]

The Living Daylights: I love this one, the title song, Necros' theme, Kara's motif (which is gorgeous), the action theme are all great, definitely the best post-Moonraker Barry-bond score.

Tomorrow Never Dies: gave this one another chance, and I like it alot better this time around.

[Jay 46,242]

Tomorrow Never Dies: gave this one another chance, and I like it alot better this time around.

Yea!

[Rachael Foley 10,162]

Goldeneye: ROTFLMAO ROTFLMAO ROTFLMAO :folder: :pukeface:

I find this score funny, it reminds me somewhat of a track from Donkey Kong Country: https://www.youtube.com/watch?v=LRg69vtX3FA

[gkgyver 1,647]

The Living Daylights: I love this one, the title song, Necros' theme, Kara's motif (which is gorgeous), the action theme are all great, definitely the best post-Moonraker Barry-bond score.

I love the espionage flair to some cues, especially the whole sequence when Bond is on the job to help Koskov escape.

This is the kind of music that should have been in Skyfall.