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You have got to be kidding me right? It's an indredible good action score.

I couldn't disagree more. Kamen's score is excellent, and I love the way the Bond theme is incorporated. It's my second-favourite non-Barry Bond score (after Live and Let Die). I also like the Spanish

An overdue contribution.

Something I forgot to include in my last post, now some months back. In "The Living Daylights", the track "Airbase Jailbreak" should actually be titled "Airbase and Jailbreak", as it's music from two separate scenes. Of course, there's no music between them in the film, and they're in the correct sequence, but some people may prefer to separate them.

A question.

Is the underscore for the trailer available anywhere? I think it's a terrific reworking of the JB theme, and Luke Skywalker's excellent covers really make me want to include it with the CR score.

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  • 2 weeks later...

I'm a bit confused here. Somebody posted this at FSM:

It's a slightly incorrect tracklisting on David Arnold's website, I'm afraid.

I saw the film today again and noticed that "Solange" does in fact come exactly between "CCTV" and "Bedside Computer" (from the iTunes extended version).

If there's another discrepancy I don't know or did not notice.

But somehow I think "The Tell" also appears later as in this list but I'm not sure yet.

So, the complete tracklist, for now, should go like this:

* Licence: 2 Kills

* You Know My Name (Unreleased Film Version)

* Reveal Le Chiffre

* Mongoose Vs Snake

* Bombers Away

* African Rundown

* Nothing Sinister

* Push Them Overboard

* Unauthorised Access

* Blunt Instrument


* Solange

* Bedside Computer

* Trip Aces

* Miami International

* Beep Beep Beep Bang

* I’m The Money

* Aston Montenegro

* Dinner Jackets

* The Tell

* The Inhaler

* Stairwell Fight

* Vesper

* Bond Loses It All

* Brother From Langley

* Dirty Martini

* Bond Wins It All

* The End Of An Aston Martin

* Prelude To A Beating

* The Bad Die Young

* Coming Around

* I’m Yours

* City Of Lovers

* The Switch

* Fall Of A House In Venice

* Running To The Elevator

* Death Of Vesper

* The Bitch Is Dead

* The Name’s Bond… James Bond

* You Know My Name (Unreleased & Abridged Film Version)

So anybody saw the film twenty times and has got a definitive track list?

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Hey folks! :wave:

I found this discussion through Rob and thought I'd join in. I'm currently writing a book on the subject, have some nice documentations and I'll happily answer any questions about James Bond music, whether its sequencing, unreleased pieces or anything like that. Just please don't ask for unreleased music. :P

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Well, that's the most expensive part of the whole business. I'll just settle for my copy of the score.

As for further re-releases of a possible series, we're in the unlucky situation that roughly half of the scores have releases that can not really be improved, but it wouldn't make sense to release only the other half with extensions - an expanded AVTAK would never sell on its own. What I can imagine is a relase similar to the 30th anniversary double CD.

The soundtrack rights were always a separate thing to the movies, and some rights are still owned by other labels.

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  • 2 weeks later...
I don't have the complete DAD score (Unfortunately...) so can anyone tell me how to edit On the Beach and Surf's Up together?


"On the Beach" (0:00-0:20)

"Surf's Up" (whole track)

"On the Beach" (0:20-end)

In other words, insert "Surf's Up" at 0:20 into "On the Beach".

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You have got to be kidding me right? It's an indredible good action score.

Disagree. As a stand-alone, I guess it's an average score, nothing bad, but as a Bond score, it's just....lazy. The versions of the Bond theme in it are terrible, and the rest just seems to be generic action fare.

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I couldn't disagree more. Kamen's score is excellent, and I love the way the Bond theme is incorporated. It's my second-favourite non-Barry Bond score (after Live and Let Die). I also like the Spanish influences, very appropriate for the film.

I also like Live and Let Die a lot. It's a really well done score, and it doesn't really break the flow of the series, it's one Barry himself could have done.

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With the exception of the title song I've never been too fond of Live And Let Die but Michael Kamen's License To Kill is a very good Bond score. Given Kamen' success with songs it's too bad the producers didn't let him write the title song.

The only bad thing is that either Kamen didn't write much or there is a ton of unreleased music that didn't make the film or album because alot of the cues are repeated thru out the film.

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The complete Kamen score in the movie is roughly 80 minutes, but it's hard to say because there are lots of odd cuts here and there. Many parts have been cut out from the album for obvius reasons - such as those little pizzicato cues at the end of the first cue of 'His Funny Valentine' - there are 3 of them on the album as opposed to the eleven in the movie! And of course there's lots of unreleased music - roughly 50 cues are unreleased or partially unreleased. The album surprisingly misses two great opportunities to stabilish Kamen's score as better than average. First, there are many great action cues that are left out, which is where LTK was VERY strong. Another odd thing is that they skipped many of the arrangements of Pam's Theme, which sounds even better in its various inclusions. My personal favourite is a cocktail piano arrangement which was composed as a source piece for the casino sequences. And without the finale cue (yes, another Pam-variation), the album just feels dangling in the air.

There are obvious faults however that are really hard to sell for the average buyer - there is lots of suspense cue that do not make a compelling listen and many are quite short. The other thing is the extreme number of reused cues - not themes, the actual cues! I knew it was an existing phenomenon, but only when I listened to the full score the first time did I realize how excessive this phenomenon is. One lesser known example: they reused the same cue for the scene where Bond is reading Felix's computer (after escaping the Wavekrest) and after he has immolated Sanchez. What the strangest thing is that in both cases, there is a hint at Pam in the cue, and it fits both scenes! In the first case, it appears when Bond reads the name Bouvier, P. on the list. In the second scene, it's played when Pam appears with the truck! I found it strange when I first spotted this, but taking into consideration how it happens with more obvious and larger cues, it's not surprising at all.

Five (!!) composers on the title song...

Two of those composers never touched the song. :music: In fact, they weren't even credited on the original releases, only after some legal eagles pointed out it's not fair not to credit Barry and Bricusse if you've "borrowed" from them. Those two names were only added for subsequent releases (such as Best of CDs) and of course there was a nice financial deal worked out as well. :P

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I'll give LTK another shot, I guess...I only made it about halfway through the score before putting in another one instead. So far there are only 3 Bond scores that I'm actually totally let down by: The Spy Who Loved Me, License to Kill, and of course, that video game sounding assault of Nintendo noise, GoldenEye.

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I guess it would make sense to credit Barry since the song borrows heavily from Goldfinger. The song that closes the film is actually better than the opening one and received quite a bit of radio play, and still does on those flashback to the past days.

So basically you're saying that there was a alot of music that was recorded and not used in the film or issued on the album?

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Except of course LTK has a lot more sustained action music in it then Die hard.

But Mark is basically correct.

The song BTW gets worse the more I hear it, it seem to go on forever. And for some reason it doesn't feel like a Bond song, even though it has a women with some strong vocal chords and wailing trombones in it.

It's like Motown trying to do a cheap imitation.

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Regarding the ammount of music, about 30 minutes is on the soundtrack, rouglhy 65 minutes were written in total and about 15 MORE minutes are used in the movie as tracked pieces from other scenes. The ammount of unused music (recorded but not used in the picture) is only about 3%, some scenes that have been edited in post-production and the cues were edited accordingly (such as the end of 'Sanchez Is In The Bahamas').

About MCA's policy on soundtracks, their primary goal was to boost their artists' career with linking them to the picture - they weren't particularly interested in the score as such. Gladys Knight just went solo if I remember correctly, while the LaBelle song was attached to the picture later (wasn't written for the movie per see). The rest of the "songs" by Ivory and Tim Feehan are free bonuses for members of the Ivory & Tim Feehan Fan Club. At least we didn't get to hear the all important source song "La Bamba". :D

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I really think LTK would not have such a bum rep if they had done a proper release. There are a few themes in the score (though nothing like Barry usually writes) but if you listen to the CD you would think there is no recurring thematic material apart from the Bond theme and a 2 note figure that pops up in several tracks.

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I think the one thing that hurts the score was the lack of a theme from the title song that Kamen could have used in the picture. If Kamen would have quoted the actual song used then it would come across sounding like a rip-off of Goldfinger. As mentioned above it's a shame Kamen didn't get to write the title song.

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