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Sequencing Bond


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@ gkgyver & Wojo

I think the answer is quite simple. The post title is “Sequencing Bond”, if that is the goal and you are wanting all unaltered music then you are clashing with the objective.

Considering the vast majority of people here, including the thread starter, have or had different intentions, and you're crashing the party, I think *you* are clashing with the objective.

That is some pretty low and degrading way to talk about any film composer, especially one of the caliber of John Barry, saying he gets paid to write some music and to then shut up. That's not a collaboration. Ideally, a director works with a composer to create music for a scene that will not be sliced apart, simply because that creates a better film.

You're implying that the director just hands the composer some footage, lets him write some music, to then take it and edit it how he seems fit. That couldn't possibly be more wrong. It may be becoming more common today, with digital video/audio editing possibilities, but it definitely wasn't common back when From Russia With Love was filmed, as far as I know.

You should show some respect to this medium.

When a soundtrack is released for any given film, that is not the director's or the editor's album, it's the composer's venue.

It's even more important today, being able to judge a composer's work on a film based on a comprehensive CD because technology makes it possible to shift around and fiddle with music in no time.

I wouldn't think about editing DVDs down after hearing the complete album because they don't fit the composer's vision of the film.

The director's vision is always the film itself, which includes the music. And since the director 1) picks the composer based on his vision and 2) communicates his more detailed vision to the composer, the full and complete, untampered, unedited film score is always also the director's vision.

Any edits or cuts in the film result either from a tight schedule, or limiting budget, or the director doesn't give a crap.

It has nothing to do with any "vision".

Therefore, there is neither technical, nor ideological need to shorten any music presented on existing albums.

According to you, the cue that was writte for OHMSS, for the scene where Bond inspects his room on Piz Gloria, should not be on a sequenced album because the director didn't want it there.

But since the album belongs to the composer, and not the director, it should be there because it was intended to be there. The scene was spotted and the director gave green light to record a cue.

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No actually, the intent of this thread was to sequence them into listening experiences that cut out major cues.

A lot of people really like having the ability to program or edit these CD's into chronological order so below you will find what needs to be done for each album. This is also the latest version so if you've done this already, you might just want to make sure you have the most up to date edition.

Well those are all of the details for editing and sequencing the Bond albums.


Actually, I think JamesBond007 does meet the intent of the thread, most closely to what Neil presented seven years ago when he created the thread: to edit the soundtracks into film order. JamesBond007 has taken that to the next level by splicing, looping, and editing the music from a variety of other sources, essentially turning the soundtracks into de facto isolated scores. Which I said was perfectly fine, if you're into that kind of thing.

The isolated scores of the two example movies that I cited are horrendous, so I'm sure that JamesBond007 isn't going through all of this work to make his own horrendous listening experiences. They'll be what he wants to listen to.

I wasn't about to pass final judgment because I've never heard any of these scores in their OST form, let alone seen any complete Bond movie to gauge the scores in an edited form. And since JamesBond007 is not providing his albums for analysis, simply the route he took to create them, maybe we don't know how good or bad they are, either.

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Concerning question #2: I think that was a group called The Pretenders.

From the booklet of the expanded soundtrack release:

"The song in question, 'If There Was A Man', was sung by its lyricist, Chrissie Hynde of The Pretenders. [...] Another Barry/Hynde original, 'Where Has Everybody Gone', was used as a principal motif for the heavy, Necros."

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License To Kill is under rights from another label.

I hear what you are saying, Mark, but that doesen't explain why "Octopussy", and "The Living Daylights" were both released by non-EMI/Capitol companies, in the U.K., at least (A+M, and Warner Bros., respectively). Call me a soppy romantic, but I would like to hear a remastered "If You Asked me To".

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I believe Lukas Kendall had explained the entire situation as to why the albums were re-issued up to TLD.

It's a confusing mess at times.

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Probably not a question you can answer, buy did Kendall, et. al., acquire the rights for "Octopussy", and "TLD" from Rycko? If so, that would explain a lot.

You are right, "old buddy", it is a mess. We could sure use one of Sanchez's $1,000,000 bribes to sort it out, except, as we all know, Sanchez is in the Bahamas!

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  • 3 weeks later...

Are there actually genuine Bond fans on this site?

I used to be a big one, they sort of lost me with Brosnan, but Craig is doing fantastic.

Bond fan here! Fan of the films, the scores, and the books. In fact, just about smack dab in the middle of re-reading the books. Finished the Flemings, Colonel Sun, Devil May Care, now reading Gardner's first, "License Renewed." Fun revisiting these after so many years.

Brosnan grated on me after a while, he was fine at first, then got too cutesy/arrogant/full of himself/annoying (kinda like David Tennant in Doctor Who, liked him at first, got tired of him by the time the Specials rolled around). Craig is excellent. Connery still wins for me. I did like Dalton, and while they were enjoyable Moore and Lazenby are about on a par with each other IMHO. OHMSS was one of THE best Bond films, even with Lazenby. I'd go with FYEO as Moore's best, TLD as Dalton's best, and Goldfinger as Connery's best. Of course, IMHO. Oh, and Casino Royale as Craig's best (so far... here's hoping MGM's $hit gets worked out soon).

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  • 1 month later...
  • 2 years later...

24. Coda and Twice is the Only Way to Live 3:04

The short coda is the last 17 seconds of "James Bond - Ninja". I simply mixed that into the beginning of "Twice is the Only Way to Live" and it worked out fine.

I can't remember if it's been asked earlier in the thread, but does anyone know what this unused short coda is supposed to underscore?

My best guess would be the equally brief segment where Blofeld blows up the base near the end of the film. It has other music over it, but I suspect it's tracked.

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I actually like it very much on the album, as "Lurker" suggests, it works well as a coda - but it wouldn't really have fit in the film at all.

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