There's lot of lovely surprises on OP, but one I really like is the little Magda tune we get. It's quite unique in the film, and it is there in the movie but somehow I'd never spotted it. So much to enjoy though.
The new version helps to make subtleties like that more prominent. It's not a one-melody score (something Barry was prone to do) but it's easily taken for one.
Yes, I think TMWTGG fits into that one-note category a little more - not a criticism as he turned it around in something like a couple of weeks, which is bonkers and shows just how good he was.
MR on the other hand feels like a kind of opus, full of invention. Even the different way he treats the Bond theme in the Venice bit, where the riff section continues to play on with muted instruments after the point it usually ends, is a lovely surprise.
MR is one of his best scores, not just one of his best Bond scores.
Have now listened to LTK. It's not the worst Bond score ever, and won't be while GE is around, and this new presentation does it proud. It's much more enjoyable than the old release which I now no longer need to listen to again.
Agree that MR is one of his best scores. It just has so much depth and all covers the vast array of locations and settings within the film, beautifully. MR as a film has some pretty jarring aspects but it remains a real favourite of mine, and a lot of that has to do with the score.
I might have to see what the sales job is on that one, the last expanded release didn't really leave an awful lot out. Maybe if there's some alternate stuff...
Interesting that the three mooted for 2019 (MR, LTK and OHMSS) are all out now.
I'm looking forward to the complete OHMSS, though all of the best material was already released. The new mixes and masters really make the LLLR releases worth it over what came before. I suspect it will include 'Do You Know How Christmas Trees Are Grown' in the other languages it was recorded in.
Any thoughts on whether the limited edition coloured Gold vinyl of Goldfinger would be as good quality as the black? Does colourised vinyl sometimes suffer?
To semi answer my own question, BOTH vinyl editions of Goldfinger are coloured - one is the 'Gold Bullion' colour which is 700 copies and the other is/was 'Golden Girl' I think, of 300 copies.
Sadly, and unsurprisingly, the 'Golden Girl' edition seems to be gone already just one day after it was announced, according to the website - and of the two, this was the one I would have preferred to get, as the 'Gold Bullion' colour looks a bit too bright for me, two yellow.
I'm mildly annoyed about this, I do find it a bit off-putting - we have literally a few days' notice of this release, and naturally it gets snapped up quick. Is there a normal black vinyl edition on its way? I might prefer that anyway. If not, it seems a wasted effort for just 1000 copies worldwide. Not knowing whether these will be reissued or done in black makes me hesitate to order in the Gold Bullion coloured vinyl - which I don't care for so much anyway. It doesn't take much to put one off!
To, erm, answer my question again, I emailed La La Land and they said that 'golden paint' or whatever editions are still available at the 007 Store who had the exclusive and that there would be no further run at La La Land after all these editions have run out, that presumably means no ordinary black discs either.
Well, I didn't skip the GF vinyl - but pre-ordered the 'Golden Girl' version from the 007 Club website in early June, still haven't got it yet, any news on it anyone?
Edit: It ships 'in July' so won't be long hopefully.
Oh yeah, I got it on Friday, it is great. The sound quality is noticably a big step up, isn't it. Amazing to hear those new bits, hearing that source music from the ice rink in perfect quality was a surprisingly powerful moment for me!
A big bonus is the new tracks on this release, but the sound quality is mind blowing. To my ears .....more care seems to have been taken on the analogue to digital transfers. The sound has more width and depth and clarity.
The transfers are the same ones that were used for the 2003 release. The new mixing and mastering is what has improved the sound so much. It really made a difference!
It's great to have the movie-specific recordings. For example, I've always preferred the structure of the movie arrangement of 'Journey To Piz Gloria' to the album version, though both versions are superb. Being able to listen to my preferred version as a track isolated from the film is special.
Like others, I love the 'Prelude For Guitar And Strings'. Where has that track been all of my life?
My favourite suite is 'Deep Hypnosis (with full overlay)'. Never has the dark suspense of the Bond/Blofeld arch-enmity been better characterised musically than for OHMSS.
Listening back-to-back to the instrumental of 'We Have All The Time In The World' and 'Try', it strikes me that in their proximity and style, as well as in terms of their place in the structure of the film, these tracks are paralleled by the pairing in DAF of 'Diamonds Are Forever (Source Instrumental)' and 'Tiffany Case'. Considered alongside each other, OHMSS and DAF may not have any particular continuity of plot or tone, but here Barry creates an aesthetic level of correspondence, reflecting a brilliant phase in his development and sensibility as a musical artist.
Critics and material I don't need. I haven't changed my act in 53 years.
Yes, that's true and they sound better than ever on this release.
Barry was going through a little phase of writing similar pieces at this time - "Fun City" from Midnight Cowboy fits right in with those from OHMSS and those from DAF.
@Barbel Yes, absolutely: 'Fun City' has that same, slightly subverted 'lounge jazz' aesthetic.
On cases of correspondence between the OHMSS and DAF soundtracks, I'd add that the upbeat march beginning 'You Have An Appointment' is echoed by the 'On The Road' element in DAF's 'Airport Source/ On The Road'. In each case the march is overlaid with a jaunty instrumentation of the main theme ('We Have All The Time In The World', in 'You Have An Appointment'). In both films, Bond is being escorted by amusing heavies for a car ride, a similarity in situation which perhaps invited Barry to create the musical parallel.
Then in the final third or so of 'You Have An Appointment', a suspense riff faintly reminiscent of TB's underwater ambience is briefly joined by a richer, deeper sound that seems almost to prefigure OP, the drum snares similar to those in 'Bond Look Alike'.
The opening of 'Two Weeks Leave' sounds very much like it could have been (via Arnold) the root inspiration for use of the moody, incipient bars of the Bond theme over the studio logos in the later Craig films, ahead of the gunbarrel - with the surging strings blossom of the 'We Have Have All The Time In The World' theme in 'Two Weeks Leave' then likely being a source for Zimmer in his use of that theme in 'Matea' in NTTD.
Critics and material I don't need. I haven't changed my act in 53 years.
Comments
@emtiem Yes, I enjoyed OP very much.
@HarryCanyon Agreed, that one gets frequent plays.
LTK later.
There's lot of lovely surprises on OP, but one I really like is the little Magda tune we get. It's quite unique in the film, and it is there in the movie but somehow I'd never spotted it. So much to enjoy though.
The new version helps to make subtleties like that more prominent. It's not a one-melody score (something Barry was prone to do) but it's easily taken for one.
Yes, I think TMWTGG fits into that one-note category a little more - not a criticism as he turned it around in something like a couple of weeks, which is bonkers and shows just how good he was.
MR on the other hand feels like a kind of opus, full of invention. Even the different way he treats the Bond theme in the Venice bit, where the riff section continues to play on with muted instruments after the point it usually ends, is a lovely surprise.
MR is one of his best scores, not just one of his best Bond scores.
Have now listened to LTK. It's not the worst Bond score ever, and won't be while GE is around, and this new presentation does it proud. It's much more enjoyable than the old release which I now no longer need to listen to again.
Agree that MR is one of his best scores. It just has so much depth and all covers the vast array of locations and settings within the film, beautifully. MR as a film has some pretty jarring aspects but it remains a real favourite of mine, and a lot of that has to do with the score.
A quick heads up: La-La Land Records is releasing an expanded GLADIATOR soundtrack. I'm absolutely grabbing this.
OHMSS coming on CD this Summer from LaLa Land.
That's buried in that article.
And they plan to alternate vinyl and new CD releases every 6 weeks!
OHMSS might be impossible to resist.
I might have to see what the sales job is on that one, the last expanded release didn't really leave an awful lot out. Maybe if there's some alternate stuff...
Interesting that the three mooted for 2019 (MR, LTK and OHMSS) are all out now.
It's the fact that these are on vinyl that's the big game changer for me.
Goldfinger looks brilliant, and I will be getting MR on vinyl as well as the OHMSS one.
Roger Moore 1927-2017
I'm looking forward to the complete OHMSS, though all of the best material was already released. The new mixes and masters really make the LLLR releases worth it over what came before. I suspect it will include 'Do You Know How Christmas Trees Are Grown' in the other languages it was recorded in.
Any thoughts on whether the limited edition coloured Gold vinyl of Goldfinger would be as good quality as the black? Does colourised vinyl sometimes suffer?
Roger Moore 1927-2017
To semi answer my own question, BOTH vinyl editions of Goldfinger are coloured - one is the 'Gold Bullion' colour which is 700 copies and the other is/was 'Golden Girl' I think, of 300 copies.
Sadly, and unsurprisingly, the 'Golden Girl' edition seems to be gone already just one day after it was announced, according to the website - and of the two, this was the one I would have preferred to get, as the 'Gold Bullion' colour looks a bit too bright for me, two yellow.
I'm mildly annoyed about this, I do find it a bit off-putting - we have literally a few days' notice of this release, and naturally it gets snapped up quick. Is there a normal black vinyl edition on its way? I might prefer that anyway. If not, it seems a wasted effort for just 1000 copies worldwide. Not knowing whether these will be reissued or done in black makes me hesitate to order in the Gold Bullion coloured vinyl - which I don't care for so much anyway. It doesn't take much to put one off!
https://lalalandrecords.com/pre-order-goldfinger-remastered-limited-edition-vinyl-lp/
Roger Moore 1927-2017
To, erm, answer my question again, I emailed La La Land and they said that 'golden paint' or whatever editions are still available at the 007 Store who had the exclusive and that there would be no further run at La La Land after all these editions have run out, that presumably means no ordinary black discs either.
Roger Moore 1927-2017
The expanded OHMSS track list is here. The full score presentation can't even fit on one disc! https://lalalandrecords.com/on-her-majesty-s-secret-service-remastered-expanded-limited-edition-2-cd-set/
Thanks for the tip off. I reluctantly skipped the GF vinyl, but the CDs are a must for me!
Well, I didn't skip the GF vinyl - but pre-ordered the 'Golden Girl' version from the 007 Club website in early June, still haven't got it yet, any news on it anyone?
Edit: It ships 'in July' so won't be long hopefully.
Roger Moore 1927-2017
"It's in the post... it's coming..."
Roger Moore 1927-2017
Got this ordered.
Quality......unbelievable........unbelievable.
Could you give us a more in-depth review, please? 🙂
Oh yeah, I got it on Friday, it is great. The sound quality is noticably a big step up, isn't it. Amazing to hear those new bits, hearing that source music from the ice rink in perfect quality was a surprisingly powerful moment for me!
A big bonus is the new tracks on this release, but the sound quality is mind blowing. To my ears .....more care seems to have been taken on the analogue to digital transfers. The sound has more width and depth and clarity.
Totally loving it.
The transfers are the same ones that were used for the 2003 release. The new mixing and mastering is what has improved the sound so much. It really made a difference!
yep, the OHMSS soundtrack rips. Love it.
A delightful album; so many highlights.
It's great to have the movie-specific recordings. For example, I've always preferred the structure of the movie arrangement of 'Journey To Piz Gloria' to the album version, though both versions are superb. Being able to listen to my preferred version as a track isolated from the film is special.
Like others, I love the 'Prelude For Guitar And Strings'. Where has that track been all of my life?
My favourite suite is 'Deep Hypnosis (with full overlay)'. Never has the dark suspense of the Bond/Blofeld arch-enmity been better characterised musically than for OHMSS.
Listening back-to-back to the instrumental of 'We Have All The Time In The World' and 'Try', it strikes me that in their proximity and style, as well as in terms of their place in the structure of the film, these tracks are paralleled by the pairing in DAF of 'Diamonds Are Forever (Source Instrumental)' and 'Tiffany Case'. Considered alongside each other, OHMSS and DAF may not have any particular continuity of plot or tone, but here Barry creates an aesthetic level of correspondence, reflecting a brilliant phase in his development and sensibility as a musical artist.
Yes, that's true and they sound better than ever on this release.
Barry was going through a little phase of writing similar pieces at this time - "Fun City" from Midnight Cowboy fits right in with those from OHMSS and those from DAF.
@Barbel Yes, absolutely: 'Fun City' has that same, slightly subverted 'lounge jazz' aesthetic.
On cases of correspondence between the OHMSS and DAF soundtracks, I'd add that the upbeat march beginning 'You Have An Appointment' is echoed by the 'On The Road' element in DAF's 'Airport Source/ On The Road'. In each case the march is overlaid with a jaunty instrumentation of the main theme ('We Have All The Time In The World', in 'You Have An Appointment'). In both films, Bond is being escorted by amusing heavies for a car ride, a similarity in situation which perhaps invited Barry to create the musical parallel.
Then in the final third or so of 'You Have An Appointment', a suspense riff faintly reminiscent of TB's underwater ambience is briefly joined by a richer, deeper sound that seems almost to prefigure OP, the drum snares similar to those in 'Bond Look Alike'.
The opening of 'Two Weeks Leave' sounds very much like it could have been (via Arnold) the root inspiration for use of the moody, incipient bars of the Bond theme over the studio logos in the later Craig films, ahead of the gunbarrel - with the surging strings blossom of the 'We Have Have All The Time In The World' theme in 'Two Weeks Leave' then likely being a source for Zimmer in his use of that theme in 'Matea' in NTTD.