I was thinking it’s kind of interesting how you might think that All The Time in the World would be the love theme, or perhaps used as Tracy’s theme or similar, but really Barry just uses it wherever he fancies! There’s quite a lot of fairly upbeat, almost comedy versions of it when Bond is alone at Piz Gloria or MI6 and other occasions. Really it’s just sort of the main theme for the movie appearing in all sorts of places, whereas the OHMSS melody itself is mostly used as the action theme.
Yes, I think that's right, except that when Tracy isn't in it and Bond is busy having his one-man 'stag do' at Piz Gloria with the girls there, Barry uses alternative, somewhat humorous romantic themes, punctuated by musical signifiers of Blofeld's sinister tampering with their minds, e.g. in 'It's True!/ The Hidden Persuader/ You'll Need To Be'. 'We Have All The Time In The World' is served different ways, but tends to be focused on Bond's relationship with Tracy and everything orbiting it (such as 'The Capu' and Bond's inclination to move on from the Service).
Also, I like how, for Blofeld's introduction in 'Count Balthazar de Bleuchamp', Barry adds to his distinctive timbre for this film with a callback to YOLT through a light, percussive layer of what he used to call ethnic colouring. It's another example of where loose continuity is suggested as much by the music as any other element.
Critics and material I don't need. I haven't changed my act in 53 years.
Yes, I think that's right, except that when Tracy isn't in it and Bond is busy having his one-man 'stag do' at Piz Gloria with the girls there, Barry uses alternative, somewhat humorous romantic themes, punctuated by musical signifiers of Blofeld's sinister tampering with their minds, e.g. in 'It's True!/ The Hidden Persuader/ You'll Need To Be'. 'We Have All The Time In The World' is served different ways, but tends to be focused on Bond's relationship with Tracy and everything orbiting it (such as 'The Capu' and Bond's inclination to move on from the Service).
I don't know: it's in tracks like Resignation (where Bond is quitting the service because M won't let him pursue Blofeld, nothing really to do with Tracy), You Have An Appointment, Journey to Piz Gloria etc. You're right that the Who Will Buy My Yesterdays melody is the romantic theme for his seduction of the lovelies at Piz Gloria so ATTITW is reserved only for romance with Tracy, but it's kind of a theme for Bond too in a way.
Yes, M won't give Bond "all the time in the world" for Operation Bedlam. Although Bond isn't really wanting to resign at that stage - he's grateful to Moneypenny for her intervention - I think that at one level the 'We Have All The Time In The World' theme as used there suggests a wistful sense of personal possibility for Bond beyond the Service, as well as a melancholy sense of nostalgia (the Bond films felt like they were completing a cycle by the end of the decade. Had OO7 run his course?)
The theme's consummating moment is the song itself, the lyrics of which focus on the romantic relationship: life and love are affirmed on the 'live and let die' spectrum between life and death - the song includes no hints of menace or violence whatsoever - but there's also a poignancy in it, with the knowledge in hindsight that the story will end tragically. Louis Armstrong was the perfect choice of vocalist for all of that. That this was his last recording only adds to the poignancy.
Yes, it's an interesting point about how Barry writes both an action theme for OHMSS - the title track - and a de facto main theme, the romantic 'We Have All The Time In The World'. On the whole, the score's binary between action and romance works very well. It has only one jarring moment: the abrupt transition in the end titles between the beautifully mournful arrangement of the 'We Have All The Time In The World' theme and the sudden brashness of the Lazenby Bond theme (underlining the assertion, I suppose, that Bond will be back, for the avoidance of doubt).
'From Russia With Love' is also a ballad about love and nostalgia, but the song in FRWL is relegated to the film's end titles; it's the OO7 theme and Barry's inventive unpacking of the Bond theme which, amongst other pieces, capture the sense of action, adventure and danger in that film. Indeed, Barry's arrangement of the FRWL theme for the main titles pulls it decisively in the direction of Bondian excitement. In TSWLM, Hamlisch counterpoints his title ballad with 'Bond 77' as a disco-fied action piece.
Arguably, a musical problem with OP is that its wholly romantic song isn't matched by an action theme, in the main body of the film, of the same stature as the 'On Her Majesty's Secret Service' piece or the OO7 theme. ('Gobinda Attacks', though good, isn't as memorable.) The same could be said even of MR, where the ballad is counterpointed by 'easy listening' arrangements of the Bond and OO7 themes rather than by any new action theme as such. These may be unfair criticisms, though, as MR and OP are films that move further in the field of exotic fantasy, with emasculating elements of self-parody, opening up different avenues for Barry's Bond stylings. In MR, for example, Barry's suspenseful take on 'space opera' fills the action theme gap magnificently.
Critics and material I don't need. I haven't changed my act in 53 years.
That's interesting, as I'd say Octopussy, A View to A Kill and OHMSS are arguably the only films where Barry specifically does write an action theme: Gobinda Attacks being very similar to He's Dangerous in terms of use (I guess, yes, FRWL's 007 counts too). Living Daylights has the Where Has Everybody Gone theme, which is an action theme, but much more specifically tied to Necros as a character, as opposed to the others which are used for Bond.
I like, as well, the brief action cue for Bond used repeatedly in DAF: it kicks in during the pre-credits sequence with the hand clamp, accompanies the elevator fight, and gets a camp finish after its use for the pool climax of Bond's skirmish with Bambi and Thumper, where it signals a sudden, comic reversal of fortunes in his favour. It's a great, slamming Connery cue, at once emphasising his Bond's brutality in a fight, full of jeopady but also, in its third outing, yielding exquisitely to the film's lighter tone.
There are different, odd action cues peppered around DAF, my other favourite being the similar one for the confrontation on the cruise liner, where the Wint and Kidd theme is amped up for action and pitched against a heightened trace of the Bond theme and a knockout exit for Connery (not that Hamilton's choreography of that tussle lives up to the wham-bam music).
Hopefully, the DAF score will get a fifty-fifth anniversary La-La Land release next year.
Critics and material I don't need. I haven't changed my act in 53 years.
Oh yeah, that is a great action cue. Somehow it feels like it's been in more than one Bond film even though it hasn't; it just feels so quintessentially Bond somehow- like all of the Bond films at once.
Bad news for vinyl lovers - I pre-ordered the vinyl edition of the expanded Goldfinger soundtrack; the 'golden girl' coloured disc I preferred was only available via the 007 Fan Club, and I had to send it back, I found the sound quality bad and virtually unlistenable to my ears.
It didn't sound nearly as good as the GF tracks on the 1972 James Bond Collection, or the original LP from 1964. This may be because the vinyl they chose wasn't as good quality - it makes no sense to remaster something wonderfully only to put it out on poor quality vinyl; I think the Beatle remasters in both mono and stereo suffered from that and it's been said of the Sgt Pepper remix from a few years back, too. At worst the new LP sounds like someone took the digital sound from the CD and simply pasted it onto vinyl so it's not even analogue, but I don't know what happened.
I mean, modern vinyl can sound good of course - McCartney III from a few years ago, and I recently bought the Call Me By Your Name soundtrack, that sounds fine. The Stones latest one didn't but I think that was because they had to compress the sound to fit it onto vinyl.
The 007 Fan Club were actually very nice and civil about it and refunded me the money; I still had to pay for postage to send it back however.
As for the presentation, well, the cover has a quality hi-res pic of Connery from the pre-credits but it doesn't scream Goldfinger and few of us look good pictured from beneath, he has a jowly look about his face and the shot reminds me of one of William Holden. In fairness, a quick search didn't yield too many great stills from the film that would lend itself to cropping into a square shape necessary for an LP.
The disc was 'golden girl' coloured but with dark speckles on it looked more like a pizza rather than Oddjob's handiwork on Ms Masterton, or maybe the henchman had cause to get annoyed with the local Miami painter and decorators. 'Look wiseguy, you called us out at short notice, this is the best you're gonna get...'
The gatefold picture is good - the shot of Bond discovering Tilly painted gold, but the pictures on the back don't add up to a pleasing collage. That's the thing about the James Bond Collection of 1972 - the cover is brilliant even though some of the shots don't best exemplify the film - I mean as a kid I couldn't even figure out the pic from DAF - but that means the shots don't argue with each other for attention, the eye settles on it all nicely.
The record sleeve is nice quality.
Anyway, if the vinyl quality for the OHMSS and Moonraker expanded soundtracks is the same, I don't think I'll be getting them which is a shame.
At the risk of testing your sympathy, I don't know that Goldfinger, well, I wouldn't say it's a bit Ratners but I'm not sure it's such a great soundtrack to listen to. It doesn't have the jazzy or hip exotic sounds of the first two films, nor the lush orchestral otherworldly sounds of the later ones. Guy Hamilton was quite a smooth director compared to Young, some of the film does have the vibe of a 1950s British drama, though the exotic touches throw that off, and Barry's score has to work hard to make it seem more tense and stressful than it really is. This doesn't make for easy listening or enjoyable listening in any case. It's a bit jangley. Golden Girl is very good but not relaxing, actually the way it signs off really could be from The Ipcress File in fact, say the scene were Palmer's colleague is shot dead in traffic. It's brilliant... but not very enjoyable.
It's one of the rare Barry films which really don't seem to have much of the exotic location in the music. That said, maybe it was just the quality of that particular pressing.
I'm not the average listener, so can't agree with you. I've been listening to that album since the 60s (vinyl at first of course, later assorted generations of CD) and can play it in my head verbatim and some parts on guitar. It's not my favourite Bond or Barry score but it's too late, I'm completely brainwashed.
I think Goldfinger has a far more interesting score than the first two Bond films. I think it's far jazzier, the jazziest Bond score of all. The opening trumpets of the main theme? "Into Miami" and "Alpine Drive" are two of the jazziest and downright coolest cues of the series. "Dawn Raid on Fort Knox" is plenty jazzy too and one of the best action cues of the series. Goldfinger lacks the exotic feel of the first two Bond scores, but the film's locations are hardly exotic so it focused on a hip jazz sound instead. Were you expecting alphorns in Switzerland? There's the source cue from the nightclub in the pre-titles sequence, but that's not on the soundtrack.
Goldfinger is hardly one of the my favourite Bond scores, but apart from the James Bond Theme it defined the James Bond sound. Goldfinger has a lot of faults as a film, but it defined the whole Bond formula.
Any chance of them squeezing out a 40th anniversary edition of A View To A Kill this year? I really want that, The Living Daylights, and You Only Live Twice.
I'm tempted, but also not tempted. It's the packaging - for some reason they've gone for a completely different cover and while I wasn't mad about the panoramic font they used for the title on the CD, it did still generally go with the movie poster, where you can't go wrong. As you can see, this has a strange little-seen picture of Moore in his silver space suit striking a pose, his face looks odd, almost photoshopped or something but I don't really recall that shot from back in the day while other stills - like Moore in his space suit with the tux underneath, used on the teaser and on the novelisation, would have worked better imo. It's even included in the packaging. The font they use on the cover is almost alright but looks a bit cheap, something about it as with the Goldfinger packaging just doesn't sit right with me.
And I don't know if the vinyl would be better quality than the one they used for the GF picture disc - though tbf I've not read any other negative reviews of it, or any reviews of the vinyl edition at all.
I'd like to imagine something great for the OHMSS vinyl - most of us could - but guess they'll come up with Lazenby on the cover in some awkward pose we've never seen before.
I think it’s cool, printed out the size of an album cover that’ll be really striking. Is it that little-seen? I’m sure I’ve seen that pic quite a lot over the years. I kind of know what you mean though, it’s nice to have the poster artwork really big on albums too.
I think the typography is just the original, isn’t it? For the title at least.
My Moonraker vinyl arrived last week from La La Land Records. I have loved this score since I bought the CD in the 90s but as usual it bothered me that there was so much missing. But this is complete and sounds incredible. I have the original album on vinyl as well and it always sounded a bit muddy, but this is anything but. Punchy and clear. I would love to see some more expanded releases on vinyl. Especially LALD. I love the ghetto funk of that album. And DAF for the loungecore and some of the grooves. Fingers Crossed.
Reading back up the thread a bit, I totally get where you're coming from on this one. It is brilliant as you say, but also not one I listen to much. There's lots of nice stuff in there, but the album gets a bit tiring towards the end with all the stuff from the climax. I think it's brilliant in the film but I don't know if I actually enjoy listening to Dawn Raid on Fort Knox on its own all that much.
Comments
I was thinking it’s kind of interesting how you might think that All The Time in the World would be the love theme, or perhaps used as Tracy’s theme or similar, but really Barry just uses it wherever he fancies! There’s quite a lot of fairly upbeat, almost comedy versions of it when Bond is alone at Piz Gloria or MI6 and other occasions. Really it’s just sort of the main theme for the movie appearing in all sorts of places, whereas the OHMSS melody itself is mostly used as the action theme.
Yes, I think that's right, except that when Tracy isn't in it and Bond is busy having his one-man 'stag do' at Piz Gloria with the girls there, Barry uses alternative, somewhat humorous romantic themes, punctuated by musical signifiers of Blofeld's sinister tampering with their minds, e.g. in 'It's True!/ The Hidden Persuader/ You'll Need To Be'. 'We Have All The Time In The World' is served different ways, but tends to be focused on Bond's relationship with Tracy and everything orbiting it (such as 'The Capu' and Bond's inclination to move on from the Service).
Also, I like how, for Blofeld's introduction in 'Count Balthazar de Bleuchamp', Barry adds to his distinctive timbre for this film with a callback to YOLT through a light, percussive layer of what he used to call ethnic colouring. It's another example of where loose continuity is suggested as much by the music as any other element.
Yes, I think that's right, except that when Tracy isn't in it and Bond is busy having his one-man 'stag do' at Piz Gloria with the girls there, Barry uses alternative, somewhat humorous romantic themes, punctuated by musical signifiers of Blofeld's sinister tampering with their minds, e.g. in 'It's True!/ The Hidden Persuader/ You'll Need To Be'. 'We Have All The Time In The World' is served different ways, but tends to be focused on Bond's relationship with Tracy and everything orbiting it (such as 'The Capu' and Bond's inclination to move on from the Service).
I don't know: it's in tracks like Resignation (where Bond is quitting the service because M won't let him pursue Blofeld, nothing really to do with Tracy), You Have An Appointment, Journey to Piz Gloria etc. You're right that the Who Will Buy My Yesterdays melody is the romantic theme for his seduction of the lovelies at Piz Gloria so ATTITW is reserved only for romance with Tracy, but it's kind of a theme for Bond too in a way.
Yes, M won't give Bond "all the time in the world" for Operation Bedlam. Although Bond isn't really wanting to resign at that stage - he's grateful to Moneypenny for her intervention - I think that at one level the 'We Have All The Time In The World' theme as used there suggests a wistful sense of personal possibility for Bond beyond the Service, as well as a melancholy sense of nostalgia (the Bond films felt like they were completing a cycle by the end of the decade. Had OO7 run his course?)
The theme's consummating moment is the song itself, the lyrics of which focus on the romantic relationship: life and love are affirmed on the 'live and let die' spectrum between life and death - the song includes no hints of menace or violence whatsoever - but there's also a poignancy in it, with the knowledge in hindsight that the story will end tragically. Louis Armstrong was the perfect choice of vocalist for all of that. That this was his last recording only adds to the poignancy.
Yes, it's an interesting point about how Barry writes both an action theme for OHMSS - the title track - and a de facto main theme, the romantic 'We Have All The Time In The World'. On the whole, the score's binary between action and romance works very well. It has only one jarring moment: the abrupt transition in the end titles between the beautifully mournful arrangement of the 'We Have All The Time In The World' theme and the sudden brashness of the Lazenby Bond theme (underlining the assertion, I suppose, that Bond will be back, for the avoidance of doubt).
'From Russia With Love' is also a ballad about love and nostalgia, but the song in FRWL is relegated to the film's end titles; it's the OO7 theme and Barry's inventive unpacking of the Bond theme which, amongst other pieces, capture the sense of action, adventure and danger in that film. Indeed, Barry's arrangement of the FRWL theme for the main titles pulls it decisively in the direction of Bondian excitement. In TSWLM, Hamlisch counterpoints his title ballad with 'Bond 77' as a disco-fied action piece.
Arguably, a musical problem with OP is that its wholly romantic song isn't matched by an action theme, in the main body of the film, of the same stature as the 'On Her Majesty's Secret Service' piece or the OO7 theme. ('Gobinda Attacks', though good, isn't as memorable.) The same could be said even of MR, where the ballad is counterpointed by 'easy listening' arrangements of the Bond and OO7 themes rather than by any new action theme as such. These may be unfair criticisms, though, as MR and OP are films that move further in the field of exotic fantasy, with emasculating elements of self-parody, opening up different avenues for Barry's Bond stylings. In MR, for example, Barry's suspenseful take on 'space opera' fills the action theme gap magnificently.
That's interesting, as I'd say Octopussy, A View to A Kill and OHMSS are arguably the only films where Barry specifically does write an action theme: Gobinda Attacks being very similar to He's Dangerous in terms of use (I guess, yes, FRWL's 007 counts too). Living Daylights has the Where Has Everybody Gone theme, which is an action theme, but much more specifically tied to Necros as a character, as opposed to the others which are used for Bond.
I like, as well, the brief action cue for Bond used repeatedly in DAF: it kicks in during the pre-credits sequence with the hand clamp, accompanies the elevator fight, and gets a camp finish after its use for the pool climax of Bond's skirmish with Bambi and Thumper, where it signals a sudden, comic reversal of fortunes in his favour. It's a great, slamming Connery cue, at once emphasising his Bond's brutality in a fight, full of jeopady but also, in its third outing, yielding exquisitely to the film's lighter tone.
There are different, odd action cues peppered around DAF, my other favourite being the similar one for the confrontation on the cruise liner, where the Wint and Kidd theme is amped up for action and pitched against a heightened trace of the Bond theme and a knockout exit for Connery (not that Hamilton's choreography of that tussle lives up to the wham-bam music).
Hopefully, the DAF score will get a fifty-fifth anniversary La-La Land release next year.
Oh yeah, that is a great action cue. Somehow it feels like it's been in more than one Bond film even though it hasn't; it just feels so quintessentially Bond somehow- like all of the Bond films at once.
Bad news for vinyl lovers - I pre-ordered the vinyl edition of the expanded Goldfinger soundtrack; the 'golden girl' coloured disc I preferred was only available via the 007 Fan Club, and I had to send it back, I found the sound quality bad and virtually unlistenable to my ears.
It didn't sound nearly as good as the GF tracks on the 1972 James Bond Collection, or the original LP from 1964. This may be because the vinyl they chose wasn't as good quality - it makes no sense to remaster something wonderfully only to put it out on poor quality vinyl; I think the Beatle remasters in both mono and stereo suffered from that and it's been said of the Sgt Pepper remix from a few years back, too. At worst the new LP sounds like someone took the digital sound from the CD and simply pasted it onto vinyl so it's not even analogue, but I don't know what happened.
I mean, modern vinyl can sound good of course - McCartney III from a few years ago, and I recently bought the Call Me By Your Name soundtrack, that sounds fine. The Stones latest one didn't but I think that was because they had to compress the sound to fit it onto vinyl.
The 007 Fan Club were actually very nice and civil about it and refunded me the money; I still had to pay for postage to send it back however.
As for the presentation, well, the cover has a quality hi-res pic of Connery from the pre-credits but it doesn't scream Goldfinger and few of us look good pictured from beneath, he has a jowly look about his face and the shot reminds me of one of William Holden. In fairness, a quick search didn't yield too many great stills from the film that would lend itself to cropping into a square shape necessary for an LP.
The disc was 'golden girl' coloured but with dark speckles on it looked more like a pizza rather than Oddjob's handiwork on Ms Masterton, or maybe the henchman had cause to get annoyed with the local Miami painter and decorators. 'Look wiseguy, you called us out at short notice, this is the best you're gonna get...'
The gatefold picture is good - the shot of Bond discovering Tilly painted gold, but the pictures on the back don't add up to a pleasing collage. That's the thing about the James Bond Collection of 1972 - the cover is brilliant even though some of the shots don't best exemplify the film - I mean as a kid I couldn't even figure out the pic from DAF - but that means the shots don't argue with each other for attention, the eye settles on it all nicely.
The record sleeve is nice quality.
Anyway, if the vinyl quality for the OHMSS and Moonraker expanded soundtracks is the same, I don't think I'll be getting them which is a shame.
Roger Moore 1927-2017
That's unfortunate, NP. I didn't go (back) down the vinyl route myself but it's a shame this has been so badly manufactured.
At the risk of testing your sympathy, I don't know that Goldfinger, well, I wouldn't say it's a bit Ratners but I'm not sure it's such a great soundtrack to listen to. It doesn't have the jazzy or hip exotic sounds of the first two films, nor the lush orchestral otherworldly sounds of the later ones. Guy Hamilton was quite a smooth director compared to Young, some of the film does have the vibe of a 1950s British drama, though the exotic touches throw that off, and Barry's score has to work hard to make it seem more tense and stressful than it really is. This doesn't make for easy listening or enjoyable listening in any case. It's a bit jangley. Golden Girl is very good but not relaxing, actually the way it signs off really could be from The Ipcress File in fact, say the scene were Palmer's colleague is shot dead in traffic. It's brilliant... but not very enjoyable.
It's one of the rare Barry films which really don't seem to have much of the exotic location in the music. That said, maybe it was just the quality of that particular pressing.
Roger Moore 1927-2017
I'm not the average listener, so can't agree with you. I've been listening to that album since the 60s (vinyl at first of course, later assorted generations of CD) and can play it in my head verbatim and some parts on guitar. It's not my favourite Bond or Barry score but it's too late, I'm completely brainwashed.
I think Goldfinger has a far more interesting score than the first two Bond films. I think it's far jazzier, the jazziest Bond score of all. The opening trumpets of the main theme? "Into Miami" and "Alpine Drive" are two of the jazziest and downright coolest cues of the series. "Dawn Raid on Fort Knox" is plenty jazzy too and one of the best action cues of the series. Goldfinger lacks the exotic feel of the first two Bond scores, but the film's locations are hardly exotic so it focused on a hip jazz sound instead. Were you expecting alphorns in Switzerland? There's the source cue from the nightclub in the pre-titles sequence, but that's not on the soundtrack.
Goldfinger is hardly one of the my favourite Bond scores, but apart from the James Bond Theme it defined the James Bond sound. Goldfinger has a lot of faults as a film, but it defined the whole Bond formula.
GOLDFINGER isn't a favorite but that cue when they fly into Miami is one of the best things that Barry ever made.
+1, agree totally. It's a shame the 2nd part never made it to vinyl/CD.
The cue is one of the best things about the film. Those dissonant chords sound so amazing.
Thunderball is up next:
https://x.com/lalalandrecords/status/1962411329098281385?s=46&t=DrSft9SScWOr6ycsq2Nv4w
Any chance of them squeezing out a 40th anniversary edition of A View To A Kill this year? I really want that, The Living Daylights, and You Only Live Twice.
I'm quite keen on a View too, I reckon they'll do all of them as they're going well for them.
Guessing Black Friday for AVTAK.
Well, the expanded Moonraker is now out on double LP vinyl, which I've been looking forward to.
I'm tempted, but also not tempted. It's the packaging - for some reason they've gone for a completely different cover and while I wasn't mad about the panoramic font they used for the title on the CD, it did still generally go with the movie poster, where you can't go wrong. As you can see, this has a strange little-seen picture of Moore in his silver space suit striking a pose, his face looks odd, almost photoshopped or something but I don't really recall that shot from back in the day while other stills - like Moore in his space suit with the tux underneath, used on the teaser and on the novelisation, would have worked better imo. It's even included in the packaging. The font they use on the cover is almost alright but looks a bit cheap, something about it as with the Goldfinger packaging just doesn't sit right with me.
And I don't know if the vinyl would be better quality than the one they used for the GF picture disc - though tbf I've not read any other negative reviews of it, or any reviews of the vinyl edition at all.
I'd like to imagine something great for the OHMSS vinyl - most of us could - but guess they'll come up with Lazenby on the cover in some awkward pose we've never seen before.
Roger Moore 1927-2017
I think it’s cool, printed out the size of an album cover that’ll be really striking. Is it that little-seen? I’m sure I’ve seen that pic quite a lot over the years. I kind of know what you mean though, it’s nice to have the poster artwork really big on albums too.
I think the typography is just the original, isn’t it? For the title at least.
My Moonraker vinyl arrived last week from La La Land Records. I have loved this score since I bought the CD in the 90s but as usual it bothered me that there was so much missing. But this is complete and sounds incredible. I have the original album on vinyl as well and it always sounded a bit muddy, but this is anything but. Punchy and clear. I would love to see some more expanded releases on vinyl. Especially LALD. I love the ghetto funk of that album. And DAF for the loungecore and some of the grooves. Fingers Crossed.
That MOONRAKER soundtrack is a masterpiece. It's John Barry's finest hour, regardless of what you think of the film (which I happen to love).
@emtiem did you get your Moonraker vinyl copy? Someone on the MI6-hq website with a similar sounding name to yours was talking about getting it.
Roger Moore 1927-2017
No not me, I don't have a vinyl collection.
Well, seems that ship has sailed - no Bond vinyl available at the La La Records website, and their Moonraker LP is going for over £100 on eBay....
Roger Moore 1927-2017
Reading back up the thread a bit, I totally get where you're coming from on this one. It is brilliant as you say, but also not one I listen to much. There's lots of nice stuff in there, but the album gets a bit tiring towards the end with all the stuff from the climax. I think it's brilliant in the film but I don't know if I actually enjoy listening to Dawn Raid on Fort Knox on its own all that much.
DAF now available from Lala Land:
Ordered and looking forward to it. Thanks, Harry.