Quote:
However, if you need the Bond theme to make it a Bond score then I suppose nothing else will do. That is a limiting factor that makes me believe you will not enjoy many, if any, of the Barry Bond scores because he doesn't repeat it in toto very often. I'll still be interested in hearing what you think of the others.


Barry's "sound" is always present in his scores. I can generally pick out a Barry score from any variety of others. Sometimes I can hear the upsweep of the Bond intro, but mainly its the deep moaning background using cello or base, while horns or lighter strings supply the foreground -- that is Barry signature music across many soundtracks. So no, I don't buy the idea that Bond music is simply a style -- it has its own unique theme which is coupled to new intro songs and (hopefully) one or more additional specific themes (a la Elektra's theme in TWINE, and actually both of the songs as I mentioned, in TLD). If I remember Goldfinger and From Russia with Love correctly, Barry creates special themes in addition to that of Bond. The unique Bond theme should be inherent in each soundtrack -- a complete theme rather than partial bars or riffs. If that is not the case in some Barry Bond scores -- hopefully no home run is involved -- as I believe to be the case in OHMSS, then it isn't a "true" Bond score in my opinion.

And I welcome the opportunity to listen to any and all Barry soundtracks. I just reserve the right to be critical when he doesn't meet my criteria.

... Reed