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Comments
What bothers me is the same than with "Message from an Old Friend", and it took me some time to understand what is was exactly.
These long tracks contain good or great musical ideas, but they're only loosely connected to each other with "waiting music".
The score is like : here's a cool dynamic rendition of NTTD main theme for the plane taking off.
Now please enjoy these ambiant sounds for 2 minutes.
Now there is a fight : fight music!
Ambiant sounds for 2 minutes, again.
Felix is dying, death music! Which I like, by the way.
Maybe it has something to do with this movie being longer than usual and containing more music than ever...
But as a listening experience, it often falls flat.
I kind of feel the same about "Matera". It begins with a lovely lush theme, then it cuts to We Have All The Time in the World, then it cuts to No Time To Die. It's a great track, actually one of my favourite Bond music tracks ever, but it feels more like a mash up of themes rather than a music track with melodies weaving into each other. Barry wove the main song and/or the Bond theme into his tracks seamlessly. "Escape from Piz Gloria", "Battle at Piz Gloria", "Funny Voices" and "Hercules Take Off" are great examples of this.
Yes, you're probably right.
Well put. I love Matera too but the switch to "We Have All The Time in the World" is super distracting. The one that works very well for me is Vesper Theme, because it matches the emotion of the scene. The theme is not invoked to squeeze out an emotion from us, it's here to accompany it.
The Barry tracks you mentionned are so great. In most films he doesn't even use the Bond Theme that much, yet each second is so Bondian that it feels like it.
Even if we try to compare with more "modern" scores, I don't think Arnold ever "fills the void" between the ideas.
In an interview, he speaks about the dauting task of coming up with the 12 minutes tracks "Antonov" from DAD. One may not like the electronic or even musical choices, but I don't feel there is any dull moment here. It's all a great build-up to the final Bond Theme. And he did it again for "Miami International" and other long tracks.
You're absolutely right to mention this, but to me that's part of the problem :p
Barry never knew how much of his music would eventually be released, Arnold and the others neither, and I could be biased but I don't feel that tracks that were not on the original releases are any less good. IMO these composers didn't care about this, and I'm not sure the same can be said about Zimmer, as you point out.
On the other hand I completly agree that a soundtrack should be judged in the context of its movie (Goldeneye being a good example). And indeed, even in the context of the movie, it makes some of these scenes less interesting to me. Silence could have worked better.
It's all about personal taste of course. Most of the time I like Zimmer's work but this approach is not very bondian to me :)
I agree 💯 with this. It was very effective in layering that dangerous mood on top of the pictures of the film. It was certainly a “darker” soundtrack than most. Ominous .
Sorry I was unclear, I meant that for example Barry didn't know that 40 years later every track from OP would be released anyway.
The positive thing is that it has the same effect on me! Again, there are lot of moments that I love in this soundtrack. Square Escape, Cuba Chase... I just can't resist nitpicking about things that I love ;)
My order just shipped today. International, of course, but at least it's on the move.
Beautiful track.
I absolutely love one detail I didn't notice while watching the film. At 1:14, there is a clear evocation of Vesper's Theme.
Not the main part, but the melody at 0:40 here :
This is such a subtle and meaningful detail.
Oh wow. Nice catch.
Hope we get to hear more tracks soon. I was worried "Trawler" would be all. The Vesper Tomb is a nice surprise.
Firstly - this expanded version of the No Time To Die soundtrack is really interesting. All the track titles tally with those on Hans Zimmer's website and the packaging looks legit, however given that there's been no official announcement of this release and given that I can't find any mention of 'Dynamikus Movie Music' online, I think we can safely assume that this is a bootleg. The question is, who's behind it and how did they source the music?
I'm really hoping that someone on the forum will post high quality, downloadable versions of the tracks soon, so we can ascertain the audio quality. That will determine if I invest in a copy! According to eBay, 21 copies have been sold so far and there are 28 still available. What's been posted online so far sounds promising...
As an aside, it doesn't look like this new CD features all the film versions of the tracks. Take for instance 'Trawler', as per this new release (5 minutes 21 in):
versus the film version (4 minutes 30 in):
Note the descending, melancholy melody played by the cellos as Felix dies in the film and the throbbing bass and strings when Bond is swimming away from him. Both are absent from the CD. My guess is that they were added later on, when the original sequence was deemed not to have enough musical gravitas for the death of such an iconic character?
Secondly - could it be that we're getting an expanded version of Goldfinger for the 60th anniversary? Most of us had given up hope of seeing expanded versions of the first three Bond films, as the master tapes appear to have been lost (backed up by comments from someone attached to the recent LLLR releases who said that they'd tried to find new material for From Russia With Love without success). However, that situation could have changed. My guess is that we're getting a brand new master of the soundtrack with no new material. To be honest, I'd be happy with that, as there are issues with the mix of the original soundtrack. At any rate, we'll find out a week tomorrow. I'm confident that whatever is going to be released will be available immediately on that date as LLLR will have learnt from the nightmare they experienced with the manufacturing delays of the recent Live and Let Die and Octopussy albums.
Nice catch @Bond_Scores
My guess is that the editor has access to many "layers" for each tracks and they can decide to use or remove them (or just change the levels). For exemple, many electronics parts of DAD soundtrack are not in the movie mix. Here it's the opposite, where these cello parts were removed from the "album presentation", maybe because the person doing it (Zimmer?) found it to be "too much", or that the piece sounded better without it in isolation. But it's very speculative from me and your guess is as good as mine!
I'd be surprised if La La Land released an incomplete soundtrack. So I'm very excited :p
That's great. I was hoping the bit from 0:21-0:34 as the plane takes off, would get released. Really gets the adrenaline going.
Just wanted to mention that I've ordered this bootleg as well and plan on combining it with other NTTD material (such as the LP's demo tracks) and sending that off to Download-Soundtracks and making it available so if you can't afford it or are dubious of it, I'll be around in a few weeks to share it with other fans.
Here's my version of the artwork that I've put together in anticipation of working on the arrangement:
For others interested in film scores, I'm working on an ultra collection from Michael Mann's HEAT with a bootleg of the recording sessions I found a little while back.
Is that the first time in the films the vamp is played on guitar? NTTD did that a lot.