› ›

The FYEO score by Bill Conti- Your opinions

2»

Comments

  • AnonAnon
    Posts: 246
    Nice tune. And additional kudos since Bill Conti is big on recycling...

  • pachazopachazo Make Your Choice
    Posts: 7,314
    @Anon, that tune is nearly identical to Runaway in certain places. Who did the music for this? I'm seeing that this show aired in 1984.
  • AnonAnon
    Posts: 246
    pachazo wrote:
    @Anon, that tune is nearly identical to Runaway in certain places. Who did the music for this? I'm seeing that this show aired in 1984.

    er... Bill Conti
  • pachazopachazo Make Your Choice
    Posts: 7,314
    I see. Clearly he put a lot of effort into it. He must have known it was destined for failure.
  • SaintMarkSaintMark
    Posts: 7,653
    pachazo wrote:
    I see. Clearly he put a lot of effort into it. He must have known it was destined for failure.

    Having seen the show I must admit that they did not do the original premise any justice.

    And this is one of Conti's lesser moments.

  • OtisFairplayOtisFairplay
    Posts: 48
    One of the series’ weakest scores as far as I’m concerned. Some of the more atmospheric pieces like ‘St. Cyril’s Monastery’ and ‘The Climb’ work well, and I do find ‘Ski…Shoot…Jump…’ enjoyable (if not terribly hummable). The title track is a solid ballad of its time and goes reasonably as a main theme. However, the production values and arrangements make the score one of the series’ most dated and while I have nothing against the music of the early 80’s in general I think Conti offers most of the period’s glossy vices and little of its virtues. I find the rather stilted excursions in synthesizer driven funk dominating various action scenes especially grating, in the film certainly but perhaps even more as listening experiences on their own merits. The attempted Mediterranean flourishes don’t really help matters either.

    On the other hand, for me the score does have a Get out of Jail Free card up its sleeve. The beepy squeakiness of the synthesizer notwithstanding, ‘Submarine’ remains a personal favourite amongst the vast number of renditions of the James Bond Theme over the years. I’m sure it’s mostly down to conditioning, as I listened to this piece repeatedly in my formative years. I didn’t hear it on the soundtrack album - or even in the film for that matter - but played during the opening credits and montage in the television special Happy Anniversary 007: 25 Years of James Bond I managed to tape upon its airing and subsequently watched excessively back in 1987. Tracking down the actual films on rental VHS copies was a trying enterprise and for a then seemingly long time this show offered the only tantalizing, elliptical glimpses of most of the films available. And with ‘Submarine’ opening the ceremonies, hearing the track today still uncannily brings back memories and evokes some of the anticipation and thrill of watching the special. I could obviously go on about this and the show is still my go to choice if I want to feel sentimental about my Bond fandom, but I’ve digressed enough.

    I do have a seriously soft spot for ‘Submarine’, though. I like the intro and its return in the extended coda, the beat chugs along nicely and the somewhat jarring horn motifs stick out nicely against the droning, slightly dreamy atmosphere. For me ‘Submarine’ is easily one of the most effective original uses of the James Bond Theme and for that it is to be commended. And it does provide me a personal shortcut to the exciting, early days as a Bond fan. Thank you Pavlov. Thank you Conti.

    All right, I’ll stop now.
  • RevelatorRevelator
    edited April 2014 Posts: 2,921
    One of the series’ stronger scores as far as I’m concerned. It has the splashiness, propulsive drive, and pizazz demanded of a Bond film, and shows just how tame Barry's scores had become during that period. Conti's score is no more dated than Barry early 60s scores are dated--both are of their time, and while I dislike most 80s music, Conti Nor are the disco flourishes worse than those in TSWLM. And I like the otherworldly feel of the synthesizers.
    thenoisydrum wrote:
    The gunbarrel is one of the best in the entire series. Those cowbells kick ass! There are some brilliant cues throughout the movie and the main title piece is a classic.

    Exactly. I also like the climax of the pre-title sequence and the cue when Melina silently vows revenge. The title song works even better as an instrumental. As for the rest, the Spanish-inflected "A Drive in the Country" is vibrant car chase music (and incorporates the Bond theme toward the end), "Runaway" is rightly regarded as a thrilling classic, and as shown above, even people who dislike the score like "Submarine." The other tracks are more restrained but ably abet the music. FYEO is the only non-Barry Bond film where I don't miss Barry.

    Here's a "A Drive in the Country":
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    Revelator wrote:
    One of the series’ stronger scores as far as I’m concerned. It has the splashiness, propulsive drive, and pizazz demanded of a Bond film, and shows just how tame Barry's scores had become during that period. Conti's score is no more dated than Barry early 60s scores are dated--both are of their time, and while I dislike most 80s music, Conti Nor are the disco flourishes worse than those in TSWLM. And I like the otherworldly feel of the synthesizers.
    thenoisydrum wrote:
    The gunbarrel is one of the best in the entire series. Those cowbells kick ass! There are some brilliant cues throughout the movie and the main title piece is a classic.

    Exactly. I also like the climax of the pre-title sequence and the cue when Melina silently vows revenge. The title song works even better as an instrumental. As for the rest, the Spanish-inflected "A Drive in the Country" is vibrant car chase music (and incorporates the Bond theme toward the end), "Runaway" is rightly regarded as a thrilling classic, and as shown above, even people who dislike the score like "Submarine." The other tracks are more restrained but ably abet the music. FYEO is the only non-Barry Bond film where I don't miss Barry.

    Here's a "A Drive in the Country":

    Couldn't agree more with your evaluation. Thank you for your contribution!
  • bigladiesmanbigladiesman
    Posts: 1,009
    Revelator wrote:
    One of the series’ stronger scores as far as I’m concerned. It has the splashiness, propulsive drive, and pizazz demanded of a Bond film, and shows just how tame Barry's scores had become during that period. Conti's score is no more dated than Barry early 60s scores are dated--both are of their time, and while I dislike most 80s music, Conti Nor are the disco flourishes worse than those in TSWLM. And I like the otherworldly feel of the synthesizers.
    thenoisydrum wrote:
    The gunbarrel is one of the best in the entire series. Those cowbells kick ass! There are some brilliant cues throughout the movie and the main title piece is a classic.

    Exactly. I also like the climax of the pre-title sequence and the cue when Melina silently vows revenge. The title song works even better as an instrumental. As for the rest, the Spanish-inflected "A Drive in the Country" is vibrant car chase music (and incorporates the Bond theme toward the end), "Runaway" is rightly regarded as a thrilling classic, and as shown above, even people who dislike the score like "Submarine." The other tracks are more restrained but ably abet the music. FYEO is the only non-Barry Bond film where I don't miss Barry.

    Here's a "A Drive in the Country":

    Sorry, but as a Spaniard I couldn't agree less. Conti made an excellent soundtrack, my fav in all the series, but keeps forgetting that Spanish music has no relation to the Mexican mariachi music on the "Spanish" scenes (BTW, that was shot in Greece).
  • ThunderfingerThunderfinger Das Boot Hill
    edited April 2014 Posts: 45,489
    pachazo wrote:
    This score is a guilty pleasure for me. There are a couple of songs that don't quite work but overall I find it to be enjoyable. I'm glad that they never attempted to do anything like this again though. One film was enough. So in that respect I appreciate it's uniqueness.



    This is how I feel as well. Maybe the weakest soundtrack of them all. But still enyoyable in its context. And thank Enlil that is unique, otherwise it would be more annoying than charming.
  • DoggieGaloreDoggieGalore
    Posts: 86
    For Your Eyes Only soundtrack have some hits but lots of misses.
    By the way, anybody know what is the music used for the casino scene when Bond meets up with Kristatos getting the dirt on Colombo and Lisl?
  • Whitaker1987Whitaker1987
    edited October 2014 Posts: 172
    The finale music at the end is not on FYEO cd. I like the use of what I call the heavy Bond theme when Columbo & Co enter Kristatos lair.. I think the FYEO score is great and no complaints.
  • chrisisallchrisisall Brosnan Defender Of The Realm
    Posts: 17,827
    There are times when I almost put FYEO on, then don't because I'm not in the mood to deal with disco.
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    It's strange, I was born in '98 and for some reason, I really LOVE the disco theme. FYEOs gunbarrel is my favourite of them all.
    Then again, the 80s was my favourite Bond decade...
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    As I've said on another thread, I think the sound is very dated.

    I also remember comparing the ski sequence music as a kid with the ski sequence music in my favourite Bond movie (at that time, as a kid) which was TSWLM. I thought that the TSWLM Bond tune during the ski sequence (I think it was called Bond 77) was awesome (for that time period of course). I always compared Conti to that and it fell short to my ears.

    Having said that, I think Conti did a good job on the slower parts, and he at least tried to bring in the main score tune in the ancillary music like Barry did which he deserves credit for.

    I also agree with a few posters here that the gunbarrel is awesome (I also like the Goldeneye gunbarrel interestingly) because it's distinctive.

    I also absolutely love that part where Bond is going up the Ski lift and Loque (and Charles Dance - Tywn Lanister!!) are following him up. The piano bit somehow seems to fit that location....I don't know why. That bit of composition is excellent.
  • AnonAnon
    Posts: 246
    bondjames wrote: »
    I also absolutely love that part where Bond is going up the Ski lift and Loque (and Charles Dance - Tywn Lanister!!) are following him up. The piano bit somehow seems to fit that location....I don't know why. That bit of composition is excellent.

    Couldn't agree more. Inspired bit of scoring.

    Great use of the Bond theme when it comes in as Bond gets the upper hand in the helicopter. Funky too.

    But I still hate the title song!
  • Gustav_GravesGustav_Graves
    Posts: 11,119
    OtisFairplay wrote: »
    One of the series’ weakest scores as far as I’m concerned. Some of the more atmospheric pieces like ‘St. Cyril’s Monastery’ and ‘The Climb’ work well, and I do find ‘Ski…Shoot…Jump…’ enjoyable (if not terribly hummable). The title track is a solid ballad of its time and goes reasonably as a main theme. However, the production values and arrangements make the score one of the series’ most dated and while I have nothing against the music of the early 80’s in general I think Conti offers most of the period’s glossy vices and little of its virtues. I find the rather stilted excursions in synthesizer driven funk dominating various action scenes especially grating, in the film certainly but perhaps even more as listening experiences on their own merits. The attempted Mediterranean flourishes don’t really help matters either.

    On the other hand, for me the score does have a Get out of Jail Free card up its sleeve. The beepy squeakiness of the synthesizer notwithstanding, ‘Submarine’ remains a personal favourite amongst the vast number of renditions of the James Bond Theme over the years. I’m sure it’s mostly down to conditioning, as I listened to this piece repeatedly in my formative years. I didn’t hear it on the soundtrack album - or even in the film for that matter - but played during the opening credits and montage in the television special Happy Anniversary 007: 25 Years of James Bond I managed to tape upon its airing and subsequently watched excessively back in 1987. Tracking down the actual films on rental VHS copies was a trying enterprise and for a then seemingly long time this show offered the only tantalizing, elliptical glimpses of most of the films available. And with ‘Submarine’ opening the ceremonies, hearing the track today still uncannily brings back memories and evokes some of the anticipation and thrill of watching the special. I could obviously go on about this and the show is still my go to choice if I want to feel sentimental about my Bond fandom, but I’ve digressed enough.

    I do have a seriously soft spot for ‘Submarine’, though. I like the intro and its return in the extended coda, the beat chugs along nicely and the somewhat jarring horn motifs stick out nicely against the droning, slightly dreamy atmosphere. For me ‘Submarine’ is easily one of the most effective original uses of the James Bond Theme and for that it is to be commended. And it does provide me a personal shortcut to the exciting, early days as a Bond fan. Thank you Pavlov. Thank you Conti.

    All right, I’ll stop now.

    IMO one of the series better and more interesting scores. Yes, you can hear it's from the late 1970's, early 1980's disco-driven, synth-driven era of pop music. But what's wrong with that?? It takes an innovative, creative person full of fantasy to place himself in that era. I can do it. And I would have loved to be age 33 around 1981. Sadly enough, I was born then :-P.

    Bill Conti succeeded in giving FYEO a true modern touch. Whereas John Barry knows how to use his strings, his violins and cello's to create drama.......Bill Conti is a true master of horns, flutes and especially brassy parts full of trumpets. Derek Watkins must have had his best experience during the recording sessions of the FYEO-score.

    And it's not only the modern touch.....it's certainly the fun touch. Bill Conti himself is a very enthusiastic, fun, happy guy. And that is reflected in many of his scores. Just listen to his rendition of the James Bond Theme:


    The moment Bond finds the switch and destroys the remote control is simply priceless. This is really the only rendition of Monty Norman's famous theme that gave me dance movements while watching on the sofa!

    And also listen to this part from "The Thomas Crown Affair":
  • ThunderfingerThunderfinger Das Boot Hill
    Posts: 45,489
    As this was my first Bond film aged 14, the score was perfectly fine for me back in 1981. Shortly after I watched a couple of Bonds from the 60s scored by John Barry. Guess the rest.
  • MayDayDiVicenzoMayDayDiVicenzo Here and there
    Posts: 5,080
    Couldn't agree more, @Gustav_Graves.

  • bondjamesbondjames You were expecting someone else?
    edited November 2014 Posts: 23,883
    Just listened to the gunbarrel sequence from FYEO again. Have to mention it again because it's the best of the series in my opinion. Love how it blends into elements of the title music as the 'flowers for Tracey' tombstone scene begins. Superb work by Conti here. It's even on the CD so he was definitely proud of it, and rightly so..

    This one, Goldeneye & License to Kill are my all time favourites.

    And yes, 'Submarine' is excellent as well.

    The more I think about it, I think Conti deserves a lot of credit for this score. Although it has dated horribly and has more of a 70's sound (in the action sequences) rather than an 80's sound, it is undoubtedly very distinctive, and that is something to admire.
Sign In or Register to comment.