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I listened today and I don't think it's an arrangement of AVTAK. I think it's unlikely that Barry would have had the will or the inclination to arrange a version of the theme that barely gets ten seconds of screen time. My guess is it's library music, but we could always ask Nic Raine about it.
Speaking of which, A View To A Kill is now added!
Really hoping that LLL Records release at least 1 or more expanded Bond scores on Black Friday 🤞🤞🙏🙏
There is, staggeringly, nearly an hour and twenty minutes of missing music. I've made extensive notes in that section of the main thread.
I'd welcome any thoughts!
I do think the track "Back To Q’s Lab & The James Bond Theme" is tracked from Skyfall; as I seem to recall having measured the length of certain parts, and it matched between the two films. However, there is a difference, in that in Skyfall, when M says "so, 007, lots to be done", there is a cymbal roll anticipating the Bond theme kicking into high gear. On the other hand, in Spectre, the same bit of music lacks the cymbal roll (check the part when Bond says "there is just one thing I need").
Also, to provide some more info, an article elsewhere that looked into the licensed music featured in Spectre, mentioned that "Los Organilleros - Te He De Querer" is heard as an "atonal whistling" right before Bond and Estrella enter the hotel building. I looked into this and it's not correct. The whistling is a different piece of music altogether (perhaps not even a licensed one, but some random whistling?). The truth is I don't know where Te He De Querer is heard. Certainly before La Llorona on the elevator, but I don't know where.
On a related note, I wonder if the Macau nightclub music from TMWTGG, which is not in an entirely dissimilar style to the AVTAK track, was created for the film or is library music.
Good spot sir. I've just compared the two side-by-side and the cue in Spectre lacks the cymbal roll. It's also missing the bass guitar playing the B, C, C#, C repeated pattern. Listening to the Spectre version, the bass guitar is still there, but it's really dialled down. I'm really confused about this now; I think it's doubtful that Newman re-recorded the cue just to remove the cymbal and mix out the bass guitar. Yet it's given a cue name (7M58), perhaps indicating that it is indeed a new arrangement? I think otherwise it's completely identical in terms of structure and instrumentation.
I think it's the same recording from Skyfall, and they only changed the mix. I don't know how the cue naming system works, but from a layman's perspective, even if the cue wasn't re-recorded for the film. it would make sense to give it a number, since it did undergo changes for this film.
Do you mean the nightclub music in Beirut? I've just finished my analysis of the score and need to post it soon. In the meantime, this is what I have:
04 Beirut Club Source* (0.54)
05 Beirut Club Source 2* (1.24)
06 Getting The Bullet
07 Beirut Street Source* (0.15)
There are two pieces of music used as source - the first is for Saida's dance and the second starts when she goes into her dressing room. It continues to play very quietly when Bond is talking to her. It really sounds like library music to me - the recording and instrumentation sound different to the rest of the score. Apparently they didn't shoot any scenes in Beirut, so it's unlikely they recorded the music locally.
What's interesting is that there's a short cue after 'Getting The Bullet' from the OST, when Bond is leaving the club and I'm sure it's a Barry composition:
I really love your break down. It's nice to see there's notes on Thomas' cues and what the titles are.
Regarding the Beirut music, according to The Music of James Bond, by Jon Burlingame, the music for Saida's dance was "provided by dance adviser Jean Issakoff (and credited to him on the movie’s official cue sheet). Matching the soundtrack, three percussionists and a flutist can be seen behind Saida in the film during the scene prior to Bond’s romancing her to retrieve the smashed gold bullet from her navel."
Indeed, I would bet the short cue at the end of the fight scene is by Barry.
Agreed.
Thank you, I appreciate that.
Thanks for the clarification and for clearing up the Beirut club source music question. Having listened back to the Bottoms Up club scene, I'd put good money on that also being a John Barry composition. The instrumentation isn't a million miles away from the that of the title song and it just sounds 'Barry-esque'!
Regarding Let's Go Get 'Em, I think the drum kit is present from the start in the film mix of the track, but it is rather quiet, and certainly not as "punchy" as in the album. I've always thought such differences in the mix between film and album are par for the course.
Gkgyver recreated most of the unreleased music of the score, but unfortunately he skipped the music that plays before the car chase starts (the track with the flutter tonguing flutes and the xylophone, which I believe you've called "Scaramanga & Nick Nack’s Getaway").
Now that you bring it up, I'm curious to study more closely the structural differences between the film and album versions of Goodnight Goodnight.
I was listening to the recent release of the TWINE soundtrack on Spotify today and noticed, in the sixth track listed there, "Welcome To Baku", is Arnold either 1. sampling his Shaken and Stirred work with the FRWL cover by Natacha Atlas and her vocalizations there, or 2. rehiring Natacha Atlas to do vocalizations specifically for that track on the soundtrack? Is she credited anywhere? Just something I noticed and was curious about. Sounded familiar.
Not saying it's an identical lift or anything, but maybe from the same recording sessions leftover, or just he brought her back? Or it's someone else altogether!
Edit: Sorry! Just found the wiki literally says it in the first paragraph. Ignore me I guess. Didn't see it at first, scrolled down too fast.
This is quite a big theme with any score not just the Bond scores , most of the scores are put out before the film hits the screen so a lot of music ques are cut & copped about before the Final Cut of the film hits the screen as you know virtually all The Spy Who Loved me soundtrack was not even used in the film
Please continue the fantastic job your doing in showing us all the missing music from each James Bond Score release 🎥🎥😎👍
I'm pretty certain there's no drum kit at the start of the film version. Have a listen 3.41 in here:
It's barely audible in the video you posted, because the loud SFX of the car engine hide it. However, at 3:41, I can hear the kick drum and the ride cymbal. I checked my surround sound copy of the film and it's the same. If one mutes the center channel, where the car SFX are loudest, the percussion can be heard a bit more clearly, although it's still faint.
Interestingly, I also checked the 2.0 stereo mix (the one in which the gunbarrel music has much more reverb) and the ride cymbal is much more noticeable there. The kick drum not so much, but it's there nonetheless.
This video (not my upload) showcases the ride cymbal more clearly (at 3:42).
You're right! I shall amend the initial thread accordingly. It's really interesting how the mixes vary.
@mattjoes I think Te He De Querer is in 01m09s to 01m21s in the clip below? But as you say maybe it's similar if not entirely accurate.
@Bond_Scores thanks for all your great work on this. Any idea which bit of music is playing 01m21s to 01m50s in this clip? It seems to come after the whistling/whatever Te He De Querer is and before La Llorona on the elevator.
You're welcome. That piece of music is elusive. I tried Shazamming it and it came up with the track 'Flubix' by Macload. However, there's no reference to this track or artist online. It's not on Spotify or Apple Music, despite Shazam offering links to it on both platforms. There's a dodgy rip of the audio from Spectre on a Soundcloud link which may be confusing matters. I'm wondering now if it was composed specifically for the film. It fits the tempo of 'Los Muertos Vivos Estan' perfectly and also has the threatening bass effect throughout. I doubt that Thomas Newman composed it, but maybe it's something Tambuco are involved in? It hasn't registered as a separate piece of music anywhere on the internet, which backs the theory that it's part of an unreleased extended version of 'Los Muertos Vivos Estan'...
My notes were written a few months ago and I made up all the cue titles. I haven't had chance to properly compare them with the tracklisting online (although it appears we’ve named several of them identically). I also haven't heard the LLLR release, but the only music that seems to be missing is the casino source in Delhi when Bond plays backgammon with Kamal Khan. This is almost certainly composed by John Barry, so it's an interesting omission, particularly if they've managed to track down the audio of Vijay playing the Bond theme on his wind instrument as well as the 'distraction' music when Octopussy's girls are surrounding the palace at the end of the film. We shall see!
Sorry, @chrisesqetc, I forgot about your post!
When I wrote my last post, I couldn't hear the similarities. Now I can tell that the film (from 1:09 onwards in your video) does use the track (from 0:29 onwards in the video below). What threw me off was that in the film, I can't hear all those harmonies that are present in the track.
Yeah, we'll see. The track titles and times don't suggest that the casino music is present in the upcoming album. Space was probably not an issue in not including this music, since while disc 1 runs for 73 minutes, disc 2 only runs for 40 minutes.
Apologies if I’ve missed this elsewhere but which cues were missing from the 2003 release of LALD?