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Comments
I'd try "lounge" or "lounge music".
One of those library music websites, I don't remember which, has an AI-powered search engine. I think I searched for the music there but came up empty.
https://mega.nz/file/9UQzhTQL#AJcoVUz_q_FrA54E580qy3lKIcCKjGqsYdb7uv706YU
I'm searching this music too. But it look like is part of the scene, what is known as diegetic music, also called source music.
I have a friend who bought the new version of La La Land Records and it is not included.
Are any of you familiar with this piece of music?? Title and who performed.
It's the first 18 seconds until Bond talks to Sadruddin.
;)
So would i be correct in thinking the difference is purely to do with the big bass drum rhythmn ,just as it differs at the outset of the piece sans audible snare drum a la the album rendition.Also just like to reassert i feel there's a section of voodoo drumming immeadiately prior to "sacrifice" lasts around 50 seconds of slower tempo as bond leiter & quarrel make their various preparations to sneak onto san monique.I think this is the only cue ,other than film version of JACWWT-NSL not present on either 2003 or 2024 expansions, that would essentially complete LALD ,anyone care to comment?
No, it's not the bass drum. I think the bass drum difference is not musical; it's merely a result of the mix being altered to try to emphasize the street location of the scene. Also, the snare can be heard in the film, but in the newer mixes, it's fainter than in the older mixes and the album mix.
In fact, I believe the recording of Just a Closer Walk in the album is the same one as in the film, only they shortened it in the middle for the album (and on the other hand, the album version goes on for longer at the end).
Anyway, I took up the gauntlet myself and I'll upload a fixed version of the track very soon.
And yes, a section of voodoo drumming has never been released. I can't think of any more music that remains unreleased, though I haven't checked thoroughly.
Just a Closer Walk with Thee / New Second Line (Film Version)
https://mega.nz/file/1VY0jQRb#EUkXl2gVoEo6hI9T4740RH_8z359o2O4SZZaPgjYWgU
For this, I used the file originally uploaded by chrisesqetc and applied some of the same strategies that Bond_Scores did.
Some notes:
- The beginning and end parts come from the 2024 expanded soundtrack, while the middle part uses the audio provided by chrisesqetc, combined with my own rip of the Blu-Ray audio to restore the missing section I mentioned in my previous post (heard between 0:34 and 0:44).
- I fixed the sudden volume shifts in the parts where dialogue and SFX were removed.
- With some reverb and editing, I slightly polished the transition into the uptempo part at 1:32.
- I also noticed that in the film, the pitch of the uptempo part is slightly higher than in the album, so I raised the pitch to match the film audio. I'd always felt the album track sounded slightly different from the film: this was the reason.
- I recreated the reverb tail off that Bond_Scores applied at the end of the track, but in mono, to match the rest of the track.
- I hope you don't mind, but I added hiss in the parts taken from the film audio, to make the sound of the entire track as consistent as possible. I also added hiss in the reverb tail off mentioned before, to make it sound more natural.
- I applied some subtle EQ in the film audio parts, to give the track a more consistent and slightly more pleasant sound.
- Lastly, as mentioned in a previous post: While the bass drum in the intro sounds different in the film, it's a matter of the mix taking into account the street location of the scene, and while the snare can be barely heard in the film audio, it is there. Therefore, for the intro, I just used the audio from the soundtrack album.
And the man leading the band in the jazz funeral is called a grand marshal, I learnt today.
Yeah! Please!
:)
A View to a Kill: KGB Pipeline - Download here:
https://mega.nz/folder/kYBynIJL#FVqp-ZtcooXc7ZURWdd1ug
I love this cue. It's one of the few in this film to use synths.
Yes. This is true.
Thanks @mattjoes !!!!
I completely agree. Apart from KGB Pipeline, there is Tibbett Gets Washed Out (which off the top of my head might be one of the most sinister tracks John Barry ever did), Bond Underwater, Destroy Silicon Valley, May Day Bombs Out, and that alarm motif with the biting trumpets that is heard in Bond Escapes Roller and Bond Underwater (and when Dolph Lundgren shows up).
I agree with all this too. And I love the part of Monsoon that plays when Orlov appears. It just builds and builds and builds.
Now that you mention it, the celli melody there is very reminiscent of the celli at the beginning of TLD's Exercise at Gibraltar (after the gunbarrel).
Another one you could have a crack at is the Helicotper explosion in the pre-title sequence - sounds nothing like any other cues in the score
Yeah that's the one: I'd say it's exactly the same, even! :)
Yes I think it's quite interesting: even though I think Roger is actually playing AVTAK pretty straight for the most part (I actually think it's got some of his more dramatic moments of his whole run) it's quite a nicely silly film, but Barry really goes for making it feel as dark and dangerous as possible, and I think it's to the benefit of the film overall. Without his music it would be a very different film.
Structurally OP and AVTAK have a lot of similarities (He's Dangerous and Gobinda Attacks have similar roles in their films, and Chase Bomb Theme and Destroy Silicon Valley likewise) but yeah; I feel like OP and TLD feel closer somehow.
@SecretAgentMan⁰⁰⁷
I think he went through phases like most composers. Some of that may be influenced by his personal life, but I know little about that.
As for GE and TND, I'm sure Barry could still have given us some beautiful scores, but I don't know if he'd have been able to stay with the modern trends of the day. I think that the time was right to include some electronics and "beats" here and there. Arnold, a young man back then, understood that TND needed a bit more "power" in its score. I honestly believe that a new generation of composers had to step in when Brosnan's era began. Bond had entered the modern age; the music had to follow.
Barry wrote an awesome score for The Specialist in 1994. It's a beautiful score in isolation, one of my favourites. But the film tries to be a slick, modern action flick, and Barry delivers jazz, strings and horns. Somehow, the music fails to match the thunderous explosions that Sly's character sets off in the film.
Barry also wrote the music for Mercury Rising in 1998. The score is, once again, a triumph... in isolation. For a Bruce Willis thriller with a few action scenes and some modern tech in its plot, it doesn't, however, feel like a true match anymore.
If Barry could have scored GE and TND, I'd certainly have liked that, but perhaps someone else would have had to have been there for a little "remixing", just to spice things up. I'm confident that his scores would have been heavenly, as always, but I'm also worried that they would have lacked some "oomph" for the nineties.
As for Mercury Rising, while Barry captures the drama and melancholy of the story, I agree that he doesn't deliver the "power", that is, the urgency and particularly the rhythmic intensity expected of action music in a late 90s Hollywood film. (However, if one looks at the film away from that specific perspective, I think his reluctance or incapacity to compose contemporary action music results in a refreshing, even fascinating style. It's almost anti-action music.) Of course, the filmmakers had the same view of his music, since they brought in Carter Burwell (who was a Barry fan in his youth) to rescore the action scenes.
I too have reservations about whether Barry could have delivered a contemporary enough score for the 90s Bond films, though I know he could have upgraded his style to some extent, as he did in AVTAK and especially TLD.
I think the sadistic Zorin provides the foundation for the darkness of the score.
That one is not in the cards at the moment but never say never (again). I will reconstruct more AVTAK music, though.
So true @DarthDimi Your post really sums up my thoughts on the matter.
Here's my crack at it:
https://mega.nz/file/CYd0FLCA#BjQli7P3Bzvr0BH25UNPO-ekqRvympZp1if8CTrzGrg
It's a bit of a fudge, as I borrow the start from the 'Snow Job' cue; the film version has different flourishes on the electric guitar. I can't remember where I sourced the music for the actual crash, but I've blended it to closely remember the cue heard in the film.