I particularly love the sequence of the M hearing and Bond running towards her through London - the perfect combination of tension and melancholy.
I am also very fond of Severine‘s Theme - it really sounds like Newman took a Barry tune and developed it through his own particular sensibility.
There’s something I’d like you to get off your chest. Looking forward to your review.
Wow! You already have it? I probably have to wait for at least five weeks…
I am afraid you will be disappointed. While I am occasionally coherent on movies and books, I know nothing about music. Often times in a movie theater, my husband will put his hand on my leg to halt my pitiful attempts to keep time with the music. I trace it back to grammar school, when the entire third grade was taught the flutophone–a plastic instrument we were all supplied with. Those students who could master a few simple tunes were placed in the flutophone band, which, one school assembly, loudly and shrilly serenaded other classes and proud parents.
I did not make the flutophone band (along with four other third graders). I also subsequently failed at both the trumpet and the piano. So with these strong caveats in mind, here are my impressions.
The score is both dissonant and unifying. Dissonant in that it uses dissonance in its aesthetic, as well as dissonant in that it is all over the place (which I believe to be a good thing). I read the booklet first (of course–words, which I love), where Jon Burlingame writes that 30% of the score is background music, and I realized that I had never considered that music composed–I assumed that if I happened to go to The Whyte House or Circus Circus in 1971, that would be what I heard over the speakers in those locales.
When I understood that this music had been composed, I began to understand just how good Barry’s score is–the music seems organic to the places shown on screen. Music used not so much as an enhancing/commenting element, but as part of the overall design of the sequence–it contributes to the building of the world of DAF, along with the images, the mise-en-scene, the performances, etc. That is what I meant when I said that the music is unifying–it helps cement the reality of the DAF universe.
As for the music for the PTS and the fight scene–it has punch, as if Barry were sonically complimenting the fists being thrown. The music grows in intensity as the scenes progress. The chase sequences are similar. The music starts out with one group of instruments, and as it progresses, another group joins–mirroring the chase as it grows more complicated. I am not sure if the new group of instruments “compliments” the first group, or works in some other way to augment the sonic force, but it feels like a steady ratcheting up of music–a new block of music being added to, rather than blended with, a pre-existing one. Then the music peaks, and begins a slow, jazzy diminuendo as the scene comes to a close (similar to what occurs with the fight scene).
The title song is as wonderful as ever, beautifully rendered by Dame Shirley. It may be the best song-as-pop-music-composition of all Bond theme songs–capable of being sung/covered in many different ways.
As for the sound of the album, the remastering is superb. I have never experienced the music as rich and full as it is here. The score seems to possess just the right amount of over-ripeness to accompany the rest of the filmic elements–it is definitely a toupee-migrating, pink tie, overweight spy score in all the best ways–as insouciant as Bond lounging in the corner of the basket lifting him up to the oil rig’s platform.
Could this music be transformed into a suite as has been done with the scores of Herrmann, Waxman, and others? No. That is what I meant when I said that the score is dissonant. I cannot imagine it being corralled into a unified piece. The music is always at the service of building the DAF world, and listening to it last night took me in my mind to the film, and the landscape that is DAF.
If you made it this far, thank you. I do not want to have to write about music again for years. The future hearts I will give to your comments about Lana Del Whomever, and songs, and music, and obscure music releases will be bestowed now with even greater admiration and sincerity. Music is hard.
That would be a pity since you managed to capture DAF so perfectly.
That is kind of you to say SAF, but it was hard. I feel klutzy, since I do not understand music. One critique of the “Diamonds are Forever” theme song states in part (full at bottom of post):
”The chord progression I – IV – V – I is therefore the harmonic foundation around which the piece is put together. One way in which harmonic interest is created, is by the use of substitutions.”
Wow, and what does that mean? LOL. All I can do is talk about blocks of music being piled up, not even knowing what key they are in. If music makes me see images, then I (might) like it. If I can imagine a movie sequence it would accompany, music keeps me involved. Otherwise, I am wriggling in my seat.
I am looking forward to the reviews of other members who understand music, and can deepen my knowledge base.
Thanks for your thoughts. I’m not surprised LaLaLand give us all a much smoother ride in the front with this release. Can’t wait to hear it myself.
I‘m not interested in an analysis of musical grammar, I‘m interested in how music makes you (us) feel and trying to express why.
That’s s the fun.
As for DAF, apart from the mesmerizing main theme and title song, as a teenager I got hooked immediately by the haunting melancholy of „Circus, Circus“, the fun and tense action of „Moon Buggy Ride“ and the inevitable elegant magic of „007 and counting“ - three tracks of my all-time favourite Bond scores.
I find myself interested in both.
The how-it-feels-part appeals to the subjective side of my aesthetic. The how-does-it-work side appeals to my formalist instincts. I am happiest when both are satisfied–hence my great love of Buster Keaton, who upon being introduced to Fatty Arbuckle, asked if he could take a camera home with him. He was allowed to do so by Arbuckle, and promptly took the machine apart in order to understand how it worked.
I was asked to pay the customs clearance costs, so i did. Only days now before I receive the Lala DAF cd! Can’t wait listen to it!
The Lalaland release proves that the chronological order of the score brings out the quality of it even more, the intricate richness of the themes interwoven throughout its duration, the integration of the Vegas lounge atmosphere becoming a central motif even in the suspense moments.
I have to admit, with Barry having an unprecedented string of superb Bond scores, the sixth is the best. And that means a lot considering the masterpieces which come before DAF.
My copy has arrived and I will be listening shortly. As the great write up in the booklet by Jon Burlingame says “Barry was at his absolute creative height in this late 1960s-early 1970s period, and his music for Diamonds ranks among the best of his eleven Bonds scores, in part because of the diversity of the material.”
Discovered my copy of the Lala DAF cd in my letterbox this late afternoon.
For me, that is very, very fast!
I wish you a wonderful weekend.
And as you probably understand I don’t need much more to watch DAF again too!
The lightest of zephyrs can stir that potent desire. DAF is a film for any occasion and every moment.
Listening to the 55th anniversary edition is just a reminder of how good the score actually is. If this is what a ‘bad’ Bond film sounds like then give me more bad Bond movies. Like all LaLaLand releases I appreciate splitting the cues up into individual tracks. Bond Meets Bambi and Thumper has always been a favourite, along with Mrs Whistler and Hovercraft to Holland. The lounge stuff like Tiffany Case and Q’s Trick is amazing, and of course 007 and Counting. Barry was in the zone with every single track.
Listened to it Saterday afternoon. It realy is fantastic! I only wish they put even more takes of Bassey’s titlesong performance on it. She did a lot of them and cd2 only has 52 minutes of music on it, so….
By the way I also still listen to the first cd versions of the scores which were released in the eighties. I love all versions and when I have half an hour or so spare time these short versions are ideal.
