> Even though it is a new bond - a new era - a new time (eighties) - and a
> more technical world - same composer as always (when he doesn't take a
> break for one film) with a new sound and style
> even if you look into all these thing before you review the score i have
> to say that this score fail in many way
> i like it - it's good but i feel that they don't have the charm like the
> old ones have - they were good and bombastic - and barry did let the
> orchestra go nuts
> where do you find instrumentation where the music play a "007"
> riff and build a hold new theme onto it - THUNDERBALL
> or where do you find a cue that is simple - and would have a silly
> underline - but still tops the high in listening experience because it is
> 007 to have those silly music cue and barry really puts a lot of energy
> into the performance - "a drop in the ocean" - dawn raid on fort
> knox
> or the high short-motif - heard in STALKING - when bond hits the oponent
> for the first time in CHATEAU FLIGHT
> Even the bond theme could had have some extra melodic lines as heard in
> the GONDOLA CHASE from Moonraker.
> So even though it is barry's last bond to date - and it is a good one i
> actually prefer to listen to the old ones instead
> anyone agree ?
Nope, not at all. Along with On Her Majesty's Secret Service, The Living Daylights is my favorite of John Barry's Bond scores. I love his use of synthesizers and drum machines, yet the score still retains the class and quality of the Barry's prior work.
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