The Music of James BondOxford University Press, 1 lis 2012 - 304 The story of the music that accompanies the cinematic adventures of Ian Fleming's intrepid Agent 007 is one of surprising real-life drama. In The Music of James Bond, author Jon Burlingame throws open studio and courtroom doors alike to reveal the full and extraordinary history of the sounds of James Bond, spicing the story with a wealth of fascinating and previously undisclosed tales. Burlingame devotes a chapter to each Bond film, providing the backstory for the music (including a reader-friendly analysis of each score) from the last-minute creation of the now-famous "James Bond Theme" in Dr. No to John Barry's trend-setting early scores for such films as Goldfinger and Thunderball. We learn how synthesizers, disco and modern electronica techniques played a role in subsequent scores, and how composer David Arnold reinvented the Bond sound for the 1990s and beyond. The book brims with behind-the-scenes anecdotes. Burlingame examines the decades-long controversy over authorship of the Bond theme; how Frank Sinatra almost sang the title song for Moonraker; and how top artists like Shirley Bassey, Tom Jones, Paul McCartney, Carly Simon, Duran Duran, Gladys Knight, Tina Turner, and Madonna turned Bond songs into chart-topping hits. The author shares the untold stories of how Eric Clapton played guitar for Licence to Kill but saw his work shelved, and how Amy Winehouse very nearly co-wrote and sang the theme for Quantum of Solace. New interviews with many Bond songwriters and composers, coupled with extensive research as well as fascinating and previously undiscovered details--temperamental artists, unexpected hits, and the convergence of great music and unforgettable imagery--make The Music of James Bond a must read for 007 buffs and all popular music fans. This paperback edition is brought up-to-date with a new chapter on Skyfall. |
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Strona viii
... Bond scores; and Neil S. Bulk, his Bond-aficionado producer associate, for numerous music-related favors. Cary Anning, library manager at Abbey Road; Michael Sweeney of the Musicians Union in London; Gordon Carmadelle at Local 47 of the ...
... Bond scores; and Neil S. Bulk, his Bond-aficionado producer associate, for numerous music-related favors. Cary Anning, library manager at Abbey Road; Michael Sweeney of the Musicians Union in London; Gordon Carmadelle at Local 47 of the ...
Strona 2
... James Bond Theme,” both dramatically and commercially, led to future Bond movie assignments for Barry—11 in all. “It was a mix of all kinds of things,” Barry explained many years later, “jazz, classics, pop. I just found myself doing it ...
... James Bond Theme,” both dramatically and commercially, led to future Bond movie assignments for Barry—11 in all. “It was a mix of all kinds of things,” Barry explained many years later, “jazz, classics, pop. I just found myself doing it ...
Strona 3
... . Even actor Sean Connery, the first to play 007 on the big screen, acknowledges its power: “That theme gives the audience a direct connection to Bond. It's an instant recognition.” THE MUSIC OF JAMES BOND 4 As for the Bond.
... . Even actor Sean Connery, the first to play 007 on the big screen, acknowledges its power: “That theme gives the audience a direct connection to Bond. It's an instant recognition.” THE MUSIC OF JAMES BOND 4 As for the Bond.
Strona 4
Jon Burlingame. THE MUSIC OF JAMES BOND 4 As for the Bond songs—especially the classics such as “Goldfinger,” “Thunderball,” “You Only Live Twice” and “Diamonds Are Forever,” but also such later hits as “Live and Let Die,” “Nobody Does ...
Jon Burlingame. THE MUSIC OF JAMES BOND 4 As for the Bond songs—especially the classics such as “Goldfinger,” “Thunderball,” “You Only Live Twice” and “Diamonds Are Forever,” but also such later hits as “Live and Let Die,” “Nobody Does ...
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... theme] could be as contemporary as possible.” The two met, discussed Norman's proposed theme and, said Norman, “we got on pretty well. Mainly because both he and I wanted guitar; it was obvious ... MUSIC OF JAMES BOND 16 that the guitar was.
... theme] could be as contemporary as possible.” The two met, discussed Norman's proposed theme and, said Norman, “we got on pretty well. Mainly because both he and I wanted guitar; it was obvious ... MUSIC OF JAMES BOND 16 that the guitar was.
Spis treści
1 | |
5 | |
23 | |
3 The Midas toucha spiders touch Goldfinger | 35 |
4 He looks at this world and wants it all Thunderball | 47 |
5 Well it takes my breath away Casino Royale 1967 | 59 |
6 Make one dream come true You Only Live Twice | 71 |
7 We have all the time in the world On Her Majestys Secret Service | 82 |
17 The livings in the way we die The Living Daylights | 182 |
18 And you know Im going straight for your heart Licence to Kill | 191 |
19 Time is not on your side GoldenEye | 200 |
20 Until the world falls away Tomorrow Never Dies | 209 |
21 No point in living if you cant feel alive The World Is Not Enough | 219 |
22 Its not my time to go Die Another Day | 227 |
23 The coldest blood runs through my veins Casino Royale 2006 | 236 |
24 A door left open a woman walking by Quantum of Solace | 246 |
8 Touch it stroke it and undress it Diamonds Are Forever | 93 |
9 You gotta give the other fellow hell Live and Let Die | 103 |
10 An assassin thats second to none The Man with the Golden Gun | 115 |
11 Nobody does it better The Spy Who Loved Me | 123 |
12 That moonlight trail that leads to your side Moonraker | 135 |
13 You see what no one else can see For Your Eyes Only | 145 |
14 Hold on tight let the flight begin Octopussy | 156 |
15 Though I know theres danger there I dont care Never Say Never Again | 164 |
16 Until we dance into the fire A View to a Kill | 173 |
Afterword | 256 |
The Bond Soundtrack Albums | 259 |
The Bond Songs That Never Were | 263 |
Endnotes | 267 |
Bibliography | 281 |
Photo Credits | 285 |
Index | 287 |
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