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 1
... heard in the Bond films would become the de facto sound of international espionage on screen. “Spy music,” as the lounge movement of the late 20th century would come to call it, had a cool, slinky vibe and was rooted as much in jazz and ...
... heard in the Bond films would become the de facto sound of international espionage on screen. “Spy music,” as the lounge movement of the late 20th century would come to call it, had a cool, slinky vibe and was rooted as much in jazz and ...
Strona 2
... heard that combination before. It represented everything about that character, soundwise, that you would want: it was cocky, swaggering, confident, dark and dangerous. It was suggestive, sexy and unstoppable—all in two minutes.” As for ...
... heard that combination before. It represented everything about that character, soundwise, that you would want: it was cocky, swaggering, confident, dark and dangerous. It was suggestive, sexy and unstoppable—all in two minutes.” As for ...
Strona 6
... heard of the books, of course—they were already very popular in England—but hadn't read any of them. And besides, he was busy with multiple projects, mostly in the theater: his Irma La Douce had made a successful transition to Broadway ...
... heard of the books, of course—they were already very popular in England—but hadn't read any of them. And besides, he was busy with multiple projects, mostly in the theater: his Irma La Douce had made a successful transition to Broadway ...
Strona 7
... heard being performed in a local nightspot; and the third would be a folk tune sung by the film's female lead, Honey Ryder, as she searches for shells on Dr. No's off-limits Crab Key. “Kingston Calypso” was inspired by the opening scene ...
... heard being performed in a local nightspot; and the third would be a folk tune sung by the film's female lead, Honey Ryder, as she searches for shells on Dr. No's off-limits Crab Key. “Kingston Calypso” was inspired by the opening scene ...
Strona 10
... heard performing “Jump Up” to a happy crowd of dancers. Lee wasn't the only notable Kingston musician to contribute to the soundtrack of Dr. No. Guitarist Ernest Ranglin—another find of Chris Blackwell's—was the featured soloist on many ...
... heard performing “Jump Up” to a happy crowd of dancers. Lee wasn't the only notable Kingston musician to contribute to the soundtrack of Dr. No. Guitarist Ernest Ranglin—another find of Chris Blackwell's—was the featured soloist on many ...
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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