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 11
... main theme for the film. He had been thinking about it even before the Jamaica trip, recalling that an assistant to Broccoli and Saltzman had remarked, while ushering him out of their London offices, “See if you can come up with a good ...
... main theme for the film. He had been thinking about it even before the Jamaica trip, recalling that an assistant to Broccoli and Saltzman had remarked, while ushering him out of their London offices, “See if you can come up with a good ...
Strona 12
... the film's various moods, especially such key sequences as Crab Key, the tarantula in 007's bed, the arrival of the British Navy and the final scene of Bond and Honey in the boat. A key theme would turn out to be one he conceived in ...
... the film's various moods, especially such key sequences as Crab Key, the tarantula in 007's bed, the arrival of the British Navy and the final scene of Bond and Honey in the boat. A key theme would turn out to be one he conceived in ...
Strona 15
... theme and, said Norman, “we got on pretty well. Mainly because both he and I wanted guitar; it was obvious that the main theme was going to be guitar.” Barry often said that, apart from the familiar guitar notes of the opening bars, he ...
... theme and, said Norman, “we got on pretty well. Mainly because both he and I wanted guitar; it was obvious that the main theme was going to be guitar.” Barry often said that, apart from the familiar guitar notes of the opening bars, he ...
Strona 16
... the promise of future work on the Bond films if the first one was successful; it was part of the reason he agreed to the rush job on the theme. And sure enough, the Bond producers did call him for their next film, From Russia with Love ...
... the promise of future work on the Bond films if the first one was successful; it was part of the reason he agreed to the rush job on the theme. And sure enough, the Bond producers did call him for their next film, From Russia with Love ...
Strona 17
... the use of music over the film's animated title sequence, directed by Maurice Binder. They clashed over his musical reorganization of the Bond theme (using only a minute and 15 seconds but starting with the big-band midsection and ...
... the use of music over the film's animated title sequence, directed by Maurice Binder. They clashed over his musical reorganization of the Bond theme (using only a minute and 15 seconds but starting with the big-band midsection and ...
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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