The Music of James Bond

Przednia okładka
OUP USA, 11 paź 2012 - 293
The story of the music that accompanies the 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, including: — How the "James Bond Theme" was written at the last minute for Dr. No and how it became the subject of controversy, ending in a libel trial 40 years later in London's High Court; — How Bond composer John Barry invented a new kind of action-adventure music for movies, and how despite writing immensely popular scores for "Goldfinger", "Thunderball", "You Only Live Twice" and eight other Bond films, he never received a single Academy Award nomination for his Bond music; — How the "Goldfinger" soundtrack battled the Beatles and "Mary Poppins" to the top of the American charts and bested both in 1965; — How "Thunderball" went through two songs, three singers, and its own courtroom showdown, before it ended up with a title tune; — How top artists like Shirley Bassey, Tom Jones, Nancy Sinatra, Louis Armstrong, Paul McCartney, Carly Simon, Sheena Easton, Duran Duran, a-ha, the Pretenders, Gladys Knight, Tina Turner, Sheryl Crow and Madonna were convinced to record for Agent 007; — How changes in the Bond sound reflected what was happening in pop and rock circles, from the twangy guitar of the Sean Connery era to a more sedate sound for Roger Moore, synthesizers for George Lazenby and Timothy Dalton, and a more contemporary approach for Pierce Brosnan and Daniel Craig; — How Frank Sinatra planned to sing "Moonraker" but didn't, then Johnny Mathis did (with a different lyric), only to be replaced by Shirley Bassey; — The untold stories of how Eric Clapton played guitar on "Licence to Kill" but saw his work shelved; and how Amy Winehouse very nearly co-wrote and sang the theme for "Quantum of Solace." Each chapter contains the full backstory of the music for one Bond film and concludes with a reader-friendly analysis of the score itself, pointing out noteworthy musical sequences from the impact of New Orleans jazz on the "Live and Let Die" score, to the trendy disco in "For Your Eyes Only," to the electronica approach that proved disastrous in "GoldenEye." New interviews with many Bond songwriters and composers, coupled with extensive research, fascinating and previously undiscovered details — including tales of temperamental artists, unexpected hits and surprising convergences of great music with unforgettable images — make The Music of James Bond must reading for 007 buffs, popular music fans, and all who are in music and the movies.

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1 Come watch for de moon Dr No
2 But oh you haunted me so From Russia with Love
3 The Midas toucha spiders touch Goldfinger
4 He looks at this world and wants it all Thunderball
5 Well it takes my breath away Casino Royale 1967
6 Make one dream come true You Only Live Twice
7 We have all the time in the world On Her Majestys Secret Service
17 The livings in the way we die The Living Daylights
18 And you know Im going straight for your heart Licence to Kill
19 Time is not on your side GoldenEye
20 Until the world falls away Tomorrow Never Dies
21 No point in living if you cant feel alive The World Is Not Enough
22 Its not my time to go Die Another Day
23 The coldest blood runs through my veins Casino Royale 2006
24 A door left open a woman walking by Quantum of Solace

8 Touch it stroke it and undress it Diamonds Are Forever
9 You gotta give the other fellow hell Live and Let Die
10 An assassin thats second to none The Man with the Golden Gun
11 Nobody does it better The Spy Who Loved Me
12 That moonlight trail that leads to your side Moonraker
13 You see what no one else can see For Your Eyes Only
14 Hold on tight let the flight begin Octopussy
15 Though I know theres danger there I dont care Never Say Never Again
16 Until we dance into the fire A View to a Kill
The Bond Soundtrack Albums
The Bond Songs That Never Were
Photo Credits
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Informacje o autorze (2012)

Jon Burlingame is one of the nation's leading writers on the subject of music for film and television. He writes regularly for Daily Variety and teaches film-music history at the University of Southern California. His other work has included three previous books on film and TV music; articles for other publications including The New York Times, Los Angeles Times, The Washington Post, and Premiere and Emmy magazines; and producing radio specials for Los Angeles classical station KUSC.

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