158 replies to this topic

[jsteed]

And I would also urge folk to catch up with music Barry did for INDECENT PROPOSAL, ENIGMA, THE SCARLET LETTER, CHAPLIN, HIGH ROAD TO CHINA, THE KNACK, PEGGY SUE GOT MARRIED, CRY THE BELOVED COUNTRY (where he uses his own ZULU cues very aptly) and RAISE THE TITANIC, ROBIN AND MARIAN, KING KONG, PLAYING BY HEART and FRANCES.

I'd also recommend KING RAT, THE IPCRESS FILE, WALKABOUT, ALICE'S ADVENTURES IN WONDERLAND, SEANCE ON A WET AFTERNOON, THE SPEcıalısT, THE QUILLER MEMORANDUM, THE LION IN WINTER, NEVER LET GOT, BEAT GIRL, THE DAY OF THE LOCUST, THE LAST VALLEY, THE DEEP, THE COTTON CLUB, THE WHISPERERS, THE L-SHAPED ROOM, THE WRONG BOX, THE APPOINTMENT, THE DOVE, GAME OF DEATH and PETULIA.

Sad news. Both The Ipcress File and Quiller Memorandum scores are incredible and sort of the backbone of the movies. Just an amazing composer.

[Bond111]

I cannot convey just how upsetting this news has been to me.

Barry's music has been an overwhelming inspiration to myself as an artist. Hardly a day goes by without me listening to something written by him.

Music will forever be indebted for his contributions to the art-form.

[AgentPB]

Often imitated, never duplicated. The sound of an entire genre and so much more. Thank you Mr. Barry!

[jsteed]

Often imitated, never duplicated. The sound of an entire genre and so much more. Thank you Mr. Barry!

Exactly what I was thinking. Well said and from my point of view there are John Barry scores and everyone else. His scores have a very distinct sound and yet he could do wide range of scores from the Bond films to more dramatic and romantic scores. His Bond scores really are an essential ingredient to the success of the early Bond films.

[coco1997]

Very sad news. I actually thought Mr. Barry was older than 77. He was quite young (and gifted) then when he first scored "FRWL".

The fact that Barry's tenure spanned the careers of four James Bond actors is testament to his enduring legacy and imitable style that is much a part of James Bond the icon as Sean Connery and Aston Martin.

RIP John, for all the 'charming tunes'.

[Fiona Volpe lover]

Folks on here have probably noticed [if anyone remembers me!!] that I havne't been active on this forum for a couple of years. This is primarily because of the roasting I got for hating Quantum Of Solace, to the point that it seemed that I wasn't a proper Bond fan! I've thought about coming back on here the last couple of months though, and the terribly sad news today has finally prompted me to do so!! It seems that there are quite a few other John Barry fans on here so I thought I would share something with the forum [by way of re-introduction I suppose!!!], though frankly I'm still in a bit of a shock and it'll probably be a bit of a ramble....so sorry if it gets boring.

Although my stepdad had some John Williams soundtracks, Star Wars, Superman etc, and I enjoyed them, it was Barry's Bond music which I really credit with getting me into film music. The soundtracks were not that easy to find so I used to [I was around 16/17] play the videos of the films and record the music off TV onto cassettes, yes there was dialogue but I didn't care. I think I listened to those godawful quality tapes more than any pop music at the time. Of course I eventually built up a proper collection, but hung on to those tapes for a few years because they were more complete!!

Of course I eventually built up a [proper] collection. Fast forward to 1999, and I was getting engaged. She wasn't as film music mad as me but I was constantly getting her more and more into the cinema. One day we were debating what song to have as the first dance at our wedding and although we mentioned a few possiblities, none of them seemed right, partially because our taste in music was so different. We decided to leave it and watch a Bond film. That film was On Her Majesty's Secret Service, which she'd never seen and I hadn't seen in ages. When the song We Have All The Time In The World came on during the 'love' montage scene, we both looked at each other and said "THAT'S IT"!!!.

The following day we were talking about what music to have for my wife's entrance down the aisle. We wanted something vaguely 'classical' in style but not too well known and obvious. It was to be played on the organ ,so of course we wanted something easy to find sheet music of. Now we had both watched Somewhere In Time a few weeks before and loved the music, but of course neither of us thought about using any film music for her entrance, it would seem silly to everyone else for a start. Then I said "why NOT use a piece of film music, we can't decide on anything else"?. She seemed keen, now I can't rememebr whether she or I came up with the Somewhere In Time theme, but once again ,we looked at each other and just KNEW. Now I'm often fond of 'learning' pieces of film music and playing them on the piano, so it was easy for me to write a shortened version of the Somewhere In Time theme on sheet music for piano/organ. The minute I hear the organist play the first few notes of it during a rehearsal, I felt a shiver down my spine [in a good way!!]. God, it sounded SO good on the organ!

So we had a bit of a John Barry thing going on at our wedding. Of course by then she was almost as big a Barry fan as I was. Not a week would go by without some Barry being played in the house or the car. There is something spiritual about his music, something that touches the soul. Barry's music has been criticised by some for being overly simple, but he can achieve with a few notes more than many other composers can't achieve with a thousand. He's gone now, but I have no doubt that I'll never stop listening to his music.

Thankyou John Barry, your music has touched me in ways it is impossible to really describe, and of course my wedding would not have been anywhere near so special without it.

RIP

[Tarl_Cabot]

RIP Mr Barry. you are a legend.

[bond girl 007]

RIP John Barry the world will be a sadder place without u

[Navy007Fan]

One more of Mr. Barry's works, The Black Hole:

[Jack Spang]

So sad. The world has lost a truly talented man - the highest asset to the music world. Listening to his music (Bond and non Bond) has provided me with so much inspiration and motivation over the years. I honestly feel that many of the Bond films would have only been two thirds as good without his music.

Rest in peace John Barry.

Edited by Jack Spang, 31 January 2011 - 10:57 PM.

[x007AceOfSpades]

Such a shame to lose the man who breathed the music into a great series. Rest In Peace John Barry. His music will live on forever.

[Jeao007]

Type "John Barry" in google news and... : "I was trying to impose on Lazenby the suaveness, the humour, and I really overdid the score" ; that appears, in the french google news anyway. It's a John Barry's quote about one of his Bond's soundtrack (and perhaps the best) : On her majesty's secret service.

Definitely a great musician, and a wonderful person. Thank you John, your music is forever.

Driving from point A to point B yesterday morning, I had probably his most poignant Bond score on the car CD player, the very same On Her Majesty's Secret Service. I don't know why I picked it out from my collection to play, but I just did.

David Arnold has written today that it didn't matter if you were in an ordinary car stuck on the M25, with Barry's music on in the background its as if you were in an Aston Martin. Certainly true in my experience!

Arnold's quote is so true. I'm always listening to Barry's Bond scores when I drive to and from school, and I feel as though I am Bond stylishly cruising in an Aston Martin DB5..even though I'm driving a mini-van.

[The Shark]

MUSIC: That's The Key – John Barry Remembered

69 Cadogan Square – that was the place. Back in the days when he was married to Jane Birkin; when the nearby Kings Road became the beating heart of a decade; when composing eight film scores in a year was no great shakes, because ‘I was young and had the energy’; in the years after the James Bond theme sent demand for his talents supernova, 69 Cadogan Square was home to John Barry. And even if the final three decades of his life were spent mostly resident in New York’s Oyster Bay, it’s telling that Barry always kept a place here. When I met him in 1999, it was at his Cadogan Square home. ‘When things started going well for me,’ he remembered. ‘I bought Number 37 for Jane. But that was a bad idea. The separate address brought certain opportunities.’

John Barry wasn’t the most daring or innovative film composer of his generation. But, then, neither did he care to be. He passionately espoused the value of songs, which he felt had been minimized over the years. A huge be-bop fan, he was openly scornful of the ‘insincere… cross-fertilisations’ that claimed Miles Davis after Sketches of Spain and Porgy & Bess. ‘I couldn’t bear to see him lowering the glory of his talent.’

In his early years, Barry’s trust in his own instincts yielded extraordinary results and instilled a belief in him that he was right to ‘arrogantly stick to what I do’. Before the first of those five Oscars, it was an arrogance upon which he relied. Blazing rows with producers and record company people were an occupational hazard for Barry in the 1960s. He didn’t need much prompting to recount them either – not with bitterness, rather with an exuberance well represented on the drunken trombones and ribald strings of Goldfinger and Thunderball. The most important quality of all, he would say, quoting Samuel Beckett, was to carry on, ‘not distracted or destroyed by success or failure.’

And that’s what he did, chalking up over a hundred scores before, in 1998, looking to create a retrospective soundtrack to his own life with The Beyondness of Things. ‘Meadows of Delight and Sadness’ was written after Barry drove through Montana, scene of Custer’s last stand, where the native American Indians were wiped out. ‘Montana has an eerie sadness to it,’ he said. ‘Same as when you go to France and there are all these battlefields where thousands died. And, you know, these things haunt the earth.’

Ghosts permeated his language, because ghosts were what he saw when reflecting back on his life. Much of his childhood was spent gazing at the eight cinema screens owned by his father in South Yorkshire. ‘Saturday night and the theatre would be full, everyone smoking. Then the film would end, everybody would go, and we’d have to walk from the offices at the back, through the theatre and it was all ghosts. Imagine it! Twenty minutes before, you’d have 200 people looking at An American In Paris or Sunset Boulevard, and they’d all be gone. I could see things in the air. There’s something that so many people leave behind when they exit a room. That’s what stays with you through life.’

For John Barry, the magic didn’t lie in the stories or the actors. The synergy of music and images was what inspired him. One of his earliest memories was listening to Sibelius’s first symphony in E minor while playing with his toy cars. ‘That’s the whole connection for me,’ he said, ‘Things moving and the sense of drama in the music helping it along. So when people ask me, “How do you do that?” it’s sometimes hard to find the advice, because I never had any problems doing it. By the time I was 19, I’d seen more movies than anyone on the face of the Earth. And often, the same movie seven times a week. So even before I knew how to write film scores, I knew I wanted to.’

And following a correspondence course in composition while doing national service in Cyprus, he knew the method. ‘If the muse is there, you just don’t push it. You sit there and wait for it. It doesn’t necessarily have to be a happy feeling either. I’ve frequently had falling outs with a movie producer and sat down and wrote.’

That might help explain why he was so prolific. He won two Oscars for Born Free, despite director James Hill’s assertion that ‘you’re not my first choice of composer’. He won another for Dances With Wolves despite Elmer Bernstein’s warning that ‘a Western has never won an Academy award.’ (Barry’s pointed riposte: ‘Well, it’s not a Western; it’s about a man who goes to the West’,) The theme to Goldfinger was loathed by producer Harry Saltzmann, who referred to it as ‘that **** song’. Luckily though, there was no time to replace it. Even relatively late into his career, he was withering about the mixed messages given to him when assigned to work on Bruce Willis vehicle Mercury Rising: ‘You spend all your time telling me it’s not a traditional Bruce Willis movie, and now you’re saying give me [something for] a Bruce Willis movie!’

When I met him, his vituperative words were reserved for Prince Of Tides and its producer, one Barbra Streisand. ‘She said she loved it and then she did what she always does. She came back and said, “John, I’m hearing something else, you know what I mean?” And I said, “No, I don’t know what you mean; I’ve spent a lot of time on this.” But she kept on. Eventually I said, “Look, I’m going back to New York.” But she’s like, “I want you here in LA.” So I’m like, “Even if I did stay here, Barbra, you’re not going to be over every bloody day, listening to every bloody cue I’m doing because that’s not the way I write. I’ve done 100 movies and I have five Academy awards, so maybe I know something about my profession that you don’t.”’

‘Still, no better, so eventually I called her and said, “Barbra, I’ve been working with you for five weeks and I gotta say, it’s been the most joyless professional experience of my life. So get someone else.” The line went dead and that was that, until 18 months later when David, the guy I was doing my demos with, happened to be producing Barbra’s album. Well, they’d finished 11 songs, and Barbra was casting around for one more, so she goes, “Do you know anything that would fit?” David starts playing the very thing that Barbra had rejected for Prince of Tides and she’s like, “That’s so beautiful! What is it?” When he told her, she walked out of the studio.’

A couple of weeks after that encounter, he brought the English Chamber Orchestra to the Royal Albert Hall and triggered one Proustian rush after another with a wish-list of themes spanning three decades. We had the cheap seats – right next to the orchestra, facing the crowd. In fact, we couldn’t have asked for better. For three hours we got a ringside view of John Barry’s blue eyes twinkling with delight as he jabbed his baton through three decades of peerless instrumental music: The Ipcress File; On Her Majesty’s Secret Service; and, to many a misting eye, Midnight Cowboy.

Played under the direction of the man who wrote them, these long-ubiquitous pieces of music morphed into something else. No longer excerpts of individual soundtracks, we realised we were listening to a soundtrack of our own lifetime. Back in Cadogan Square, John Barry reached for a biography of Sibelius – the composer who soundtracked those earliest childhood memories. Reading from the book, his booming baritone began, ‘Romanticism is the innermost essence of music. What is romantic is imperishable. It always has been and always will be as long as people inhabit the Earth.’ Slamming the book shut, Barry added, ‘That is the key.’ It felt like he was reading his own epitaph.

http://www.spectator...emembered.thtml

[bill007]

Farwell John Barry. Thanks for scoring so many parts of our memories.

[sthgilyadgnivileht]

MUSIC: That's The Key – John Barry Remembered

69 Cadogan Square – that was the place. Back in the days when he was married to Jane Birkin; when the nearby Kings Road became the beating heart of a decade; when composing eight film scores in a year was no great shakes, because ‘I was young and had the energy’; in the years after the James Bond theme sent demand for his talents supernova, 69 Cadogan Square was home to John Barry. And even if the final three decades of his life were spent mostly resident in New York’s Oyster Bay, it’s telling that Barry always kept a place here. When I met him in 1999, it was at his Cadogan Square home. ‘When things started going well for me,’ he remembered. ‘I bought Number 37 for Jane. But that was a bad idea. The separate address brought certain opportunities.’

John Barry wasn’t the most daring or innovative film composer of his generation. But, then, neither did he care to be. He passionately espoused the value of songs, which he felt had been minimized over the years. A huge be-bop fan, he was openly scornful of the ‘insincere… cross-fertilisations’ that claimed Miles Davis after Sketches of Spain and Porgy & Bess. ‘I couldn’t bear to see him lowering the glory of his talent.’

In his early years, Barry’s trust in his own instincts yielded extraordinary results and instilled a belief in him that he was right to ‘arrogantly stick to what I do’. Before the first of those five Oscars, it was an arrogance upon which he relied. Blazing rows with producers and record company people were an occupational hazard for Barry in the 1960s. He didn’t need much prompting to recount them either – not with bitterness, rather with an exuberance well represented on the drunken trombones and ribald strings of Goldfinger and Thunderball. The most important quality of all, he would say, quoting Samuel Beckett, was to carry on, ‘not distracted or destroyed by success or failure.’

And that’s what he did, chalking up over a hundred scores before, in 1998, looking to create a retrospective soundtrack to his own life with The Beyondness of Things. ‘Meadows of Delight and Sadness’ was written after Barry drove through Montana, scene of Custer’s last stand, where the native American Indians were wiped out. ‘Montana has an eerie sadness to it,’ he said. ‘Same as when you go to France and there are all these battlefields where thousands died. And, you know, these things haunt the earth.’

Ghosts permeated his language, because ghosts were what he saw when reflecting back on his life. Much of his childhood was spent gazing at the eight cinema screens owned by his father in South Yorkshire. ‘Saturday night and the theatre would be full, everyone smoking. Then the film would end, everybody would go, and we’d have to walk from the offices at the back, through the theatre and it was all ghosts. Imagine it! Twenty minutes before, you’d have 200 people looking at An American In Paris or Sunset Boulevard, and they’d all be gone. I could see things in the air. There’s something that so many people leave behind when they exit a room. That’s what stays with you through life.’

For John Barry, the magic didn’t lie in the stories or the actors. The synergy of music and images was what inspired him. One of his earliest memories was listening to Sibelius’s first symphony in E minor while playing with his toy cars. ‘That’s the whole connection for me,’ he said, ‘Things moving and the sense of drama in the music helping it along. So when people ask me, “How do you do that?” it’s sometimes hard to find the advice, because I never had any problems doing it. By the time I was 19, I’d seen more movies than anyone on the face of the Earth. And often, the same movie seven times a week. So even before I knew how to write film scores, I knew I wanted to.’

And following a correspondence course in composition while doing national service in Cyprus, he knew the method. ‘If the muse is there, you just don’t push it. You sit there and wait for it. It doesn’t necessarily have to be a happy feeling either. I’ve frequently had falling outs with a movie producer and sat down and wrote.’

That might help explain why he was so prolific. He won two Oscars for Born Free, despite director James Hill’s assertion that ‘you’re not my first choice of composer’. He won another for Dances With Wolves despite Elmer Bernstein’s warning that ‘a Western has never won an Academy award.’ (Barry’s pointed riposte: ‘Well, it’s not a Western; it’s about a man who goes to the West’,) The theme to Goldfinger was loathed by producer Harry Saltzmann, who referred to it as ‘that **** song’. Luckily though, there was no time to replace it. Even relatively late into his career, he was withering about the mixed messages given to him when assigned to work on Bruce Willis vehicle Mercury Rising: ‘You spend all your time telling me it’s not a traditional Bruce Willis movie, and now you’re saying give me [something for] a Bruce Willis movie!’

When I met him, his vituperative words were reserved for Prince Of Tides and its producer, one Barbra Streisand. ‘She said she loved it and then she did what she always does. She came back and said, “John, I’m hearing something else, you know what I mean?” And I said, “No, I don’t know what you mean; I’ve spent a lot of time on this.” But she kept on. Eventually I said, “Look, I’m going back to New York.” But she’s like, “I want you here in LA.” So I’m like, “Even if I did stay here, Barbra, you’re not going to be over every bloody day, listening to every bloody cue I’m doing because that’s not the way I write. I’ve done 100 movies and I have five Academy awards, so maybe I know something about my profession that you don’t.”’

‘Still, no better, so eventually I called her and said, “Barbra, I’ve been working with you for five weeks and I gotta say, it’s been the most joyless professional experience of my life. So get someone else.” The line went dead and that was that, until 18 months later when David, the guy I was doing my demos with, happened to be producing Barbra’s album. Well, they’d finished 11 songs, and Barbra was casting around for one more, so she goes, “Do you know anything that would fit?” David starts playing the very thing that Barbra had rejected for Prince of Tides and she’s like, “That’s so beautiful! What is it?” When he told her, she walked out of the studio.’

A couple of weeks after that encounter, he brought the English Chamber Orchestra to the Royal Albert Hall and triggered one Proustian rush after another with a wish-list of themes spanning three decades. We had the cheap seats – right next to the orchestra, facing the crowd. In fact, we couldn’t have asked for better. For three hours we got a ringside view of John Barry’s blue eyes twinkling with delight as he jabbed his baton through three decades of peerless instrumental music: The Ipcress File; On Her Majesty’s Secret Service; and, to many a misting eye, Midnight Cowboy.

Played under the direction of the man who wrote them, these long-ubiquitous pieces of music morphed into something else. No longer excerpts of individual soundtracks, we realised we were listening to a soundtrack of our own lifetime. Back in Cadogan Square, John Barry reached for a biography of Sibelius – the composer who soundtracked those earliest childhood memories. Reading from the book, his booming baritone began, ‘Romanticism is the innermost essence of music. What is romantic is imperishable. It always has been and always will be as long as people inhabit the Earth.’ Slamming the book shut, Barry added, ‘That is the key.’ It felt like he was reading his own epitaph.

http://www.spectator...emembered.thtml

Nice piece there, thanks for posting. Barry recounted the Streisand story in this interview which always amused me, because he didn't look like he suffered fools that well (which is a great quality IMO).


This thread is a great tribute to Mr Barry. You get the feeling that everyone not only recognises the greatness of his Bond scores but is also familiar with his enduring mark on music. He touched my soul like no other classical composer, and it seems he touched and became the soundtrack to many others during their lives. When I needed music to study to it was always Barry on the ipod (and probably always will be). I also have fond teen memories of buying The Living Daylights soundtrack on cassette and hearing how bloody great and professional the music was in isolation from a film I had watched many times over. Hope there is a great TV documentary/tribute in the works to do justice to this internationally recognised and remarkable composer.

[Satorious]

This is so incredibly painful for me, John Barry was a legend and my favourite composer. My sympathy is with his family at this difficult time. I composed this piece especially - I don't have an ounce of your talent - but you inspire me to write music even so Something lost, RIP John!

[Turn]

What a horrible way to begin another gray winter Monday morning learning this news.

I've been listening to my favorite Barry score, OHMSS, since Saturday. It must have meant something. I decided to go with YOLT as I type this.

I noticed on one of the news forums that more than one person commented that Barry was underrated. Although he won 5 Oscars, compared with somebody like John Williams, he was underrated. Nothing against Williams, but it seems he could do a soundtrack of nothing but armpit farts and still get nominated.

Earlier, I shared with some friends John Barry's versatility, being able to do everything from Midnight Cowboy to Sophia Loren in Rome to The Knack to epics like Dances With Wolves and Out of Africa to film noir like Body Heat and on and on.

I also loved how he could adapt his style for the Bond films to reflect whatever country or location Bond was visiting. It gave it that little extra something you could take away from that film, something sadly missing these days.

It's always sad each time we lose any member of the Bond family, but I'm particularly bummed about John Barry's passing.

[sthgilyadgnivileht]

I noticed on one of the news forums that more than one person commented that Barry was underrated. Although he won 5 Oscars, compared with somebody like John Williams, he was underrated. Nothing against Williams, but it seems he could do a soundtrack of nothing but armpit farts and still get nominated.

Absolutely.

[Matt_13]

RIP to a legend who we owe so much of what we classify as "Bond" to.

[Robinson]

As has already been said, it's more than just a loss to the Bond fans: it's a loss to the entire movie industry. He had so many great scores that a Top Ten list isn't enough. He was an artist with few peers of his stature or equal. Here are my favorite scores of his, in order from Most Brilliant to Brilliant:

#1 Dances With Wolves
#2 Somewhere In Time
#3 Moonraker
#4 Octopussy
#5 Out of Africa
#6 King Kong
#7 The Black Hole
#8 A View To A Kill
#9 The Living Daylights
#10 You Only Live Twice

I'll add his score for THE SPEcıalısT as an honorable mention.
http://www.youtube.com/watch?v=u21B7LGMnMc
Barry's score elevated this picture from being ordinary.

I'd add On Her Majesty's Secret Service to this list- and place it at #1.

Rest well Mr. Barry!

[jrcjohnny99]

Incredibly sad;
As someone posted, much imitated but never bettered; just like Bond himself.
A lot of folks have posted their favourite Barry scores; here are mine.

Bond

1. Moonraker
2. OHMSS
3. YOLT
4. Goldfinger
5. Thunderball
6. The Living Daylights
7. Diamonds Are Forever
8. FRWL
9. Octopussy
10. TMWTGG

Non-Bond

1. Somewhere In Time
2. Out Of Africa
3. Raise The Titanic
4. High Road To China
5. Dances With Wolves
6. Hanover Street
7. Frances
8. The Lion In Winter
9. Body Heat
10. The Deep

[JimmyBond]

I'm really at a loss for words here. I's a testament to the man's talent that I am deeply affected by this. I litereally grew up with this man's music via the Bond films. I am deeply saddened by this and been listening to some of my favorite Bond cues of his. I tell you what though, it's really hard not to shed a tear or two over this

Goodbye John, it truly is an end to an era.

[Zorin Industries]

Might a fitting tribute to Barry on the next Bond film be a title song written by him? It's about time someone dusted off KISS KISS BANG BANG and threw it at Adele to sing. It celebrates Bond, Barry and the Golden Anniversary.

[David Schofield]

Might a fitting tribute to Barry on the next Bond film be a title song written by him? It's about time someone dusted off KISS KISS BANG BANG and threw it at Adele to sing. It celebrates Bond, Barry and the Golden Anniversary.

Have no problem using something by Barry, but isn't MR KISS KISS BANG BANG so much Connery-Bond's song, and so associated with the mid 60s image of Connery-Bond, that it would be very unfair to saddle Craig with it.

Now you may say, casual fans would not make the connection, but I'm not so sure.

[Zorin Industries]

Maybe.

[David Schofield]

Maybe.

Issues with lyrics too.

"He's tall..." Well, noooo, he's average height.

"... and he's dark" Well, nooo again, he's sort of gingerish blondy and a bit pasty-faced.

Not going to scan well is it with these changes?

[sthgilyadgnivileht]

The lyrics could be adapted though. Can't remember if it was Bricusse or Black but I'm sure they wouldn't mind doin it for Mr Barrys memory. This could work as an end title song at the least I would have thought.

[Zorin Industries]

But it does not have to be about BOND (though obviously that was the intent).

Okay. Just a thought ;o)

[The Shark]

Might a fitting tribute to Barry on the next Bond film be a title song written by him? It's about time someone dusted off KISS KISS BANG BANG and threw it at Adele to sing. It celebrates Bond, Barry and the Golden Anniversary.

Perhaps, but as long as Arnold or whoever doesn't try to integrate it throughout the film. If only because Barry's variations in THUNDERBALL were superb enough, from cues like 'Searching for Vulcan', 'For King and Country', and 'Death of Fiona.'

[Napoleon Solo]

Might a fitting tribute to Barry on the next Bond film be a title song written by him? It's about time someone dusted off KISS KISS BANG BANG and threw it at Adele to sing. It celebrates Bond, Barry and the Golden Anniversary.

Perhaps in the end titles?