13 replies to this topic

[Carver]

I was going to start this thread ages a go, but I kept forgetting, so here it is. Whenever I watch LTK, the only problem I have with it is the Bond theme. It is one of my favourite movies, so there is only this thing I have a problem with, and its because its a dark movie that it gets my back up. During the LTK Bond theme, there is a funny turn in it, and it sounds really stupid. It happens a few times in the movie, the first time is in the pre-titles. When the helicopter looms over Sanchez's plane, and Bond is attached to the winch, just as he comes away from the 'copter, the silly bit in the theme happens then. Does this annoy anyone else, and is there an explanation for such a silly twist in such a dark film?

[RITZ]

The whole Bond theme and parts of the score in the film had a Spanish/Flamenco style guitar bits in it.

It spoiled it in parts - John Barry should have stayed!

[Loomis]

I've just checked out my LTK DVD, Carver, and I noticed the "funny turn" you refer to. I don't find it hugely annoying, but I can appreciate why you find it out of place in a "dark" movie. It sounds a little jokey, more appropriate to something like a "comedy" chase in a Roger Moore Bond film.

I used to despise Michael Kamen's score for LTK, but watching the movie the other day I realised that the music isn't nearly as bad as I thought it was. The Spanish/Flamenco style guitar bits have grown on me, and the version of the James Bond Theme for the gunbarrel opening is really epic and grabs you immediately.

On the DVD commentary, John Glen says that they wanted to hire a composer who would copy John Barry's style very closely, and Kamen succeeds in doing this at various points.

For example, at approximately 27-and-a-half minutes in, as Bond and Sharkey are breaking into Krest's place in the Florida Keys, there's a truly beautiful piece of music that's more Barry than Barry himself. For some reason it makes me think of something he might have written for the opening space hijack in YOU ONLY LIVE TWICE.

[Carver]

I don't find it huely annoying either Loomis, and thats the only thing I have to point out about the film, but I do find it largely out of place in a film of LTK's calibre. I agree with you on the score, I quite like the Spanish/Flamenco theme, especially in the pre-titles, with the whole Sanchez/Lupe scene, it is very good. And the gunbarrel music is so suitable for the ''dark'' feel to the film:).

[General Koskov]

I only wish there was more of LTK's music on the soundtrack. The gunbarrel was very original.

[Rich Douglas]

I'm with you Koskov, I've always wanted to hear more of that score, and i LOVE the gunbarrel. I also would like to hear the song that eric clapton and vic flick had orignally recorded for LTK.

Rich

[Blofeld's Cat]

Originally posted by Rich Douglas
I also would like to hear the song that eric clapton and vic flick had orignally recorded for LTK.

Was that Bond theme ever recorded, or was it just a jam session away from microphones? I think the latter.

[Rich Douglas]

I actually contacted Vic Flick about it while asking him about his "James Bond Now" cd 2 years ago. If memory serves, he said they did in fact record it, but he did not have the master tapes, MGM has them.

Rich

[Blofeld's Cat]

Thanks for confirming that Rich. I didn't realise you knew him on speaking terms.

I'd like to know about his days with Apollo 100.

[Glen Barrington]

Personally, I like the score for LTK. Kamen did admirable scores for the Lethal Weapons and Die Hards. I think he evoked the spirit of Barry well. And I liked the Spanish Flemenco accoustic guitar flavor. It kept you reminded this was a Latin tinged south of the Border Bond epic.

But I have always had one small problem, and it has to do with the opening credits.

Unless someone here can correct me, this was the ONLY Bond film with a vocal opening track where the person performaing the vocal DID NOT RECEIVE SCREEN CREDIT AT THE OPENING.

Shirley Bassey, Tom Jones, Matt Monroe, A-Ha, Tina Turner, Carley Simon, Madonna, Garbage, Duran, Duran. etc. (I'm jumping around, there are others of course) ALL got that critical pre-film opening credit line, usually under the film scorer's name. Correct?

Hell, Shena Easton even got her MUG into the opening credits!

Except...GLADYS KNIGHT, who actually sung the theme. LTK only had "Music by Michael Kamen" as I recall it. NOTHING about WHO is singing the title song you are hearing WHILE these credits roll by!

Now, I ask, what is the deal with THAT??? EON used far worse NOBODIES , or who was a "perceived hot" at that moment for title tracks. But, they ALL got opening credits.

So WHY was Classic Soul/R&B Grammy winning diva Gladys Knight strangly OMITTED from an opening title sequence? I have never seen that before or since. I understood it with OHMSS, becase that was a straight instrumental theme by John Barry. (Even still, Louis Armstrong got a credit for "All The Time In The World"). Sure, it was at the CLOSING credits, but that ain't the same thing. Sort of like it wasn't important enough for the audience to know who was singing this theme song.

Gladys Knight was and IS still, and institution. And like/hate the song, she sang the hell out of it and it is one THEE most requested songs on her live shows currently. When I first heard it in '89, I though "Now, that's interesting. A bit 'derivative' of "Goldfinger" in sections, but Knight is SUCH as soulful yet classy singer. A MUCH better theme than the atrocious "Moonraker" by the much loved Bassey. Knight took a mainstream Pop track and, as always, made it her OWN. (I also even moreso liked Patti LaBelle's "If You Asked Me To" at the close. The same song pathetic Celene Dion redid and made a hit. Go figure.

BTW, LTK was a HUGE hit for Gladys Knight.

Anyone have any ideas on this? It's been bugging me for years and I figured this was the best place to discuss it.

I'm not GK's agent or anything, LOL! I just noticed a glaring break with tradition and wondered if there WAS a specific reason for it. There was a major uproar over this omission in 1989 when the film came out, but I'll just leave it at that.

[Johnson Galore]

Originally posted by Loomis

I used to despise Michael Kamen's score for LTK, but watching the movie the other day I realised that the music isn't nearly as bad as I thought it was. The Spanish/Flamenco style guitar bits have grown on me, and the version of the James Bond Theme for the gunbarrel opening is really epic and grabs you immediately.  

It's funny how that happens. I didn't like the score either until I had the Eric Serra and David Arnold scores to compare it to. Suddenly, it sounded pretty grand. It's very musical and compliments the film instead of overpowering it. Additionally, he used ideas that had previously worked instead of trying to re-work the genre. Far cry from Barry's work, and even Martin's and Hamlisch's, but certainly the strongest score of the last 5 films.

[gkgyver]

"John Barry should have stayed!"


Barry, Barry, come on! There are so many other composers out there who could do great Bond scores. Kamen is (or was) just one of them.

[White Tuxedo]

I don't know if John Barry would have worked as well with LTK.

[White Tuxedo]

I was actually just thinking about this issue recently. It's just goofy I guess.