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The Music of James Bond
Jon Burlingame
352 pages
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100 photographs
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176x253mm
978-0-19-986330-3
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Hardback
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11 October 2012
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- Celebrates the 50th anniversary of the James Bond franchise and the simultaneous release of the 23rd Bond film
- Based on new interviews with nearly every Bond songwriter and composer, yielding fascinating and previously undiscovered details
- Organized one film per chapter for easy reference, each chapter containing the full backstory of its music
- Each chapter points out noteworthy musical sequences in the score in reader-friendly language
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.Readership: This book will appeal to all James Bond fans and film-music buffs, and will also find readerships in students and scholars in
popular music and cinema studies. The book covers the creation and popularization of half a century of songs and scores associated with an immensely popular international film franchise.
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Jon Burlingame, Adjunct Assistant Professor of Scoring for Motion Pictures and Television, University of Southern California, USA One of the nation's leading writers on music for film and television, Jon Burlingame 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, and articles for other publications including The New York Times, Los Angeles Times and The Washington Post. He also produces radio specials for Classical KUSC in Los Angeles.
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"Exhaustively researched and consistently fascinating." - Total Film "snappy, efficient and gossip-heavy." - Washington Post "No previous book has tackled the music of Bond in such depth and detail." - Variety
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Acknowledgements
Foreword
Introduction
1. "... come watch for de moon ..."
Dr. No
2. "... but oh, you haunted me so ..."
From Russia With Love
3. "... the Midas touch — a spider's 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 Majesty's Secret Service
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 that's 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 there's danger there, I don't care ..."
Never Say Never Again
16. "... until we dance into the fire ..."
A View to a Kill
17. "... the living's in the way we die ... "
The Living Daylights
18. "... and you know I'm 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 can't feel alive ..."
The World Is Not Enough
22. "... it's 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
iv. Appendix 1: The Bond Soundtrack Albums
v. Appendix 2: The Bond Songs That Never Were
vi. Endnotes
vii. Bibliography
viii. Index
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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