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John Barry’s James Bond Scores (Part 3 of 6): Diamonds Are Forever — 11 Comments

  1. yet another great post. Some of my fav Barry music. The theme to Mr Kidd is especially good. Lovely sound flute and sax mixed together. Please do You only live twice too !

    e

  2. “Significantly, though, the riff is not heard in this way anywhere else in the film”

    Actually, it is: just after Connery is shown on-screen saying “My name is Bond…” and strangling Marie with her bikini top.

    • Hi g’per – you are correct about this. I suppose I would understand this extra statement as an extension of that in the gun-barrel sequence since it directly follows that, where we just heard the guitar riff. I’ve updated the text above to reflect that. Thanks for pointing it out. 🙂

      • You’re welcome- and yes, you could consider it an extension even though they are 2 separate cues expertly (as usual) overlapped at about the 20 second mark.
        Looking forward to Moonraker.

    • Hi Tuan – I haven’t yet analyzed cartoon music, but I do have an interest in it and think it is a neglected form of music simply because it’s not “serious” music in the way, say, most film music is. But I have done a bit of transcribing of Carl Stalling’s music for the old Warner Bros. cartoons. Now that man was a genius when it came to writing cartoon music. Thanks for the suggestion – I’ll put it on my “to do” list.

  3. Hi

    I have been struggling to work out the chord sequence for ‘007 and counting’ (the laser in space sequence) for years – so thank you for the tantalising snippet you’ve provided! Is there any chance of a providing more of the score or do you know where else it can be obtained?

    Julian

    • “007 and Counting” is a very attractive progression, so I thought it deserved being spelled out. I just did it by ear because I don’t have a score, nor do I know where one could be obtained. But if you have particular chords or progressions you’d like me to have a crack at, let me know.

  4. Thanks for the response, using your chords as a starting I think I should now be able to work out the rest – much appreciated and very much enjoy your informative posts.

  5. My great thanks for your site and this analysis. I am a film critic and have loved DAF as an example of a film that does not follow the tradition of the films that preceded it (in a sense it fails as a traditional James Bond movie, but succeeds in this failure). The movie stakes out an original position and trajectory for the series, but one which is lost when Roger Moore takes over (I am not sure it was sustainable under any circumstances).

    The score has always stayed with me (though I am not particularly musical) and the theme song is my favorite. Your explanation of how the score works has helped me a great deal in my work on the film. Any of my writings on the film will certainly include reference to your work and site which is most valuable for a film scholar such as myself who is more visually oriented than musical.

    Thank you again.

    • Thank you, Brian, for your words of praise. I do what I can to contribute to the small but growing literature on the analysis of film music. I’m glad you found my remarks helpful. This is one Bond film in which I didn’t agree entirely with Burlingame in his book on the Bond scores. I find it an awkward score for an awkward film, and I think Barry’s frustrations attest to that to some degree. But then, I approach it from a musical point of view, so I’d be interested to hear more of your point of view. Perhaps you could send me a link to your work if you decide to write on it sometime. Cheers.

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