Update: Moonraker concert doesn’t appear likely

Moonraker teaser poster

An effort to produce a Moonraker music concert is struggling as it nears its deadline.

As of early May 3, ticket sales of 6,085 British pounds had been generated, against a goal of 60,000 pounds, according to the Indiegogo page with details about the project.

Promoters wanted to hold the concert of Moonraker’s score on Jan. 26, 2019 in the U.K. in connection with the film’s 40th anniversary.

The deadline is May 6. If enough tickets haven’t been sold by then, ticket purchases are to be refunded.

A reader passed along a May 2 e-mail from the promoters. An alternate, smaller-scale program may be in the offing.

The intention is to keep the venue booked and although we won’t be able to keep a 100piece orchestra and do Moonraker (this time), I will be putting THE biggest Q The Music Orchestra together yet that night – with around 35 musicians including live Strings, and we will be doing several cue medleys including Goldfinger, A View To A Kill, as well as Flight Into Space, Capsule In Space and of course our fave: Backseat Driver. We will be doing some new ones too: medleys from The Living Daylights, Live And Let Die & The Spy Who Loved Me.
(snip)

I very much hope to get the Moonraker, and indeed other Barry/Bond scores, back on the agenda further down the line and thank you once again for trying to make this amazing project happen.

For more information, CLICK HERE.

Effort underway to launch a Moonraker concert

Moonraker teaser poster

There’s an effort underway to get a U.K. Moonraker concert off the ground for the 40th anniversary of the extravagant James Bond film.

Here are some of the details from an Indiegogo page.

The James Bond fans of the World have often lamented the inability to be able to hear one of John Barry’s most beautiful Bond scores – that of Moonraker – in isolation, and complete.

Performed by a 100 piece Orchestra and Choir, this will lovingly bring the score from Moonraker to life.

26th JANUARY 2019 @ The Wycombe Swan, High Wycombe, Bucks, UK

This will be a complete one off opportunity and will not be recorded.

The promoters have set a goal of selling 60,000 British pounds worth of tickets. As of late April 20, New York time, 5,735 British pounds of tickets had been sold. Ticket prices range from 50 pounds each to 250 pounds each for a VIP package.

“Basically, if we don’t sell enough tickets, the concert doesn’t go ahead and you get refunded,” according to the website. “Donations are welcome, but not expected at all.” The deadline to meet the sales goal is May 6.

Moonraker, the 11th 007 film, had everything from Bond falling out of a plane without a parachute to a battle in outer space. John Barry, who established the 007 music sound in the early 1960s, was more than up to the task of scoring the movie.

Lyrics for the title song were written by Hal David, who had collaborated with Barry on the song We Have All the Time in the World for 1969’s On Her Majesty’s Secret Service.

For more information, CLICK HERE.

Skyfall breaks 007’s 47-year Oscar drought

Skyfall's poster image

Skyfall’s poster image


RECAP (11:55 p.m.): Skyfall won two Oscars, the first 007 film to win more than one. Goldfinger and Thunderball won one apiece. It broke a 47-year Oscar drought for the Bond series. The highest profile win was Best Song by Adele and Paul Epworth, finally giving the series a win after three previous Best Song nominations.

UPDATE IV (11:20 p.m.): Skyfall finally broke the 007 Best Song jinx, winning the Oscar for Adele and Paul Epworth (Best Song Oscars go to the songwriters, not the performer). Adele thanked producers Michael G. Wilson and Barbara Broccoli.

007 films had been nominated for Best Song three times with no wins: Live And Let Die, Nobody Does It Better from The Spy Who Loved Me and For Your Eyes Only. Classic Bond songs such as Goldfinger, Thunderball, You Only Live Twice and Diamonds Are Forever were never nominated.

A few minutes earlier, Skyfall’s Thomas Newman lost to Life of Pi’s Mychael Danna. Skyfall ends the evening with two wins out of five categories.

UPDATE III (11:03 p.m.): Earlier Adele performed Skyfall. Reaction was mixed in our quick survey of social media. Some fans felt she nailed it, others felt there were too many backup singers or other flaws. Afterwards, two musicians with ties to the 007 series made the “In Memoriam” segment: Hal David, who wrote lyrics for the 1967 Casino Royale spoof, 1969’s On Her Majesty’s Secret Service and 1979’s Moonraker; and Marvin Hamlisch, who scored 1977’s The Spy Who Loved Me. Hamlisch was nominated twice for Spy (score and for “Nobody Does It Better”) but didn’t pick up any wins that night.

UPDATE II (10:20 p.m.): Skyfall broke 007’s 47-year Oscar drought by tying with Zero Dark Thirty for sound editing. Per Hallberg and Karen Baker Landers picked up Oscars, though they started to get shooed off the stage as the orchestra played the theme from Jaws.

It was the first win for a Bond movie since John Stears won for special effects for 1965’s Thunderball. Just before that, film lost the sound award to Les Miserables.

UPDATE I (9:28 p.m.): Halle Berry introduced the James Bond tribute segment, comprised of clips from the movies accompanied by the James Bond Theme and an instrumental of Live And Let Die.

Immediately after, Shirley Bassey appeared and did a rendition of Goldfinger, with a very traditional sounding arrangement. It was the Bond highlight so far after Roger Deakins’s loss. Twitter lit up with users commenting about Dame Shirley’s performance.

However, Ezra Klein, a political commentator, wasn’t impressed with the 007 tribute part. He wrote on Twitter: “Congratulations, Oscars, you managed to make the Bond franchise look unexciting.”

ORIGINAL POST: Roger Deakins, nominated for his cinematography in Skyfall, lost to Life of Pi’s Claudio Moranda.

Skyfall, the 23rd James Bond movie, has been nominated for five awards, the most in the history of the Bond film series. The previous 007 record was held by The Spy Who Loved Me with three nominations (and no wins).

Still to come as of 9:12 p.m. are the best song, best score and two sound categories where Skyfall has been nominated. For now, 007’s 47-year Oscar drought continues. The last Bond movie to get an Oscar was 1965’s Thunderball for special effects. A tribute to James Bond movies is coming up.

HMSS talks to Jon Burlingame about his 007 music book

Image of the cover of The Music of James Bond from the book’s Amazon.com page (don’t click it won’t work here; see link at bottom of this post).

Jon Burlingame, who has written extensively about film and television music, is coming out with a new book, The Music of James Bond. He’s come up with some research that should intrigue 007 fans. Example: one of the singers of Mr. Kiss Kiss Bang Bang, originally intended to be Thunderball’s title song was involved in a lawsuit to try to stop release of the fourth James Bond film.

We did an interview by e-mail. He provided a preview of his book. The author didn’t want to give away too much in our interview, including identifying which Mr. Kiss Kiss Bang Bang singer was involved. Both Shirley Bassey and Dionne Warwick performed the song before Eon Productions went with Tom Jones singing Thunderball.

Anyway, the interview follows:

HMSS: Did you come across information that you found surprising? If so, what was it?

BURLINGAME: I was able to piece together the chronology of what happened with “Mr. Kiss Kiss Bang Bang” — the unused theme for THUNDERBALL — which had always eluded previous writers and researchers. And I discovered that one vocalist was so incensed about the failure to use her recording that her company sued the producers to attempt to stop distribution of the film in late 1965. (She didn’t succeed, of course.) It was a stunning new discovery and, to me, one of the most fascinating stories in the book.

I also got Paul Williams to recall many of his unused lyrics for MOONRAKER and Johnny Mathis to confirm that he recorded that song, which no one has ever heard. I successfully unraveled the story of the missing Eric Clapton recordings for LICENCE TO KILL and the sad and unfortunate tale of why John Barry was ready to score TOMORROW NEVER DIES and how studio politics derailed it. I obtained new details about the aborted Amy Winehouse song for QUANTUM OF SOLACE and finally got to the bottom of the story involving “No Good About Goodbye,” which has always been rumored to be an unused QoS song.

HMSS:How long did it take to prepare The Music of James Bond? How many of the principals were you able to interview directly?

BURLINGAME: It took eight months to write — and about 45 years of intense interest before that. I signed the contract with Oxford in May 2011 and delivered a final manuscript in December. Like any film-related history that covers several decades, it required considerable research as well as interviews with those key players who were still with us. I had interviewed John Barry often since the late 1980s, so I had material from him prior to his passing.

New interviews included Monty Norman, Vic Flick, Leslie Bricusse, Don Black, Hal David, producer Phil Ramone (OHMSS), engineers Eric Tomlinson and John Richards, Sir George Martin, Marvin Hamlisch and Carole Bayer Sager, Paul Williams, Bill Conti, Tim Rice, Michel Legrand and Alan & Marilyn Bergman, Maryam d’Abo, Narada Michael Walden and Diane Warren (LICENCE TO KILL), Eric Serra (GOLDENEYE), David Arnold, conductor Nicholas Dodd (the Arnold films), and Madonna (DIE ANOTHER DAY), among others. {plus extensive, previously unused interviews I had done with Michael Kamen (LICENCE TO KILL) and Michel Colombier (DIE ANOTHER DAY) before each passed away.

HMSS: What is your view of the disputes related to the creation of The James Bond Theme? To some laymen, it really does sound like Barry at the very least added a lot to Monty Norman’s work.

BURLINGAME: He did. The story is very, very complicated, as anyone who followed the London court case should understand. The creation of a piece of music for a film — whether in 1962 or in 2012 — can be a complex process involving a melody line, the addition of rhythm and countermelodies, bridges, etc., and performance issues related to what instruments are being used and how. So it started with Monty Norman and an unused song from an unrealized production; passed through the hands of his own orchestrator; reached John Barry, who undertook what one expert witness at the trial called an “extreme” arrangement; and when Barry called in guitarist Vic Flick, he added his own special touches before the theme was recorded for the first time. To his credit, Norman — despite his differences with Barry over the years — continues to credit Barry with the definitive orchestration of his theme.

I would urge Bond fans to read my first chapter very carefully before drawing, or modifying, their own conclusions. I believe it is as complete a chronicle of the creation of the “James Bond Theme” as is possible at this date.

HMSS: Harry Saltzman almost killed the title songs to Goldfinger and Diamonds Are Forever and while liking the Live And Let Die song didn’t want Paul McCartney to perform it. Are there any other examples of this sort of thing (not restricted to Saltzman)?

BURLINGAME: From the beginning, it’s always really been a kind of crap shoot to try and create a song that would serve the film but also reach the pop charts to serve the broader promotional needs of the film and be successful on its own. There has always been second-guessing, from the examples you cited to the rush job on MAN WITH THE GOLDEN GUN, the last-minute decision to change lyricists and singers on MOONRAKER, the involvement of record-company people on the songs for A VIEW TO A KILL, THE LIVING DAYLIGHTS and LICENCE TO KILL, and finally the deep involvement of the studio music department on films like TOMORROW NEVER DIES, DIE ANOTHER DAY and the 2006 CASINO ROYALE. I detail all of these in the book.

For a long time, no composer not named John Barry did a second turn as a 007 film composer, until David Arnold came along. What did he bring to the table that the likes of Bill Conti, Marvin Hamlisch, etc., didn’t?.

BURLINGAME: I don’t think it’s fair to compare David Arnold with Conti and Hamlisch. Each composer tried to do his best with the film he was given. The circumstances were different in each case. All three attempted to “modernize” the Bond sound in their own way, with Hamlisch and Conti applying the pop rhythm sounds of their day (1977, 1981). Arnold came along at a time when the largely electronic (Eric) Serra
score for GOLDENEYE proved problematic for the filmmakers and they were eager to return to a more “traditional” sound. Arnold’s TOMORROW NEVER DIES score took the classic Barry sound and “updated” it with contemporary synth and rhythm-track sounds that proved just right for that film. He delivered what was needed and thus was retained — especially in a time of risk-averse studio thinking that often says, “that worked, that movie made money, let’s have more of that.”

HMSS: What qualities make James Bond scores different than scores of other movies?

BURLINGAME: One of the main points of the book is the assertion that these composers invented a new kind of action-adventure scoring for the Bond films. Partly pop, partly jazz, partly traditional orchestral scoring, the 007 films demanded music that could be variously romantic, suspenseful, drive the action, even punctuate the humor.

It was a tall order, and John Barry, especially, delivered what was necessary and helped define James Bond in a way that wasn’t possible with the visuals alone.

John Barry


HMSS: John Barry won five Oscars for his film work but never for a Bond movie. Meanwhile, Marvin Hamlisch got nominated for his score for The Spy Who Loved Me, and three title songs where Barry was absent (Live And Let Die, Nobody Does It Better and For Your Eyes Only) got nominated. Why was that?

BURLINGAME: This is a sore point with me. “We Have All the Time in the World” and “Diamonds Are Forever” are two of the greatest movie songs of their time, and both should have been nominated. But the reality is that the Bond films were not taken seriously as artistic achievements at the time, and neither song was a big hit (while record sales helped to drive Barry’s “Born Free” into Oscar territory, and the Bacharach-David “The Look of Love” from (1967’s) CASINO ROYALE was from a very popular, L.A.-based hitmaking team and so was an obvious choice for Oscar attention).

“Live and Let Die,” “Nobody Does It Better” and “For Your Eyes Only” went to no. 2, no. 2 and no. 4 on the American charts, respectively, and thus could not be ignored at Oscar time on the basis of their commercial success alone.

I think you could make a case that “You Only Live Twice,” “We Have All the Time in the World,” “Diamonds Are Forever,” “All Time High” and “Surrender” from TOMORROW NEVER DIES could and should have been nominated for Oscar. Maybe even “You Know My Name” from CASINO ROYALE, which has grown on me over the years. Changing Oscar rules in recent years hasn’t helped, but this year, with five nominees for Best Song assured because of a rule change, I think it’s quite likely that we may have a Bond song in contention.

HMSS: What do you think is the best Bond film score? What do you think is the most underrated?

BURLINGAME: You can’t ask a guy who spent six months listening to nothing but Bond
music to choose just one!

I love every note of both GOLDFINGER and ON HER MAJESTY’S SECRET SERVICE. I think FROM RUSSIA WITH LOVE, YOU ONLY LIVE TWICE and DIAMONDS ARE FOREVER are terrific scores in every way. And the fact that I grew up in that era may influence my passion for the early Bond scores, when the Barry concept and sound
was so fresh and exciting. I believe THE LIVING DAYLIGHTS may be the most underrated score. There is so much original melodic and rhythmic material there, and a very contemporary sound for 1987; I feel that Barry went out on a very high note with his last Bond score. I also think there is much to admire in Arnold’s first two Bond scores, TOMORROW NEVER DIES and THE WORLD IS NOT ENOUGH, and I think his unused song from the latter, “Only Myself to Blame” (with Don Black lyrics) ranks with “Mr. Kiss Kiss Bang Bang” as another of the unsung masterpieces of Bond music.

HMSS: What do you think Thomas Newman brings to Skyfall?

BURLINGAME: I very much look forward to the SKYFALL score. Every few years there is a new voice in Bond music — this year we have two, in Adele and Thomas Newman — and it’s always a good thing to reexamine what makes Bond music work. Arnold tried to do that with each new Bond score, but I think Newman will offer a fresh musical point of view and I can’t wait to hear what he brings.

For information about ordering the book, CLICK HERE to view Amazon.com’s Web site. You can look at some pages on the Amazon site BY CLICKING HERE.

UPDATE (Sept. 28): Jon Burlingame passes on the following about “rejected” James Bond title songs:

One of the book’s appendices is a chronicle of “would-be” Bond songs. There is a widespread notion out there that these were “rejected” (Johnny Cash for THUNDERBALL, Alice Cooper for GOLDEN GUN, etc.) when in fact most were, at best, unsolicited demos that never even reached the producers, who were not in the habit of entertaining song suggestions from outsiders.

The idea that Cubby Broccoli and Harry Saltzman were sitting round their offices listening to these and giving them serious consideration is the height of lunacy.

There really was a “cattle call” for songs for TOMORROW NEVER DIES, but that was done by the studio, not the producers, and I detail the unhappy results in the book.

007 reasons not to hate Moonraker

Let’s face it. It’s fashionable for fans of James Bond movies to criticize Moonraker, the 11th 007 movie made by Eon Productions and the fourth to star Roger Moore. Some fans who count Sean Connery as the best film 007 dismiss Moore as “Roger, the clown.” Some fans who say Daniel Craig, the current film 007, is the best screen 007, dismiss Sir Roger as “Roger, the clown.”

That’s a heavy burden for any James Bond movie to carry. Still, there are some reasons why Moonraker isn’t a lost cause. For example:

001. It’s the last 007 film where Hal David did the lyrics: Hal David (b. 1921) did the lyrics for three 007 movies, starting with 1967’s Casino Royale spoof, extending to songs for On Her Majesty’s Secret Service (1969) and concluding with 1979’s Moonraker. David has a long and distinguished record for writing lyrics for songs in films.

002. It was the last time that John Barry’s 007 theme was used: John Barry orchestrated (and, in real life, added to) Monty Norman’s James Bond Theme. Barry composed the 007 theme for From Russia With Love, hoping it would replace The James Bond Theme. No such luck, but Moonraker was the last time the 007 theme (da-da-da-da-DUH DUH) would be used in a Bond film.

003. It was the last time a Bond movie got an Oscar (R) special effects nomination: Moonraker’s special-effects crew, led by Derek Meddings, secured a nomination for an Academy Award. Meddings & Co. didn’t win. Still, Moonraker came out the same year as Alien (which won the Oscar). Meddings may not have had the resources of its competitor but the nomiation was still an accomplishment for the Bond crew. The last time a 007 movie received an Oscar nomination was For Your Eyes Only (1981) for best song. Meanwhile, John Stears won a special effects Oscar (R) for Thunderball.

004. It was the last time Ken Adam was production designer for Bond: Adam designed the sets for seven Bond films and Moonraker was his finale. Starting with Dr. No, Adam established a distinct look for the films (making the modestly budgeted Dr. No look more expensive than it was). Adam’s work in Moonraker was as good as it was in any other 007 film he worked on.

005. It has a John Barry score: Any John Barry score is special and the composer didn’t disappoint with his work for Moonraker.

006. It was the first 007 film that exceeded Thunderball in U.S. ticket sales. 1965’s Thunderball had U.S. ticket sales of $63.6 million. Live And Let Die exceeded Thunderball’s unadjusted worldwide ticket sales. But the U.S. market held on to Thunderball as the top-grossing 007 movie until Moonraker, where $70.3 million in tickets were sold.

007. Outer Space! (exclamation mark included) listed as a location for filming in the end titles. When was the last time you saw that in a 007 movie?

Hal David and his impact on the world of 007

Lyricist Hal David, who turned 90 earlier this year, will be the subject of a musical tribute Oct. 17 in Los Angeles. David enjoyed a prolific career and had an impact on the musical side of James Bond movies.

When it comes to Bond songs, John Barry’s music and lyrics from the likes of Don Black, Leslie Bricusse and Anthony Newley understandably dominate the conversation because of classics such as Goldfinger, Thunderball, Diamonds Are Forever and You Only Live Twice.

But David actually worked on three 007 movies. Of course, the first of those three was the 1967 spoof Casino Royale. That movie wasn’t part of the film series from Eon Productions. It has a lot of flaws, is extremely uneven thanks to multiple directors and a gaggle of screenwriters. However, the Burt Bacharach score and songs by Bacharach and David were among the movie’s pluses.

David then worked on two films of the Eon series: 1969’s On Her Majesty’s Secret Service and 1979’s Moonraker, both with John Barry as composer. David’s collaboration with Barry on We Have All the Time in the World produced one of the most memorable songs in the series, even if it wasn’t a commercial hit.

What follows are two segments from a 2006 television special about Bond songs that include David’s contributions to the musical world of 007. (For more information about the October event honoring David, JUST CLICK HERE.)

This first segment covers Casino Royale (in particular the song The Look of Love performed by Dusty Springfield) and Moonraker, the third of three Bond titles songs performed by Shirley Bassey:

This later segment describes how the song We Have All the Time in the World, performed by Louis Armstrong, came together.

OHMSS’s 40th anniversary part II: John Barry teams up with Louis Armstrong

Composer John Barry was back for his fifth straight 007 score with On Her Majesty’s Secret Service. Except this time, his music would be used to introduce a new Bond. Barry, in a U.K. documentary, called it his “most Bondian score ever because I poured everything in because it was a new person.”

Instead of a title song, Barry opted for an instrumental. At this point, the Bond series had not had a song for the main titles that didn’t use the film’s title. Instead Barry and Hal David seized upon the phrase from the novel and film, “We have all the time in the world” and turned into a song used for a montage of Bond’s courtship of Tracy, the woman he would marry. Louis Armstrong, a legendary performer but in ill health, was signed to perform it. Despite Armstrong’s health issues, and producer Albert R. Broccoli’s initial balking at the singer’s asking price, the song became one of the highlights of the movie. Here’s the documentary’s take on the story:

And while we’re at it, here’s Barry’s main title instrumental: