|
Article - Bond
soundtrack re-issues; an overview
23
February 2003
Geoff
Leonard
Right,
I’ve now got all the first wave of Bond soundtrack re-issues,
so it’s time for my overview. And I won’t be in the slightest
influenced by the fact that I had to pay VAT (even though they were
labelled as coming from Germany) on my parcel from Amazon!
First
of all I can only agree with all those who’ve already said
how wonderful the new music is and what an improvement there is
in the overall sound. In fact, given the age of some of the masters
I doubt we could have expected anything better, so well done to
all concerned. I’m not going to carp about the sequencing of
the extra music since that has been explained elsewhere as being
a legal requirement of some kind. I find it quite baffling but am
willing to accept it. I’m not going to analyse all the tracks
since many others have already done so. But I will highlight DAF
& OHMSS as producing moments I had completely forgotten about
or maybe never heard properly in the first place. It is truly like
listening to new albums!
Obviously
the music is of paramount importance. In fact, many people would
say it’s all that matters and I have some sympathy with that
view. But only some sympathy. Because if you are going to take on
a job like this, you should make every effort to get it *all* done
properly. If you haven’t got the time, then pass and recommend
somebody else. I’m referring to the packaging. Quite frankly,
it isn’t good enough and in my opinion sticks out like a sore
thumb in comparison with the music.
Firstly
the covers, or the front page of the booklets. I understand EMI
had to borrow Jon Burlingame’s original LPs in order to be
able to re-create this original artwork. That’s fine and they
turned out OK, but was it absolutely necessary to re-create the
originals? After all, EMI were working with MGM on this project
and I was told had full access to their photo archives. Surely they
could have created something new or at least different. Incidentally,
in thanking him, they spelt Jon’s name as John throughout every
single CD!
Then
there are the other typos. Granted, we all make occasional typos,
even Play It Again releases usually had at least one error! But
we got the names of the artists and the tracks right. What is so
difficult about Matt Monro? On the original LP it was Matt Monroe
and now it is Matt Munro. And Kerin Bey instead of Kerim Bey, The
Chase Bond Theme instead of The Chase Bomb Theme, Afganistan instead
of Afghanistan, for example. That’s just some of the obvious
ones.
Now,
Pete Walker, Gareth Bramley and I were asked to produce chart positions,
studios, engineers, musicians etc., for the booklet. In most cases
these were utilised. Not, however, in the case of Octopussy, FYEO
and TLD. Why not? Well, apparently because they decided to save
money and reproduce the original Ryko booklets. But hold on, they
did make *some* changes. Like the back cover and the list of ‘thanks’.
So what was the big deal which prevented them from including the
above info? There was plenty of room. And whilst on the subject
of Ryko, it would have been nice to have been told in advance that
EMI were going to use the notes Pete and I wrote for The Living
Daylights and the notes I co-wrote (so say) with Lukas Kendall for
Octopussy. Then we could have made some adjustments in view of the
time which has elapsed since they were written. For instance, the
notes for Octopussy begin: "At 35 years, with 17 feature films
to date …..".
Photographs.
Again, slightly disappointing in many cases since they are often
poorly reproduced, too dark etc. Some from Diamonds are Forever
are actually displayed as a mirror image! At EMI’s request,
we supplied them with many photos of John Barry, Vic Flick etc.,
many of which were free to use. As far as I can see not a single
one has been used, though obviously the second batch of CDs have
yet to be released. But interesting though the film photos are,
they don’t include too many we haven’t already seen and
this is a soundtrack album. Wouldn’t photos of the composers
and singers be more relevant?
Liner
notes. I must be careful here as I don’t want it to sound like
sour grapes in that I wasn’t asked to write anything myself
(apart from the two I wasn’t told I was doing). However, although
Jeff Bond’s summaries are very good, I think in the circumstances
(the films being so well-known) he should have written more about
the music and less about the plot. Or something about the composer,
music and plot. When Pete and I were writing liner notes for, say,
Castle, the subject matter was often so obscure (‘May Morning’
anybody?) we felt justified in spending time on the plot, especially
as in many cases we knew nothing about the music or much about the
composer at the time of writing. But the Bond composers and music?
Come on!!!
No,
despite the wonderful music, I feel this is a job done only 75%
right. No one can persuade me that a company of the size of EMI
could not afford a few more dollars for better looking booklets.
Let’s be honest, the Octopussy & TLD booklets were awful
in that foldout format. It was a great opportunity to put it right.
Finally,
John Barry. Was he consulted about this project? I see no thanks
to him so I assume not. I just wondered if he might have a copy
of the Moonraker masters, for example, since he was at the recording
sessions in Paris. Somehow I cannot see him travelling back to America
without them! I think it’s always advisable to contact the
composers in cases like these. You never know what extra info they
might produce.
Geoff
Leonard. |
