A sultry brunette is losing her edge at a high-stakes game of chemin de fer at London’s Les Ambassadeurs Casino. As she anxiously seeks additional coverage for her bets, she locks eyes with a dark, tuxedo-clad figure across the table repeatedly drawing better cards from the shoe. He reaches for his Dunhill cigarette case.
“I admire your courage, Miss …”
“Trench,” she replies rather tersely. “Sylvia Trench.”
Her curiosity piqued by this mysterious rival, she volleys back :
“I admire your luck, Mister …”
“Bond.” The silver Ronson lighter snaps shut as the now-lit cigarette dangles casually from his lips.
“James Bond.”
With that immortal introduction, the world’s most successful film series of all time was launched. And from that pivotal scene would also emerge the most iconic piece of music in cinema history: The James Bond Theme.
In the continuing celebration of the 50th Anniversary of the James Bond films — along with the highest-grossing British film of all time “Skyfall” surpassing the billion dollar mark and Adele’s Oscar-winning theme song — three of the most unique James Bond soundtrack albums have been remastered and reissued in limited edition 180-gram vinyl, complete with original LP artwork. Compared to digital, the rich tonal vibrance of vinyl remains unequalled as evidenced by the evocative musical scores for “Dr. No” (1962), “Goldfinger” (1964) and “Live and Let Die” (1973).
Monty Norman not only wrote and composed The James Bond Theme, but his entire “Dr. No” score is a superb capturing of early Sixties jet-setting glamor, full of lush and exotic calypso absorbed by his trips to Jamaica during filming, juxtaposed with a swaggering jazz that would establish the provocative foundation for all future James Bond film scores.
Composer and songwriter Monty Norman with director Terrence Young on location for the filming of “Dr. No” (1962).
When Ursula Andress made her breathtaking emergence from the Caribbean surf singing Underneath The Mango Tree, wearing only a daring white bikini and hunting knife strapped on her hip, it was Monty Norman’s then wife – singer and actress Diana Coupland – who dubbed Andress singing Underneath The Mango Tree opposite Sean Connery. Connery’s original vocals, however, remained intact for the finished film. “Sean had a great singing voice,” recalled Norman. “Had he not become James Bond, he would’ve surely had big success on the musical stage.”
The original “Dr. No” remastered soundtrack on vinyl is now available through Amazon.
James Bond ( Sean Connery ) drops the needle on Underneath The Mango Tree whilst awaiting the imminent arrival of assassin Professor Dent in “Dr. No”.
Breakfast in Buckinghamshire: A candid snapshot of David Giammarco and Monty Norman with family and guests at home in England.
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“Do you expect me to talk?”
“No, Mister Bond. I expect you to die.”
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The soaring and seductive vocals of Shirley Bassey’s title song (produced by George Martin) for the third James Bond film “Goldfinger” proved a perfect melding with soundtrack composer John Barry’s booming and brassy evolution of the 007 musical score. As the James Bond films became a worldwide phenomenon by 1964, so too did Barry’s bold orchestration as swanky counterpart to 007’s increasingly larger-than-life exploits and visual grandeur.
Alluring as the music came even more suggestive ‘Bond Girls’, none more risqué than Pussy Galore. Playing Auric Goldfinger’s personal pilot, actress Honor Blackman later delighted at making the media squirm. “I remember there were quite a few interviewers in America who wouldn’t even say the name ‘Pussy Galore’ … they were so puritanical,” laughed Blackman. “So when they would only say ‘your character’, I would always pipe up, ‘Oh, you mean Pussy Galore?’ It was such fun to get a rise out of them.”
Pussy Galore keeps her sights set on James Bond aboard Auric Goldfinger’s private jet in a scene from “Goldfinger”. (Copyright: EON Productions, 1964)
The original “Goldfinger” remastered soundtrack on vinyl is now available through Amazon.
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David Giammarco with Honor Blackman at the historic Ambassador Theatre in London’s West End.
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Roger Moore debuts with a bang of savoir faire on location in Louisiana for his first James Bond film “Live and Let Die” in 1973.
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During a scene from 1964’s “Goldfinger”, James Bond remarked that it was inadvisable to listen to The Beatles “without earmuffs”. Ironically nine years later, Beatle legends Paul McCartney and producer George Martin would reunite to rock the James Bond franchise with one of the most extraordinary theme song and distinctive scores of the entire series: “Live and Let Die”.
Ushering in the 1970s with Roger Moore as the new James Bond and a marked musical departure to match, Live and Let Die became the most raucous and propulsive Bond theme to date, blazing a trail to the top of the charts and becoming the first Bond theme nominated for an Academy Award for Best Original Song. The musical score also earned George Martin a Grammy Award.
Producer and arranger George Martin with Paul McCartney and Ringo Starr at Abbey Road Studios putting the finishing touches on the last recorded Beatles album “Abbey Road” in 1969. McCartney and Martin would reunite in 1973 to rock the 007 franchise for “Live and Let Die”.
·Below is rare footage of Paul and Linda McCartney with band Wings rehearsing Live and Let Die accompanied by full orchestra at George Martin’s AIR Studios in London:
It’s difficult to imagine today, but originally McCartney’s now-classic rock composition was turned down for sounding “too chaotic and loud”. Especially compared to the usual opulent splendor of previous Bond theme standards. James Bond producers Cubby Broccoli and Harry Saltzman hesitated and alternatives were considered. Composer George Martin was shocked. Fortunately, the young Hilary Saltzman and Barbara Broccoli were huge Paul McCartney fans and pleaded with both their fathers that the song was a winner. With the clock rapidly ticking, the theme song was officially recorded in one take, and the rest, as they say, is history.
Producers Cubby Broccoli and Harry Saltzman with Roger Moore on location in the Louisiana Bayous for the “Live and Let Die” speedboat chase sequence. (Copyright: EON Productions, 1973)
For more on those frantic decisions between the filmmakers on location in New Orleans with George Martin and Paul McCartney back in London, see David Giammarco’s book For Your Eyes Only: Behind the Scenes of the James Bond Films.
Roger Moore between takes of Bond’s rescue of Solitaire (Jane Seymour) on set at Pinewood Studios. (Copyright: EON Productions, 1973)
Legendary producer and composer George Martin’s musical score for “Live and Let Die” stands as a lavish and richly textured orchestration of the traditional 007 sound, layered with fresh and distinctly unique Martin interpretations of the previous sonic landscape. Incorporating the diverse flavors of New Orleans and the Caribbean whilst separately providing a newly invigorated styling of Monty Norman’s James Bond Theme, Martin’s dynamic action themes helped infuse new life into the modern era of James Bond film scores.
The original “Live and Let Die” remastered soundtrack on vinyl is now available through Amazon.
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David Giammarco and Sir George Martin sharing a laugh at AIR Studios in London, where he orchestrated the score for “Live and Let Die” back in April, 1973.
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Text and Images Copyright ⓒ David Giammarco and EON Productions, 1962-2013.
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FOR YOUR EYES ONLY: BEHIND THE SCENES OF THE JAMES BOND FILMS BY DAVID GIAMMARCO 