Goldfinger (Original Motion Picture Soundtrack) John Barry
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- 1Main Title - Goldfinger/Intro Miami (Medley)03:43
- 2Alpine Drive - Auric's Factory04:25
- 3Oddjob's Pressing Engagement03:05
- 4Bond Back In Action Again02:29
- 5Teasing The Korean02:12
- 6Gassing The Gangsters01:02
- 8Dawn Raid On Fort Knox05:46
- 9The Arrival Of The Bomb And Count Down03:26
- 10The Death Of Goldfinger - End Titles02:32
Info for Goldfinger (Original Motion Picture Soundtrack)
In celebration of the 50th anniversary of the James Bond film franchise which began in 1962 with Dr. No, the original motion picture soundtrack for the 1964 film Goldfinger is being remastered for the first time on 24bit Studio Master! Serving as the third film in the franchise and the first James Bond soundtrack to hit the #1 spot on the U.S. charts, the 10-song set features music composed, arranged and conducted by the prolific John Barry including the magnificent title song "Goldfinger," performed by Dame Shirley Bassey.
After John Barry's successful venture with From Russia With Love, Bond producers Albert R Broccoli and Harry Saltzman decided to once again hire the youthful composer and Mister Barry certainly didn't disappoint. Goldfinger posses an even grander sound than his previous effort, with even more brass. Like the film itself, the music is incredibly iconic, with probably the most identifiable title theme in all of Bondian history. Shirley Bassey, of course, lends her talents on this title track, which then Barry uses as the template for the rest of his score, as he so often did with masterful ease.
It is important to put into context the importance of this score in relation to the film. There are so many classic moments in the movie, but let's not overlook the essentiality of the score to create many of these. Yes, there's the dialogue, outlandish characters and so fourth, but there are a few fantastic instances in the film that really spring to mind that all involve music as a centre-piece.
1. The pre-title sequence, where Bond infiltrates a gangster's lair with a bird attached to his snorkel.
2. When Bond introduces himself to Jill in Miami, as the Bond theme plays triumphantly in the background.
3. During the famed laser-table sequence, where Bond and Goldfinger exchange quips.
4. As Goldfinger's jet tumbles out of the sky, with Bond and Pussy at the wheel, Barry's brass and string sections create almost a tension of their own.
Goldfinger is quite a diverse score. At times it's frenetic and big, whilst at others Barry maintains a reservedness very much similar to From Russia With Love. “Dawn Raid On Fort Knox” is a superbly constructed piece of film music that ebbs and flows, and exemplifies these tones as it cuts between big and small sounds.
The score is an interesting case study in terms of John Barry's Bond scoring career. From Russia With Love was the film that produced the formula for all that followed, yet Barry always managed to create a sound that was unique to each film. Having said that, there are moments of what would be become a Thunderball-sound, yet it doesn't quite stray into as darker depths as the former.
Ultimately, John Barry delivers another smashing score that is at times forgotten in the midst of its famed title theme. (Adam Farrington-Williams)
Shirley Bassey, vocals (on Track 1)
John Barry, composer, arranger, conductor
Recorded at CTS Studios, London, England in July 1964.
Jazz man, Hollywood legend, Yorkshire lad. John Barry was all of these but it is for his film music, especially his soundtracks for the James Bond films, that he is most often remembered. His cascades of lyrical strings, syncopated jazz rhythms and smooth shifts of harmony would become the inimitable sound of 007. But Barry was born far from the glamour of Hollywood in York, England. His father, Jack Xavier Prendergast, ran a chain of local cinemas and the young composer gained his first experience of working in the film industry by helping out as a projectionist: one of his earliest memories was of watching Mickey Mouse on the big screen in black and white.
Encouraged by his father, also a jazz fan, Barry took lessons on piano and trumpet, learning how to arrange jazz with Bill Russo, a one-time arranger for Stan Kenton's orchestra. He gained further experience of playing as a bandsman while on national service with the army, and formed his own ensemble, The John Barry Seven, which went on to record several pop hits during the late 50s and 60s, including Hit and Miss, the theme for TV's Juke Box Jury. With its glittering brass and smooth strings, Barry's sound encapsulates the glamour of his swinging sixties lifestyle. As part of the celebrity circuit, Barry mingled with Michael Caine - he would write the film score for Zulu - and Terence Stamp, and married the actress Jane Birkin.
Collaborations with Adam Faith lead to chart success with Barry's arrangement of 'What Do You Want?' and music for the film Beat Girl (1960). But it was Barry's work as an arranger for Monty Norman on Dr No in 1962 that would mark the first of his 11 scores for the Bond films. Disputes between Barry and Norman over the ownership of the Bond theme sparked a court case between them, with Norman suing Barry over his claims that the Bond theme was his. When he first saw Dr No, Barry thought it was satire, and took Bond's character lightly, but he would go on to create the golden-age 007 sound. It was also during this early period that Barry wrote some of his most memorable scores, winning an Oscar for his languid, country jazz in Midnight Cowboy, and two further Oscars for Born Free in 1966.
On a work trip to California, Barry made Los Angeles his home. After spending nearly a year working out of the Beverly Hills Hotel, he settled on the West Coast. Later, with his second wife, Laurie, Barry moved to Oyster Bay, New York, where he would continue to attract Hollywood interest, winning an Oscar score for his music for Out of Africa, as well as working on big-budget psychological thrillers, such as Body Heat, starring Kathleen Turner and and William Hurt, and the mid-80s box-office hit Jagged Edge, starring Glenn Close and Jeff Bridges. For Barry, film music was about getting 'the smell' of a film right. But in later life he also worked away from film, producing moody stand-alone albums for Decca including The Beyondness of Things and Eternal Echoes. In the late 1990s he found a niche in the concert hall, conducting his own works, while composer David Arnold took over from Barry as the Bond composer. (Source: www.sinfinimusic.com)
This album contains no booklet.