…With expanded or remastered presentations of Goldfinger, On Her Majesty’s Secret Service, Live and Let Die, The Man with the Golden Gun, Moonraker, Octopussy, Licence to Kill, Tomorrow Never Dies, The World is Not Enough and Die Another Day already certifying La-La Land Records as the home of definitive presentations of Bond soundtracks, there’s another one striking hard: 1965’s Thunderball, the fourth film in the series featuring a returning Sean Connery as Ian Fleming’s thrill-a-minute secret agent. Here, Bond squares off against another agent of the terrorist organization SPECTRE – the eyepatch-sporting Emilio Largo – attempting to stop SPECTRE’s plot to set off a pair of atomic bombs they stole.
If Goldfinger further codified the formula of…
Tag Archive: John Barry
…The sixth Bond film was John Barry’s fifth score for the series, but the first (and only) performance by Australian model George Lazenby, making his acting debut as Ian Fleming’s literary secret agent. One of the more emotional stories in the series, OHMSS pitted Bond against the villainous Blofeld (played this time by Telly Savalas) and had 007 enter a star-crossed romance with a mysterious countess (Diana Rigg).
Barry’s score was anchored by a new, riveting instrumental title theme that would become part of the Bond canon, and also featured the stirring “We Have All the Time in the World,” a love theme written with lyricist Hal David that offered one of the last vocal performances by legendary jazz trumpeter Louis Armstrong.