The Bond Collection - Part 2 of 3

We continue with the second of 3 episodes as we weave our way through 6 decades of the songs and instrumentals that make up the James Bond musical universe.

Transcript

SPEAKER_00 0:23

On accoustic avenue, we recognize with respect and gratitude that in the truth world the land on which we live, work, and play our music is the unceded traditional territory of the people. In the spirit of reconciliation, we acknowledge the traditional territories of the Blackfoot Confederacy, the Sixiga, the Kainai, the Pekini, the Sutina, the Laige and Coda Nations, the Metis Nation of Region 3, and all people who make their homes in the Treaty Seven region of Southern Alberta. Welcome to the second episode of our series in which we are celebrating the music of the James Bond movie franchise. So exactly what is it that makes a Bond song a Bond song? What is it that makes them so instantly recognizable? Well, there are several key components that make up the Bond sound. First, the orchestration must include light strings intertwined with jazzy brath, something that they have in common with hundreds of movie soundtracks. Second, compose the song in a minor key to give it a darker feeling. And third, include one, if not both, of the two most iconic riffs in the history of music, or at least a variation of them. And those are the following This. And this sound familiar? Although they are by far the most well-known themes in the Bond musical universe, they are not a tobacco. The foundation of the Bond sound. That honor belongs to a simple three-note motif, which starts with a fifth of a minor chord, rising up two and a half steps and then back down again. And is known as the spent motif in the trade. It sounds like this It is the basis of most of the Bond songs and all of the musical scores of the Bond movies. And then lastly, but definitely not the least, is this hard at the end of the dark technically minor, major nine minor major seven, and it is why we can do the hard right of the thing. Today we will start the show with a cover version of the Doctor No theme because you just simply must start a show of Bond music with this thing. Just like the movies. Here is Moby with his take on the James Bond theme.

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James Bond.

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The theme song was composed by Lionel Bart and sung by Matt Monroe. Barry traveled with the crew to Turkey to try to get influences of the local music, but ended up using almost nothing, just local instruments such as finger cymbals to give an exotic feeling. In this track, he introduced the percussive theme 007 to action music that came to be considered the secondary James Bond theme. To relax the audience. We will end the first set with The World Is Not Enough, the 1999 soundtrack of the 19th James Bond film of the same name, and the second Bond soundtrack composed by David Arnold. It is performed by American rock band Garbage, who recorded most of The World Is Not Enough while touring Europe and telephoning Arnold as he recorded the orchestral backing in London before traveling to England. Garbage later finished recording and mixing the song at Armoury Studios in Canada. The lyrics reflect the film's plot with themes of world domination and seduction. This is From Russia with Love, and the World Is Not Enough.

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From Russia with love, I fly to you much wiser.

SPEAKER_06 12:47

The world is such a perfect place to start my love. And then you'll start Together we can take a line. Know how to survive. If I can't feel the life We know when to kill us And we know when to kill If I can't have it all and nobody win The world is not such a perfect place to stop And then you're listening to Acoustic Avenue.

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In the second set, we open with Diamonds or Forever performed by Shirley Bassie. The original 1971 soundtrack was once again composed by John Barry, and composing for a Bond film. Following that is Thunderball, composed by Barry, who teamed up with lyricists Don Black and wrote Thunderball, which was sung by John John. According to Bond production legend, he ended in the recording booth when singing the song final note. I closed my eyes and I held the note for so long when I opened my eyes, the room was any of the things. Then we'll listen to another John Barry composition beautiful and instrumental called Drop in the Ocean from the first Bond film You Only Live Twice. The second set ends with You to a Kill, written by John Berry and Durand Duran, who also performed the song. Durand Rand was chosen to do this song after Basis John Taylor, a lifelong Bond fan, approached producer Albert Rocoli at a party and somewhat drunkenly asked, When are you going to get someone decent to do one of your theme songs? Here is Diamonds Are Forever, a Thunderball, a drop in the ocean, and a view to a kill.

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Diamonds are forever. They are all I need to please me. They can stimulate to tease me. Diamonds are forever. Hold one up and then caress it. Touch it, stroke it and then dress it. I can see every part. Nothing hides in the heart to hurt me. Diamonds never lie to me. But when loves God, they are last diamonds are forever. Sparkling round my little fingers. Diamonds linger. Men are near mortals who are not worth going to your grave. I don't need love. Diamonds never lie to me. Diamonds are whatever, whatever, whatever. Diamonds are whatever, whatever, whatever.

SPEAKER_06 21:34

We'll regret the days of a team are all gone. Justify goes on and on, and on. Fuck you think that the fight is worth the law. So he's trying to do that.

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Ted Crowd, featuring a special co-production with Joe Little Music of the James Bond Universe. Surrender and how long you're going to do it.

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That's why the zero's double. Mr. Kiss Kiss Bang Bang. He's small and he's smooth. And he can soothe. You like the lilac. The gentleman's a killer. Mr. Kiss Kiss Bang Bang. Elmaselles and danger. Has to the strangest past. Like a night. He cuts through life. Like every day. And his school is from the school that loves and leaves on. Mr. Kiss Kiss Bangs. Like a light. He cuts through the light. Like every day. And his school is from the school. Mr. Kiss Kiss.

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I've already written a new desert I am control. I have the power to make you surrender. Not only of life, but your soul.

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Surrender tomorrow will run on time of teas with everyone to you.

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I'll never let the world delight.

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Thank you for listening to Acoustic Avenue. This is Ted Crouch, signing off, and on behalf of Joe Little, from our hearts to yours, stay safe and love the ones you're with. We have all the time in the world. Peace. Cook's jam.