Goldfinger Soundtrack Review | The Music of Bond Podcast #007

The Music of Bond is back with our Goldfinger soundtrack review. This week we talk about the history of the score, discuss favourite tunes and go through it track by track. Is it John Barry’s all-time masterpiece? Does it live up to the hype? Is it the kind of score you can make scrambled eggs to? Find out on this week’s Music of Bond.

As previously mentioned, due to the tremendous workload involved in running Q The Music (the world’s greatest James Bond concert experience), we’ve had to say goodbye to our previous Music of Bond co-host, Warren Ringham. The band are out on tour throughout the UK this year, so be sure to grab your tickets before they sell out.

Note: The Music of Bond series is audio only and will not be available on Youtube.

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  • Dennis James Hardin

    Great job guys! Loved this pod. I’d have to agree the 2nd side of the Goldfinger soundtrack LP is weaker than the first. I always felt the Goldfinger instrumental almost sounded like a cover version from any of the various 60’s Bond music tribute albums at the time. Still one of my favorite scores to a Bond film.

  • Thank you for another great podcast! I really enjoyed learning about the background on the theme.

    There’s a certain genius in the way the Goldfinger soundtrack was written with how the brilliant Goldfinger theme was developed throughout the score. The opening chords are used in various ways throughout the score. It has so many iconic tracks, like the ‘Laser Table’ and ‘Dawn Raid on Fort Knox’, and Oddjob’s fantastic motif. But this was only John Barry’s second Bond score. The music has come a long, long way since From Russia with Love, but it still had quite a ways to go. This is Barry’s jazziest Bond score, along with Diamonds Are Forever. Diamonds Are Forever has jazzy cues used to represent Vegas, but the rest of the score is not as outright jazzy. In Goldfinger, the jazz sound is integrated throughout the score. The jazz sound is flashy, and it goes with how flashy Goldfinger is. The score has that jazzy sound straight from the beginning with that ride cymbal beat in the gunbarrel.

    I like the absence of music in many scenes, particularly in the car chase. Lack of music can let other sounds (like car sounds) come out. Barry doesn’t want music to compete with other sounds. And a lack of music can bring realism to the scene. After all, we don’t go through life with a musical score behind us. Barry often uses a technique

    I definitely agree with John that David Arnold uses too much music. The music is all fantastic, but breaks are necessary to bring a sense of realism into the films.

    And I agree with both of you that there aren’t enough memorable themes in film these days. A good theme helps us connect with the characters and the films, and without these themes the films are not as memorable and we don’t connect with the characters as well. It doesn’t matter if it’s an action film or a drama. Nino Rota’s Romeo and Juliet theme is a great example of doing this in a non-action film. I might feel a closer connection to Daniel Craig’s James Bond (I don’t feel any at all) if the James Bond theme was or the film’s themes were used more prominently in his films.

  • Tylord Stevenson

    Thank you guys for continuing this Music of Bond podcast without Warren! I thought it was done or on extended hiatus. I was happily surprised to see it returning.

  • kilianbirner

    I miss Warren! Hope to have him back some day.
    I like the GF-soundtrack a lot nd it’s among my other Barry-favourites OHMSS, TLD, OP and FRWL.
    That being said, my absolute favourite is David Arnold’s CR-score.

  • George Tsilikas

    Excellent! Can’t wait to hear the next one.