From Russia With Love Soundtrack Review | The Music of Bond Podcast #006

Today on The Music Of Bond the team delve into 1962’s Dr. No score by Monty Norman.

The earliest film in the series, and the weirdest Soundtrack Album to date (only 7 of the tracks actually appear in the film!) so there is much to discuss and delve into.

From Mango Tree to 3 Blind Mice to Bond singing to Bleeps and Bloops in the Gun Barrel: as you have come to expect, everything is covered.

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

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9 Responses

  1. Warren and John, great podcast!! This a favorite Bond resource, second now only to Tom and Chris, the Masters. FRWL music came back to life for me, a non-musician. Your insights and knowledge are amazing! Keep it going. I would love to see Q in person but am in Station A so difficult, but will support it financially.

    Warmest regards,
    Langford
    Station A

    1. Thanks for your kind words and support! Tom & Chris are definitely the masters. What Chris doesn’t know isn’t worth knowing…and i’d argue there isn’t anything anyway!!! 🙂

  2. Thank you Warren and John for making these Music of Bond podcasts happen! I’ve been obsessed with Bond music all my life, and now it’s like Christmas coming once a month when I hear you two insightful & articulate dudes talk about my favorite things!

  3. Thank you both for another wonderful podcast.

    Warren, ET is a fantastic pick for a favourite soundtrack. “Adventures on Earth” has to be John Williams’ most brilliant piece of music, and I’ve long appreciated how Spielberg allowed the music to guide the pace of the end of the film. The piano at the end titles is fantastic too in how it balances the huge orchestral sound that precedes it, before going back to the full orchestra.

    I agree with your criticisms of the From Russia With Love score, but the train music is the only criticism of John Barry. If judging the score by John Barry’s music alone, there are few faults. However, Barry still hadn’t found himself as a composer at this time, and the music isn’t as developed as what he would write for later films. I don’t think Barry was fully developed as a composer until 1968. That year saw his scores for The Lion in Winter and Deadfall, and the next year came OHMSS and Midnight Cowboy.

    What I appreciate about Barry’s From Russia with Love score is how he freely incorporates Bart’s theme. Unless it actually is Barry’s theme as you suggest, and I agree that it could be. I never thought that Barry could have written it based on the credit to Bart. Or maybe Barry touched it up. If Bart wrote it as he is credited, Thomas Newman needed to take a cue from that and use someone else’s themes in his scores for the good of the film overall.

  4. Another great podcast gents, and another ‘I thought I knew all there is to know about Bond, but don’t!’ moment. For years and years and years and up to when I’ve just heard it, I always thought the ‘chatting’ on Matt Monroe’s ‘From Russia With Love’ was a muted trumpet giving it a bit of ‘Waa waa’ (Not sure if that is the correct musical term, Warren, but I’m sure you know what I mean!). What a fantastic revelation and a piece of Bond trivia I shall cherish and point out many, many, many times. Great stuff! Bring on Goldfinger!

  5. Another brilliant insight into the music of Bond. Brilliant stuff guys.

    Oh – and a hat tip to Q the Music Show for that wonderful rendition of Writing’s on the Wall. The band is tight and the female vocalist the absolute business!

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