Diamonds Are Forever [Remastered] - Original Soundtrack > Reviews > All I Need to Please Me

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Standard
Quality and consistency of tracks	Flawless
Value for Money

Advantages:	Remixed, Remastered and Extended
Disadvantages:	Import only at present

Recommend to potential buyers:

yes

Full review

When 'Diamonds' first appeared as a soundtrack album it was a threadbare affair, rushed into release before John Barry had even completed the score. In their bid to capitalise on the pre-release frenzy of Connery's return to the 007 fold, the marketing bods at United Artists did Mr Barry a great disservice and we were landed with an album bereft of some great cues and themes. Instead, the original release largely featured background music composed for Bonds exploits in the Las Vegas Casinos.

More than 30 years on, EMI Capitol are setting the record straight with a remixed, remastered and extended release of the 'Diamonds' score. What's more, much like the DVD release, we get deleted and unused cues too. The album runs to 21 tracks and to around 70 minutes, with every track getting the full treatment. While the track names remain the same as those on the previous releases, every cue is now here in it's entirety, and one can now enjoy 'Diamonds' to the full and can realise what a worthy Barry effort it is, as fresh and enjoyable as 'OHMSS' or 'You Only Live Twice'.

1. Diamonds are Forever (Main Title)
Shirley Bassey purrs Don Blacks lyrics over Barry's sparkling composition. Even this familiar track has been extended, and we are treated to a typical Barry stab of horns at the beginning. It sounds wonderful, and has been given a fantastic polish, intimate while boasting a great breadth of sound, and a delightfully ballsy bass enhancement. It's never sounded better and the full on ending sets the hairs on end.

2. Bond Meets Bambi and Thumper.
Extended again to feature Bonds reconnaisance of Willard Whyte's prison before meeting his 'guards' Bambi and Thumper, it then segues into the fight scene, and from an atmospheric synthesised piece with some lovely flutes, we are thrown headlong into a brass lead action piece. Some good use of sax and strings. Barry scores action so inventively it staggers belief that he was ever allowed to leave the Bond franchise.

3. Moon Buggy Ride.
Extended to include the surreal moments as Bond appears to be escaping from the surface of the moon. Bold brass, percussion echoing the alarm bells, some very highly scored strings and flute/piccolo, a track that is great fun. Shows what a master Barry was at scoring brass, rasping trumpets, sassy sax, as the track slinks into Bond meeting Tiffany after his escape, and then a love scene scored with lush strings and twinkling synthesisers.

4. Circus, Circus.
Background rather than incidental music, starts rather differently than it's previously released version with a drum roll, before Barry's slow waltz begins. While distinctly 'Circus' in feeling, there is a lovely dark edge to it, and like most of this score is underlined with menace and intrigue. Remastered it is a joy, and sounds full of depth.

5. Death at the Whyte House.
A king compared to its former insipid version. Extended to feature Bond's unique journey to the top of the hotel, and his visit to Blofelds Penthouse. Echoing piano, menacing strings, flute and harp, as Bond scales the building, before the orchestra kicks in in full as Bond shoots the wrong Blofeld..."right idead, wrong pussy". We are then treated to the sublime cue which accompanies Bonds elevator ride which ends somewhere in the Nevada desert. Achingly slow in it's build up, laden with threat and all lush minor chords, with harp taking centre stage before we get the first 'scent' of Wint and Kidd. The theme that Barry put together for these two unorthodox killers is a highlight of the score.

6. Diamonds are Forever (instr.)
Barry contributes his usual jazz version of the main theme, and while this was background music, it is a most welcome rearrangement of the main theme. Identical to previous versions, except in quality, it sounds great, just listen to the brushed drums. The double bass is a joy to behold in the lead up to the end of the track.

7. Bond & Tiffany.
In the middle of the album, but belonging at the end of the film. Its the instrumental of the main theme played over Bond and Tiffany's meal, just before Wint and Kidd spice up the dining with an assasination attempt. Slow and laid back, all strings and lounge room piano, and then Wint and Kidds theme resurfaces in a piece of action scoring.

8. Bond Smells a Rat.
A great cue, extended again, as the unconscious Bond is buried alive in pipework. Barry creats a beefy industrious sound before we get a more sinister section as Bond awakes, with only a rat for company.

9. Tiffany Case.
Barry let loose on his first love again, a sumptuous jazz piece of background music. The double bass booms like it never has before, and the vibes completely envelope you in this polished remix. The music plays behind Bond and Tiffanys rather icy first meeting. Listen out for some great piano later in the cue.

10. 007 & Counting.
Deep joy. A favourite cue, and it sounds awesome. The mix is fantastic, and the orchestra sounds massive in this atmospheric march. Bass guitar thuds away as we count down to the destruction of Washington DC. In the background a synthesiser twinkles away reminding us that Diamonds are never far from the plot of this movie. A real gem, with each section of the orchestra given a workout in this 3 minute cue.

11. Q's Trick.
Extended piece of background music, very Las Vegas, a swinging jazz composition that accompanies Tiffanys meeting with Q, and rather different meeting with Blofeld. Theres fun to be had with this breezy track, great drum roll at the end, makes you want to swing a microphone around your head...

12. To Hell With Blofeld.
Extended to include a delightful previously unavailable cue. We are treated to the lonely clarinet theme as Bond drops in on Blofeld in his bizarre floating ball. We then get a lovely brass arrangement as the helicopter forces mass around Blofelds oil rig base. We then have Barrys favourite, '007', and mighty good it sounds too. Pounding timpani, high strings, imposing horns, great stuff.

13. Gunbarrel & Manhunt.
The first entirely new suite. As suggested we get the opening gunbarrel sequence, a joy for us Bond fanatics, and then we follow Bond from person to person as he gets ever closer to Blofelds whereabouts. Some great use of the Bond theme, a nice urgency as Bond carries out his vendetta against Blofeld. We have a fight scene, which is reused later for the Bambi and Thumper sequence and the fight with Peter Franks in the elevator.

14. Mr Wint and Mr Kidd/Bond to Holland.
The wonderfully eery Wint and Kidd theme is played out to it's full in this cue that played over their killing of the dentist, and disposal of a helicopter. A sheer delight, deliciously sinister, with a relaxed yet relentless march, that perfectly suits Wint and Kidds dedication to their job. Slow, meticulous and never say die...

Then a great version of the Bond theme as 007 departs for Holland aboard the cross channel hovercraft. Shrill horns, synthesiser, and a nice addition to this collection.

15. Peter Franks.
Atmospheric flutes, threatening kettle drums, and then some great horn stings to accompany the elevator fight. The most energetic workout of the 'action' theme mentioned before. A brief cue then follows which played behind Bond accompanying the coffin to Las Vegas. Lovely muted horns and a bass guitar. The theme will return in the next set of cues.

16. Airport Source/On the Road.
Background music again as Bond arrives in America and meets CIA buddy Felix Leiter. A sassy and swinging track, very of it's time, but again features a brooding menace, meaning Bond is never more than one step ahead of SPECTRE killers Wint and Kidd.

On the Road is great. A fun ride in the hearse as Bond is sandwiched between lunkheaded goons, attempting to make polite conversation. As humourously plodding as their conversation. Muted horns and bass guitar and insistent snare drum on this very Vegas cue.

17. Slumber Inc.
Barry scores Bond's ascent to Heaven as only Barry can. Grand orchestration and fantastic choiral voices. Completely over the top, and completely wonderful.

18. The Whyte House.
Again, it's unmistakably Vegas as Bond explores the Whyte House gaming halls. Extended beyond the length it is afforded in the film, its another fun piece of scoring and is entirely welcome on this package.

19. Plenty, then Tiffany.
A warbling and wandering muted trumpet introduces us to this love theme, as Bond exchanges a buxom black haired beauty for the charms of Tiffany Case. Lots of sinister strings and synthesisers as the 'mob' introduce themselves to Bond and say goodbye to Plenty. Another quick revisit to the main theme, as Bond slips into bed beside Tiffany.

20. Following the Diamonds.
A nice suite that begins with the discovery of Plenty in Miss Case's swimming pool, and then we move onto the atmospheric cue that accompanies Bonds ride in the back of Metz's van. Nice use of synthesiser again, as it twinkles menacingly in the background behind lush strings. Fine use of saxophone later too.

21. Additional and alternate cues.
Wint and Kidd's theme kick starts this final collection of cues, then a lovely if brief jazz piece which gives way to a dixieland style jazz number, which is entirely new to the ears and is no doubt a casino background track. Rounding off this disc are alternate takes on the moon buggy ride and the Bambi and Thumper sequences.

The CD is packaged as is befitting of such a polished release. It is nicely designed to tie in with the DVD releases, and features good if not very informative sleeve notes, a bonus is the inclusion of many photos that were completely new to me.

This is an extremely classy and long overdue release of a superb Barry soundtrack.

The only downside, I'm afraid folks, is that it is an import. For the life of me, I can't find a release schedule for Britain. In the states there are 3 waves of re-releases for the Bond scores that began in mid February, the vast majority of which are remixed, remastered and extended.

You can track the imports down on Amazon, and they do not cost the earth, in fact no more than a chart release from the shelves of a high street retailer.