Live And Let Die [Remastered] - Original Soundtrack > Reviews > Dance of Death

Author's product rating:   

Originality	Definitely a cut above the rest
Lyrics	Thought-provoking
Quality and consistency of tracks	Mixed
Value for Money

Advantages:	Remixed, remastered, extended takes and extra tracks
Disadvantages:	All too brief, and George Martin is no John Barry

Recommend to potential buyers:

yes

Full review

Much like the film, the 'Live and Let Die' soundtrack does everything very competently while never setting the world completely alight. Here it is repackaged and given a remix, remaster, and has had 7 tracks added to it's previous short running time.

John Barry was unavailable to score Moores first outing as Bond, and Beatles producer George Martin stepped in and attempted to find the magic that Barry brought to the series. By and large he suceeds in creating a memorable enough score, but at times it feels a little predictable and obvious. When however it does work, it's a great soundtrack to possess, especially given the polish this edition has received.

1. Live and Let Die (Main Title)
Written by Paul McCartney and performed with Wings while George Martin produces and arranges. It's difficult to imagine how completely leftfield this title track must have sounded back in 1973. It's a startling composition, a bizarre fusing of orchestra and pop/rock, creating a very dynamic and dramatic sound. McCartney brings all of his talent to the lyrics and vocals, while Martin creates a very full sounding backing. It's completely unlike anything that went before, and it's difficult to think of such a bold interpretation of a theme song since.

2. Just a Closer Walk with Thee/New Second Line
It's down to New Orleans for this funeral procession/party piece. All swinging horns, recorded to sound very raw, it runs a little longer than previous versions. Performed by Harold A. "Duke" Dejan and the Olympian Brass Band.

3. Bond Meets Solitaire.
The remix has done wonders for this track. Martins funky blacksploitation approach gets a real beefing up with this mix. Funky laid back bass underscores a mysterious type of cue. The Bond theme weaves in and out on strings, with a harpsichord subtly echoing the motif. Wah wah guitars play in the background, plenty of percussion, while slowly the brass section build up their part to a rousing climax. Again Martin makes it sound like he had a massive orchestra to hand. The track differs very, very, slightly to the previous version.

4. Whisper Who Dares
Another bassy and funky workout with horn stings as the music accompanies the drive-by shooting of Bonds chaffeur in New York and the ensuing car mayhem. A great, if brief, piece of action scoring.

5. Snakes Alive.
Great opening, sliding, slithering strings, very reminscent of the Blue Meanies in Yellow Submarine! The remix brings a whole new sound to this score. I can hear harpsichord again, something I was never ever able to hear previously. Another piece that starts out slowly and menacingly before picking up slowly in tempo to incorporate the Bond theme.

6. Baron Samedi's Dance of Death.
A really fun piece of background, rather than incidental music. It plays behindd Bond as he arrives at his hotel in the West Indies. Very playful, full of nice brass, voodoo rythmns are beaten out on the percussion.

7. San Monique.
An introduction to the island of San Monique, it generates a nice 'local' feeling, even if it was no doubt recorded in Elstree sound studios. Some great percussion here again, and the first use of a prominent flute.

8. Fillet of Soul/Live and Let Die.
All a bit 'Truck Turner' here, as Martin does Mayfield. Funky, plenty of electric guitar, and sassy sax before it slips into BJ Arnau's take on the main theme. Every bit as enjoyable as Wings, but more of a funk/jazz/soul workout. Builds to a frenetic ending, lots of sax and wailing electric guitar.

9. Bond Drops In.
A favourite from the score, less reliant on the Bond theme, and with much use of those sinister strings as Bond hanglides into Kanangas lair. Transforms into a more 'travelogue' sounding cue in the middle before reverting to a menacing reworking of the Bond theme. Martin's arrangement of the strings is as every bit as enjoyable as Barry.

10. If He Finds it...Kill Him.
Bond and Solitaire stumble upon Kanangas Opium fields, and face a helicopter attack, in this extended cue. Some nice use of brass in here, raspy deep notes signal impending danger, swirling strings and then we are headlong into the briliant track 11.

11. Trespassers Will Be Eaten.
The score is at it's best when it does it's own thing and steers away from the familiar Bond motifs. This a favourite from the album, with percussion beating out a steady rythmn around which the orchestra has fun creating the mood of an alligator infested farm. Some great riffs add to the blacksploitation feel of the cue. Timpani roll away as Bond makes a cunning escape to a warbling guitar led version of the Bond theme, before we get an indication of the pounding cues that will later resurface in the boat chase sequences.

12. Solitaire Gets Her Cards.
Extended to include a new opening on a mournful recorder to conjure up the character of Baron Samedi as he prevails over an interogation of Solitaire. A bit of a nothing track, overly similar to other cues on this album.

13. Sacrifice.
Extended with more of the intoxicating voodoo rythmns and shrill warbling flutes, before it gives way to some high strings and tribal sounding brass. A good cue that sounds suitably supernatural and eery, making Baron Samedi sound a very powerful foe. Listened to out of the context of the film it's really rather unsettling, especially the abrupt ending.

14. James Bond Theme.
007 goes 1973 in a precursor to the Bond '77 of Spy Who Loved Me. Very of it's time and one day David Arnolds techno scores will sound this dated and anachronistic. The remix has breathed new life into this track though.

15. Gunbarrel/Snakebite.
A fantastic gutsy gunbarrel cue, with a great sounding guitar, tonnes of reverb making it sound like it weighs half a tonne. Brass and flutes gone and we are straight into the voodoo that leads into the main theme.

16. Bond to New York.
An urgent and upbeat funky cue that plays over the turning of Solitaires cards as Bond heads for New York. Becomes the background music as Bond looks around the voodoo shop. Some nice playful flute, but a bit of a nothing track.

17. San Monique (Alternate)
Far more reggae with a ballsy bass guitar leading the tune. Far more West Indies in flavour than the eventual take that was used. Great percussion again, but perhaps just too laid back for the final edit.

18. Bond and Rosie.
A love theme for Bond and Rosie, all lush strings and flutes, before things take a sinister turn and the Bond theme plays menacingly turning into a rousing revisit of the main theme as Rosie flees into a very deadly forest.

19. The Lovers.
Another love theme, this time for Bond and Solitaire. French horn, soft flute, subtle strings and harp give this a a rather soapy feel, but as usual things are not always as they appear. The Bond theme fades in with stalking horns and we are suddenly in voodoo country as Baron Samedis recorder takes centre stage.

20. New Orleans.
This cue is an action piece that plays behind Bonds flying lesson escape sequence. Nothing wonderful, follows a pretty familiar path and echoes some of the more anonymous cues from this soundtrack collection.

21. Boat Chase.
Starts off with shimmering strings before a pounding bassline returns us to the bayous and a speedboat chase. Typically funky and listen out for snatches of the Wedding March which were eventualy unused in the chase sequence, but the highlight is the second section as Bond ambushes his pursuer sending him to a fiery grave. A great reuse of the theme title, slow, relentless before a great pay-off.

22. Underground Lair.
Picking up with the arrival of the robotic Baron Samedi, sliding upwards through the church graveyard. Spooky strings then a return to more funky roots, the brilliant brass stings of the main theme and it becomes a track to savour as we hear the scoring for Bond and Kanangas climactic fight. Oboe and staccato strings stab out a hesitant version of the main theme as Bond faces a knife weilding Kananga. Some sinister strings herald the arrival of sharks, and then it's a pounding action cue as the two fight in the murky shark infested waters of Kanangas base. It ends with the reprise of the main theme and all that is missing is the deep cackling of Baron Samedi.

The downside to the score is that despite 22 tracks there really isn't that much here. Alot of the cues struggle to make it to the 2 minute mark, and if you think back, you'll recall that alot of the film is left unscored. A few tracks smack of repetition, and much use is made of the Bond theme, but on the whole it is enjoyable enough. Well worth the money for remixed versions of the cues that DO work, and of course the 7 additional tracks featuring the exciting Boat Chase and Underground Lair.

The packaging is nice, and again boasts a few photos that I've never seen. There is a sprinkling of infor regarding both the film and soundtrack, but nothing to appease the anally retentive fan like myself.

Looks good, sounds great, and on the whole is a good addition to the Bond soundtrack collection. These special editions are now finally available in Britain, although Amazon still insists that they are £7.99. Expect to pay more like £14.