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Diamond Head (John Williams, 1963): Diamond Head was John Williams’ first feature film score to receive a soundtrack album release (some of his TV work was released earlier). The LP was originally released on the Colpix Records label and is currently available on CD from Film Score Monthly, paired with Lalo Schifrin’s Gone With the Wave. The Diamond Head album runs a little over half an hour and features a mix of Williams’ original score and various Williams-composed source cues.
In the 1960s, Williams most frequently scored comedies and most of his scores tended to have a light, pop/jazz style. Diamond Head was a drama, though, and featuring a score that much more closely resembled Williams’ later highly thematic symphonic sound. Cues such as the “Main Title” cue as well as “Sloan Strolls” and “Sloan’s Dream” are very recognizably in line with Williams most recognizable style of music.
The inclusion of the source cues makes the album into something of a hybrid between Williams’ early and later approaches to scoring. The source cues have more of a small ensemble, somewhat jazz-influenced sound to them with an emphasis on piano, horns, and underlying percussion. The cue “Catamaran” is a particularly interesting hybrid, starting off with a lighter jazz piano melody before eventually seguing into a string-dominated orchestral conclusion.
The album opens with a title song written by Hugo Winterhalter and performed by James Darren, one of the film’s co-stars. The song is a pretty typical pop song of that era, although with a bit of a Hawaiian tropical influence to fit the setting of the film. Williams does occasionally incorporate Winterhalter’s melody into the score cues.
Diamonds Are Forever (John Barry, 1972): Diamonds Are Forever was the 7th film (and the last to star Sean Connery) in Eon Productions’ James Bond series. By this point, the musical style of the series was firmly established by John Barry, who had worked on all of the previous films and was the sole credited composer on all but the first.
As was often the case with the Bond scores, the central melody here comes from the title song, written by Barry with lyrics by Don Black and performed by Shirley Bassey over the opening title. This was Bassey’s second Bond theme song after her famous performance of “Goldfinger”. While she would only return to the series one more time (for “Moonraker”), her vocal style remains the one that is most associated with the Bond films.
The song itself is a textbook example of Barry’s James Bond sound, with his distinctive mix of strings, piano, and blasting horns. The lyrics to the song are loaded with sexual innuendo, even a bit more so than usual for a James Bond theme. The theme has a distinctive melody that Barry uses well throughout the rest of the score. Of course, the classic James Bond theme is also incorporated into the score periodically, including an electric guitar rendition that played over the usual gun barrel opening and more orchestral versions in other parts of the score.
The score is very typical of Barry’s Bond scores, with a very melodic, but often boldly energetic approach. As expected, it is dominated by lush strings and extremely active brass. As is usual for Barry, there is a bit of an underlying jazz influence, particularly in the occasional saxophone riffs. The score does have a few interesting variations, particularly the unusual female choral music featured in the cue “Slumber, Inc.”
The most complete and readily available soundtrack release is an expanded CD that was released by Capital/EMI records back in 2003. This disc contains about 75 minutes of music from the film (including a number of alternate cues), definitely a dramatic expansion over the original 35 minute LP release. The CD is rather oddly sequenced, though, with the music presented in a seemingly almost random order. While the title song does at least open the CD, the gun barrel opening doesn’t appear until track 13! Throughout the album, the music is way out of film sequence.