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littledog · 5th June 2003

Expanding on Bevvy's insightful comments:

I think you have to view soundtrack music (and other types as well) in the historical context of when the film was made, and how it served the function for which it was created.

The James Bond movie genre was always supposed to have a bit of "tongue-in-cheek" campiness to it, and the music reflected it. The soundtracks for dramatic "thriller" movies of that era were strongly influenced by the iconic examples that preceded it - and it was NOT an era of understatement or subtlety. Examples range from the classic Hitchcock "Psycho strings" of the shower scene, to perhaps the ultimate Spy movie theme master - Henry Mancini (think "Peter Gunn" and "Pink Panther".)

Viewed in that light, the James Bond themes were not particularly over the top. If you were old enough (as I am) to actually have grown up in that era, the various 007 recurring thematic material was at least as memorable musically as anything we've seen from John Williams. (And I say that respectfully).

The use of Shirley Bassey and her style of singing was, again, evocative of a certain era. Go back and look at all the record album cover artwork from jazzy type records from the late-fifties-early-sixties, and you'll see slinky females in low cut evening gowns on a huge number of them. That was supposed to sell the record as sophisticated and subliminally (or not so subliminally) sexy. This was pre-hippy remember. Back then the mainstream version of hip sophistication meant smoking a pipe (or unfiltered cigarettes), driving a two-seater roadster, using Brylcreem on your hair, drinking martinis, listening to Chet Baker... in other words: Sinatra/Bond/Brando etc.

In evoking that context, Shirley Bassey was actually a perfect choice.

This is not in any way an attempt to convince you to like it or not. More just an attempt to show that perhaps this is yet another example of "You had to be there..."

For me, it's kind of like trying to explain the appeal of Bob Dylan to those who didn't grow up in the late 1960's. (Typical comment: "How can you listen to him? His voice is so AWFUL!!!") Yet, to many, he was THE voice of a whole generation. To me, Dylan is genius, but again, maybe you had to actually live through the anti-war/anti-racism/counterculture movements and events of the time (1960's) to truly appreciate him. Perhaps re-releases of his music should be sold with a mini-cannister of tear gas to get the proper vibe!

5th June 2003	#5
littledog Lives for gear Joined: Jun 2002 Location: Boston area Posts: 874	Expanding on Bevvy's insightful comments: I think you have to view soundtrack music (and other types as well) in the historical context of when the film was made, and how it served the function for which it was created. The James Bond movie genre was always supposed to have a bit of "tongue-in-cheek" campiness to it, and the music reflected it. The soundtracks for dramatic "thriller" movies of that era were strongly influenced by the iconic examples that preceded it - and it was NOT an era of understatement or subtlety. Examples range from the classic Hitchcock "Psycho strings" of the shower scene, to perhaps the ultimate Spy movie theme master - Henry Mancini (think "Peter Gunn" and "Pink Panther".) Viewed in that light, the James Bond themes were not particularly over the top. If you were old enough (as I am) to actually have grown up in that era, the various 007 recurring thematic material was at least as memorable musically as anything we've seen from John Williams. (And I say that respectfully). The use of Shirley Bassey and her style of singing was, again, evocative of a certain era. Go back and look at all the record album cover artwork from jazzy type records from the late-fifties-early-sixties, and you'll see slinky females in low cut evening gowns on a huge number of them. That was supposed to sell the record as sophisticated and subliminally (or not so subliminally) sexy. This was pre-hippy remember. Back then the mainstream version of hip sophistication meant smoking a pipe (or unfiltered cigarettes), driving a two-seater roadster, using Brylcreem on your hair, drinking martinis, listening to Chet Baker... in other words: Sinatra/Bond/Brando etc. In evoking that context, Shirley Bassey was actually a perfect choice. This is not in any way an attempt to convince you to like it or not. More just an attempt to show that perhaps this is yet another example of "You had to be there..." For me, it's kind of like trying to explain the appeal of Bob Dylan to those who didn't grow up in the late 1960's. (Typical comment: "How can you listen to him? His voice is so AWFUL!!!") Yet, to many, he was THE voice of a whole generation. To me, Dylan is genius, but again, maybe you had to actually live through the anti-war/anti-racism/counterculture movements and events of the time (1960's) to truly appreciate him. Perhaps re-releases of his music should be sold with a mini-cannister of tear gas to get the proper vibe!