The interesting thing about exactly this issue is that not previously released bonus tracks (tracks 13 to 21) are just as brilliant as the first 12 titles - and they sometimes even surpass in passages yet.
From Title 13 can be the movie, if you know him, mentally see before our eyes. Only in the listening experience is one aware of how much the manipulation must have worked through the soundtrack, while watching the film: the music was in the creation of cinematic desert of South Africa - turned into the desert to Las Vegas - just as involved as the subsequent creation of Las Vegas or the space in the Universal and Pinewood Studios.
The soundtrack plays the equipment and the camera of the movie perfectly in the hands. For example, Title 16, "Airport Source / On the Road" leaves no doubt that James Bond has arrived in the United States. The broad theme that John Barry has composed for this is ironic in a productive way; it is not exhausted in its irony, but becomes the expression of what is presented. This succeeds Barry easily by composing a theme from the same time-bound as timeless beauty. And I suspect that as used herein reflects the reason for the success of John Barry's Bond soundtracks. His works convey the lifestyle of their time why so shiny because he was not content to reflect the music of an era, but plays an active part in their sound. And the Bond films have given him an opportunity to do that at the forefront.
"Diamonds Are Forever" is still the most ironic soundtrack, the John Barry wrote for a James Bond-Fim. Title 17, "Slumber, Inc." - The background music to a "cremation" - brings all the cliches of funeral music, breaking off by the inherent drama suddenly gains the upper hand.
Title 19, "Plenty, then Tiffany" is, among other things so interesting because he has part of the production concept, which was followed by a brilliant, serious "On Her Majesty's Secret Service". The seriousness of the predecessor film is nowhere present in "Diamonds Are Forever". But in one aspect, the pain of Bonds experience reflects yet - at least indirectly - again: in his emotional distanced, almost indifferent attitude towards all female figures. That's James Bond from "Goldfinger" after the loss of a woman who has really meant something to him. "Plenty, then Tiffany" captures the sexuality of the film "Diamonds Are Forever" perfectly by being presented as the ultimate party game for adults: used as a weapon, fraught with danger, played out to deceive, a kind for $ 5,000 in chips to thank. With love, sexuality has nothing to do here.
Which does not mean that "Diamonds Are Forever" beauty or sophistication would not appreciate: "Tiffany Case" (Part 9) is beautiful and not quite as hypocritical as they themselves would have liked, it only has neither tragedy nor the depth yet the effect on James Bond, which it holds in the original novel. But as John Barry captures their appeal and established a certain, distinct tenderness over the first somewhat superficial acting beauty of the subject, with the presentation by Jill St. John the picture of a woman conveys the interplay that tries in a male-dominated world its to make cut, while maintaining their own personality, one of the largest lighter compositions of the series.
It would have dared to say that "Diamonds Are Forever" John Barry Best Bond album is, but I am of the opinion that "You Only Live Twice", "On Her Majesty's Secret Service" and "Diamonds Are Forever" are his top three. "Diamonds Are Forever" was written at the peak of a development that is unique in the history of the Bond series. If resonates in the second half of track 14 ("Bond to Holland") for 40 seconds, the James Bond theme, and is established by the Arrangement and on, when in track 18 ("The Whyte House") is a simple issue alone variation and playfulness is established until it perfectly conveys the atmosphere of Las Vegas when Barry through the entire soundtrack, the cover story is used as echo and counterpoint of Bond theme, then shows one up today unmatched familiarity with the material and the great virtuosity just not only the composer but also the conductor John Barry.
As for the song "Diamonds Are Forever" with "Goldfinger" and "Thunderball" he is my opinion John Barry's best. Actually, you can not compare him with the other two: it is elegant and inferior to them most, because the composer has already written and only through his experience and development of their originality and hulking force may no longer has the same access.
Perhaps that's the price of the championship.
