The next two James Bond soundtracks, You Only Live Twice and Diamonds Are Forever, were both very strong, which again may reflect the fact that the producers felt Barry had shown that he could write a good score and, again, Barry had been given free rein to do as he wished. For You Only Live Twice, Barry chose to use a symphony orchestra, which is a welcome change of pace compared to the heavy rock sound of Thunderball, and the results were magnificent.
The following year, the composer went on to score Thunderball -- again, another well-regarded Bond movie, although it was a little less adventurous than From Russia With Love and a little more downbeat and funky in tone. This time, the producers chose a little more mainstream fare, which resulted in a few more pop ballads than the previous year, but many more pieces that were a little more familiar, which may have been a conscious decision on their part. The director of Thunderball, Terence Young, commented that Barry had been given complete freedom with respect to how he wanted to go about writing the score; and Barry clearly wanted to do whatever he could to make his fans happy. Given the freedom to create music that didn’t have to be a straight replay of his previous effort, Barry instead chose to go for some sort of pop crossover that would appeal to the youth who were the most likely to be listening to music in this era, and it was this, combined with the sounds and instrumentation of the movie itself, that made this rather unsuccessful soundtrack feel like a musical departure from his previous efforts. This is not to say that Barry did not have a flair for variety in his music, but he appears to have been more interested in writing music that didn’t seem to have anything to do with the movie -- or even Bond -- than music that seemed like it was going to be straight Bond, so that the result was the odd item that, while not terrible, wasn’t among Barry’s strongest. Still, this album is worth a listen, even if the songs are not among his best. (The best single is the title song, with its slight jazz inflection, though this isn’t among the brightest of Barry’s scores.) And it’s also notable in that it is the only Bond soundtrack that is still available in CD form, since for whatever reason the producers never made any further releases on vinyl after Thunderball.
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