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StreamingSoundtracks.com - From Russia With Love - John Barry, Lionel Bart, Monty Norman
Album Information
Cover
Album From Russia With Love
Artist John Barry, Lionel Bart, Monty Norman
Year 1963
Genre Soundtrack
Rating
Contributor Obi-son


Request Buy # Track Listing Length Played
AmazoniTunes 01 Opening Titles - James Bond Is Back, From Russia With Love, James Bond Theme
John Barry, Lionel Bart, Monty Norman
2:29 61
AmazoniTunes 02 Tania Meets Klebb
John Barry
1:30 4
AmazoniTunes 03 Meeting In St. Sophia
John Barry
1:09 4
AmazoniTunes 04 The Golden Horn
John Barry
2:27 3
AmazoniTunes 05 Girl Trouble
John Barry
2:25 18
AmazoniTunes 06 Bond Meets Tania
John Barry
1:20 7
AmazoniTunes 07 007
John Barry
2:46 31
AmazoniTunes 08 Gypsy Camp
John Barry
1:17 4
Amazon 09 Death Of Grant
John Barry
2:00 3
Amazon 10 From Russia With Love (Perf. By Matt Monro)
Lionel Bart
2:35 38
AmazoniTunes 11 Spectre Island
John Barry
1:18 11
AmazoniTunes 12 Guitar Lament
John Barry
1:12 3
AmazoniTunes 13 Man Overboard - Smersh In Action
John Barry
2:19 5
AmazoniTunes 14 James Bond With Bongos
Monty Norman
2:33 10
AmazoniTunes 15 Stalking
John Barry
2:05 3
AmazoniTunes 16 Leila Dances
John Barry
1:57 5
AmazoniTunes 17 Death Of Kerin
John Barry, Lionel Bart
2:30 18
AmazoniTunes 18 007 Takes The Lektor
John Barry
3:03 27

Hint: Hover over buttons and album/artist name next to the cover for more info.


Reviewers Rating

1 review done for this album.


A review by James Southall found on movie-wave.net
By: Angel
Date: 4 Jul 2010
Rating:
It was John Barry's first full Bond score, though he wasn't yet entrusted to write the title song, the producers opting instead for the not-inconsiderable talents of Lionel Bart, whose "From Russia With Love" is a truly classy ballad sung by the ever-wonderful Matt Monroe. The Bond films have inspired some truly wonderful songs over the years, and this is amongst the best of the lot. It wasn't actually heard over the opning titles (being used as source music later on in the movie instead), allowing Barry the chance to give it a dynamic orchestral arrangement for the titles, book-ending it with his brilliant "James Bond is Back" fanfare. Barry also incorporates the theme once or twice within the body of his score, including a lovely romantic arrangement in "Bond Meets Tania".

Elsewhere, Barry also took the opportunity to present an alternative theme for James Bond himself (one he was actually allowed to take the credit for writing), "007", a nice heroic piece which appeared in several later Barry/Bond scores, though of course it's not gone on to receive the iconic status of Bond's main theme (which itself is given a solid work-out in the bizarrely-titled "James Bond with Bongos"). There's not actually all that much action music here, but what there is can certainly not be sniffed at - "Girl Trouble" marks the first ever appearance of Barry's unmistakable James Bond action sound, complete with the driving percussion and brass - and xylophones!

"Death of Grant" is a superb piece, with muted trumpets playing a strained interpolation of the song melody before some more of that action music comes in. Even the source music here is good - OK so it's hopelessly dated, but there's still something damn cool about "The Golden Horn", "Gypsy Camp" and "Leila Dances" that's impossible to resist. You never really hear about it, but what tends to dominate Barry's Bond scores is the suspense music, and he does it in such a sexy way, it's unlike any other (and what makes the scores so special) - a piece so compositionally simple as "Man Overboard / Smersh in Action" or "Stalking" is emotionally, far-from-simple, and so full of sexy swagger. Brilliant!



3 of 3 found this review helpful





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