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StreamingSoundtracks.com - The Living Daylights - John Barry, Paul Waaktaar-Savoy, Chrissie Hynde
Album Information
Cover
Album The Living Daylights
Artist John Barry, Paul Waaktaar-Savoy, Chrissie Hynde
Year 1987
Genre Soundtrack
Rating
ASIN B000087DT7


Request Buy # Track Listing Length Played
No Link 01 Main Title-The Living Daylights (Performed By A-ha)
John Barry, Paul Waaktaar-Savoy
4:12 129
iTunes 02 Necros Attacks
John Barry
2:01 14
No Link 03 The Sniper Was A Woman
John Barry
2:26 18
No Link 04 Ice Chase
John Barry
4:01 57
No Link 05 Kara Meets Bond
John Barry
2:44 30
AmazoniTunes 06 Koskov Escapes
John Barry
2:20 6
No Link 07 Where Has Every Body Gone
John Barry, Chrissie Hynde
3:34 48
No Link 08 Into Vienna
John Barry
2:46 24
Amazon 09 Hercules Takes Off
John Barry
2:14 43
No Link 10 Mujahadin And Opium
John Barry
3:10 26
No Link 11 Inflight Fight
John Barry
3:09 7
No Link 12 If There Was A Man
John Barry, Chrissie Hynde
2:47 51
No Link 13 Exercise At Gibraltar
John Barry
6:17 59
No Link 14 Approaching Kara
John Barry
2:17 8
No Link 15 Murder At The Fair
John Barry
2:17 10
No Link 16 "Assassin" and Drugged
John Barry
2:39 9
No Link 17 Airbase Jailbreak
John Barry
4:33 16
iTunes 18 Afghanistan Plan
John Barry
3:30 7
iTunes 19 Air Bond
John Barry
1:41 7
No Link 20 Final Confrontation
John Barry
1:54 6
No Link 21 Alternate End Titles
John Barry
3:17 64

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:
Unusually, there are three original songs here. The title song is performed by a-Ha, and written by them too - John Barry shares the writing credit, but seems to have only written the instrumental hook which opens the track and arranged the orchestral accompaniment. It's a daft song, but good fun. Barry had far more involvement in the other two songs, which he wrote with Chrissie Hynde and which she performs - "Where Has Everybody Gone?" is the closest Barry got to doing a classic-style Bond song (rather than the ballads he favoured in most of his later movies) in a long while, and is a great, over-the-top one; and "If There Was a Man", used over the end titles, is a lovely love song given an edge thanks to Hynde's typically-classy delivery.

The first thing to note about the score is that Barry incorporated electronics into the action music far more than in any other score that he's ever done - it's only a drum loop and some synth bass for the most part, but it's very surprising to hear it from this composer, and - while occasionally it's undeniably dated - it's good stuff for the most part. He introduces the style in the pre-title sequence, "Exercise at Gibraltar", adding the electronics to his classic Bond Theme; and later offers up orchestral versions of both "The Living Daylights" and "Where Has Everybody Gone?" in the style, serving as dynamic action music. The latter works best, in the terrific "Necros Attacks" and "Inflight Fight", the pick of the score's action; the former, not so well (the melody really is a bit inane) in the strangely-titled "Assassin and Drugged", but a little better later on in "Hercules Takes Off". There's another great action track based on the Bond theme in "Ice Chase" where Barry cleverly weaves it around the electronics.

"Airbase Jailbreak" is a more traditional Barry/Bond action track, driven on in far more considered style than the synth-accompanied tracks - the bass flute is here, the snare drum's here, if the xylophone appeared we'd be back in 1962! It's actually probably the standout action cue on the whole album, vintage stuff. Late on, there's even some more exotic stuff for the scenes in Afghanistan, with some sweeping desert music and some pounding ethnic percussion in "Mujahadin and Opium" and "Afghanistan Plan".

Being a John Barry score composed after 1980, there is no shortage of romance here; most of the material is based around the "If There Was a Man" melody. "Approaching Kara" very subtly suggests the melody in a slightly darker piece, but then "Kara Meets Bond" expands upon it, there's a pop instrumental style arrangement in "Into Vienna" (which is a bit cheesy) and an absolutely lovely orchestral arrangement in the alternate end title, which is vintage Barry romance music.



2 of 2 found this review helpful


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