I still feel like I'm only half-awake right now.
For those who are interested in such things, madush69 posted images of new Bond girls Gemma Arterton and Olga Kurylenko over in bondfans.
Speaking of James Bond films, I realized that I had not put any of the 007 scores onto the iPod, which was something I rectified on Sunday. I included all of the Barry scores first off, then I filled in the series with Arnold's entries, then most of the others. I had the foresight to burn a copy of the reordered Thunderball and You Only Live Twice, making those much easier to transfer in film order; the others are mostly easily done just by renumbering the tracks properly (I'm not that strict about film order, but for most of the expansions - especially the superb On Her Majesty's Secret Service - the scores play out better that way).
Because this was such a wealth of music, I decided to add a new score genre category to the iPod, this time "Score (Spy)," which includes the Bonds, Grusin's 3 Days of the Condor, Davey's The Tailor of Panama, Revell's The Saint, Powell's Bourne scores and the like. It was actually really neat to review the genre, as there is sort of a built-in pop aspect to the music that evolves over time as popular music changed. This is, of course, particularly apparent in the Bond series. While my favorite era for these scores was definitely From Russia With Love through Diamonds Are Forever which were jazzier in nature, I have to say I also get a kick out of the disco riffs on the Bond theme that Marvin Hamlisch and Bill Conti used in their respective entries.
Barry himself adapted the Bond theme to the specific Bond; Lazenby's version had the psychedelic synthesizer picking up Connery's traditional bass guitar line while Moore was characterized by strings themselves. His Moore-era Bond scores had less of a pop influence than the earlier ones, but towards the end of his association with the series he returned to that concept with the inclusion of an electric guitar in A View to a Kill and the electronic drum loops heard in The Living Daylights. One can hear the clear influence of this in The Saint and the Bourne scores... and, of course, David Arnold's music for all the Bond features since Tomorrow Never Dies.
I also received the two Farscape Classics albums yesterday. One of them has the score from the episode "Revenging Angel," in which series composer Guy Gross paid homage to the Carl Stalling scores for the classic Warner Brothers cartoons. This is an interesting coincidence, as I've been on a cartoon score kick of late, having been re-discovering the two volumes of The Carl Stalling Project as well as Bugs Bunny On Broadway and Bruce Broughton's 'Cartoon Concerto' promo, which features music from two Roger Rabbit shorts and Tiny Toon Adventures.
The other has the score from one of the 'Wolf in Sheep's Clothing,' the second of the climactic "Into the Lion's Den" episodes. The apocalyptic sequence towards the end of the episode had some amazing scoring in it that really grabbed my attention (in a good way) while I was watching it. I was quite glad to see that it was one of the scores preserved in the Classics collection.
A solution to my desire to go high-def has just presented itself. More on Thursday!
I wish to thank zorfox for the outpouring of praise that he heaped upon the mixes I sent him!