John Barry - Goldfinger (Original Motion Picture Soundtrack)


John Barry - Goldfinger (Original Motion Picture Soundtrack)

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John Barry - Goldfinger
Goldfinger OST.jpg
album cover by Robert Brownjohn
Soundtrack album by John Barry
Released 1964
Recorded 1964
Genre Soundtrack
Length 29:35 (1964 release)
Label United Artists
Producer  
John Barry chronology
Zulu
(1963)
Goldfinger
(1964)
Four in the Morning
(1965)
 
James Bond soundtrack chronology
From Russia With Love
(1963)
Goldfinger
(1964)
Thunderball
(1965)
 

 

  "Goldfinger" is the soundtrack for the 1964 film of the same name, the third film in the James Bond film series, directed by Guy Hamilton. The album was composed by John Barry and distributed by EMI. Two versions were released initially, one in the United States and the United Kingdom, which varied in terms of length and which tracks were within the soundtrack.

 

Background

John Barry had composed the previous James Bond soundtracks for From Russia With Love. Due to Barry's increased "compositional depth" as seen through the soundtracks he produced since From Russia with Love, movie producers Albert Broccoli and Harry Saltzman allowed him to write the theme song for Goldfinger in addition to the soundtrack. Barry created the melody for the song before drafting the lyrics with the help of Anthony Newley and Leslie Bricusse. The theme was first sung by Newley at a demo session on May 14, 1964 in. At the behest of Barry, Shirley Bassey was chosen to sing the track. On Bassey, Barry was quoted saying "Nobody could have sung it like her; she had that great dramatic sense." The theme was recorded on August 20, 1964 after an all-night session in the recording studio. The session was produced by EMI in-house producer George Martin, who also was the Beatles' producer at the time. Guitarist Vic Flick, who played on the track, recalled at a 2012 Academy of Motion Pictures salute to the music of James Bond that Bassey was having difficulty getting a proper take. Martin spoke to her and then over the recording baffle her brassiere came flying. She nailed it on the next take.

Session musicians on the Bond films were separately relegated to the instrumental score versions of songs, while the main musicians (on Goldfinger: Vic Flick) were given the main film theme song to solely record, to be featured at the beginning of the film.

Co-producer Harry Saltzman is said to have hated the song as too old fashioned for 1960s youth culture and only agreed to use it when persuaded by Albert Broccoli

Originally, Newley recorded a version of the theme song, but it was later re-recorded with Bassey's voice for the film and soundtrack album. In 1992, Newley's version was released for the 30th Anniversary of James Bond on film, in the compilation collectors edition "The Best of Bond...James Bond".

The score was composed by Barry, making this his second, credited Bond score. The score makes regular use of instrumental arrangements of the title theme, as well as the Bond theme from Dr. No used in the gun barrel sequence. The score makes heavy use of brass. The distinctive music for Goldfinger's henchman, Oddjob, makes use of repeated strokes on a metallic anvil. Metallic chimes are also heard in many scenes associated with Oddjob or gold, notably that in which the dead golden girl is discovered. The very effective use of music and various sound effects in the film won it an Academy Award for Best Sound Editing. The album reached No. 1 on the Billboard 200, and spent 70 total weeks on the chart, but for reasons that remain unclear, received no RIAA certification.

 

Versions

Two versions of the soundtrack were released. The American version lasted close to 30 minutes and contained 11 tracks. It lacked the four songs discussed above but contained the instrumental rock guitar version of the title theme song not found on the British LP. The instrumental was in the style of the John Barry Seven's instrumental hits in Britain. The British record contained 14 tracks but lacked the title instrumental found on the US album and lasted around 38 minutes. In 2003, the soundtrack was remastered and all the tracks originally released were compiled onto one album that contained fifteen tracks and over 41 minutes of music.

 

Reception

Professional ratings
Review scores
Source Rating
AllMusic 4.5/5 stars

Gillian Garr, a writer for Goldmine reflecting on the album in 2013, found the album to be "less satisfying today", but stated the theme song was one of the "best-ever Bond theme songs." Film Score Monthly writer Darren MacDonald found the remastered edition to be the best score of the James Bond series, giving it five out of five stars. MacDonald wrote that the score was "big and ballsy, mainly jazz and orchestral fusion, with Shirley Bassey belting out the fantastic title song." He added that the remastered edition's sound quality was "impeccable". The soundtrack was the first James Bond soundtrack to reach No. 1 on the Billboard 200.

 

Chart positions

Year Chart Position
1965 Billboard Pop Albums (Billboard 200) 1

 

Track listing

Side one
No. Title Length
1. "Main Title – Into Miami" 3:14
2. "Alpine Drive – Auric's Factory" 3:15
3. "Oddjob's Pressing Engagement" 3:05
4. "Bond Back in Action Again" 2:29
5. "Teasing the Korean" 2:12
6. "Gassing the Gangsters" 1:03
   
Side two
No. Title Length
1. "Goldfinger (Instrumental Version)" 2:22
2. "Dawn Raid on Fort Knox" 6:43
3. "The Arrival of the Bomb and Count Down" 3:36
4. "The Death of Goldfinger – End Titles" 2:34
   
 
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
     
   

Credits

 

 

 

 

John Barry - Goldfinger (Original Motion Picture Sound Track)

U.S. United Artists UAS 5117 stereo (1964).

The vinyl record attains a strong excellent grading, suggesting few plays.

Audio quality is very clear and strong throughout.

Both record centre labels are clean, unmarked, and free from tears, stains or stickers.

The album cover is in excellent condition, displaying only minor signs of wear.

The album cover has been clipped by H.M. customs and excise towards the lower right corner, (see scan).

The album cover has a strong, undamaged spine, displaying very clear, printed script.

The album cover rear side has a date written in boro pen.

The albums original inner sleeve is excellently presented, and has been clipped with a drill hole.

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