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4.9 out of 5 stars44
4.9 out of 5 stars
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on 18 February 2003
It is no exaggeration to say that some admirers of John Barry's work have been waiting for this re-release of On Her Majesty's Secret Service for decades.
Well, it was worth the wait; the work on this disk is truly incredible. The soundtrack now runs to over 75 minutes, and features all those cues that could previously only be heard by viewing the film (Gumbold's Safe, the Ice Cavern scene, Bond's dalliances at Piz Gloria, and so on. Only the ice waltz source music is missing, but that's simply because a disk can only hold so much.
The reproduction is so pin-sharp that you can hear all manner of orchestrations which were lost on past releases - and that's what makes this such a good buy. We always knew there was something special about these early Bond scores, but now we can hear every bit of the inventive genius that went into them.
It leaves you longing for the glory days of James Bond music.
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on 9 April 2003
OHMSS was the first Bond film I ever saw (at Christmas 1969) and it's had a special place in my affections ever since. IMHO both the film and George Lazenby were vastly underrated for many years, although that now seems to have changed.
Surely, however, no-one can argue that John Barry served up some of his finest music for this film: exciting, sinister, romantic and a perfect match for the images on screen.
For twenty years I hunted for a copy of the soundtrack album. Finally the OST was released on CD - but there was still something missing, the minor cues that didn't make it to the soundtrack album but added immeasurably to the atmosphere of the film.
Now, at last, it's here! The full score, remastered, in all its glory. Everyone involved in this gets a big, big thank-you from me. If you only buy one Bond OST you can't get better than this. And if you have the original album don't hesitate to shell out a few more quid for the bonus tracks. You won't regret it, believe me.
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on 2 September 2005
I owned the previous release of this Bond soundtrack and as enjoyable as it was, the running time left you gasping for more... so here it is. As part of the Bond remastered series, the entire score is presented so at last you can enjoy unreleased gems such as Gumbold's safe and the escape from Piz Gloria. Barry was at the top of his game and added incredible atmosphere to the movie and it seems incredible that a full release took 40 years. The only problem with the Bond remastered series is that the discs present the music as the soundtrack was originally released followed by unreleased tracks at the end, rather than rearrange them into order for a more satisfactory listen. Thankfully, OHMSS doesn't suffer too greatly from this as the cues are unedited and independent, so programme them into the correct movie order and enjoy. A classic.
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on 20 September 2000
To some this was John Barry's greatest score for a Bond film. It features, on the one hand, a romantic feel to the proceedings as we see Bond in a relationship quite like no other in the series, and on the other, epic overtures suggesting the scale of events concerning Piz Gloria and Blofeld's operation. Also included is "We Have All The Time In The World" by the great Louis Armstrong which is still recognised worldwide although not readily connected to the film.
"Ski Chase" provides the audience with a really atmospheric theme for the spectacular chase between Bond and Blofeld away from Piz Gloria. So good was this tune that it was reprised to some degree in A View To A Kill. "Battle At Piz Gloria" is a similar style theme, with great orchestral involvement. That is not to say that there is no variation. Providing a more mellow tune, "Try" and the instrumental version of "We Have All The Time In The World" lowers the tone with the films lighter moments.
"This Never Happened To The Other Feller", the music to most of the pre-credits sequence, is a combination of both loud and quiet, especially the before, during and after fight bits... Overall I have to agree with the many and say that this is one of the best.
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OHMSS has long been one of my favourite Bond films, largely in part due to the excellent score from the ever reliable John Barry.

Something a bit different was required for the score to this film. There was still the usual big action sequences, but the score also has to underline the glimpses we get of Bond's vulnerable side, and highlight the romance as he genuinely falls in love.

John Barry wrote an exceptionally good score that brings forth all these moods in the film. We have the usual big and thunderous action themes that heighten the excitement, but this is immediately contrasted with slower gentler themes that accentuate the emotional development of the characters. It is these sudden changes and contrasts that makes the film, and music, so effective.

And finally, there is the piece de resistance. `All the time in the world' has to be one of the most memorable motifs in any bond film, especially the end title where we see Bond totally unable to cope with his grief, but the masterstroke was to engage Louis Armstrong to sing the theme for the scenes where Bond and Teresa are falling for each other. It's a sublime track (OK, I am biased as I am a huge fan of Armstrong), and beautifully describes what is being represented on the screen. The title is a bit ironic, as Armstrong was in failing health and probably new when he recorded this that he did not have all the time in the world left.

It's a great album, which can be listened to by anyone who has never seen the film with much enjoyment. This is the sign of a truly great soundtrack for me.

This 2003 release boasts an excellent remastering and restoration, the music is crystal clear. There are also a host of extra track which really add to the album. There is a booklet with an essay about the film and score, and some stills from the film. An excellent release of an excellent album, 5 stars.
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This John Barry soundtrack - arguably his best Bond soundtrack - has now been remastered to now include thirty-nine minutes of extra music. In the accompanying sleeve notes it states how "After Bond appears to resign from MI6 he goes through mementos of his previous adventures, and John Barry's score plays snippets of themes from the earlier movies to accompany them." Alas, this is not amongst the extras. But there is still enough to satisfy. Produced by Phil Ramone, a heavier use was made this time of the bass guitar - and also, strangely enough, the flute, but rarely together. Were they supposed to represent Bond and Diana Rigg's Teresa di Vicenzo respectively?

The main theme itself opens with five punched falling chords. Early use of electronic sequencers, bass guitar and percussion provide staged layers that are later replicated by the strings, whilst above all the trombones and then trumpets play out the theme. There are more reworkings of the theme in other tracks, such as "Over and Out".

It was the only Bond not to have a sung theme in the opening. So instead a song was inserted into the film itself, thus we have Louis Armstrong singing what seems now to have become a standard, the marvellous "We Have All the Time in the World" with lyrics by Hal David. The song features throughout the album in various forms, its laid-back late-night jazz-bar feel enriched by a soft but hesitant orchestra.

Other pieces of interest include the track "Journey to Blofeld's Hideaway", which reminded me of a Mahlerian horn-call from the Alps (as well as Barry's "Flight into Space" from his later score for `Moonraker'). The music in "Gumbold's Safe" is of a countdown and is so imaginatively scored that interest is never lost. Equally imaginative are the psychedelic sounds in "Sir Hilary's Night Out" and "Blofeld's Plot".

Unfortunately, the same soundtrack also included Nina singing "Do You Know How Christmas Trees Are Grown?" I guess you had to be there in the sixties to appreciate it!
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on 9 May 2000
Surely the best Bond soundtrack of them all. The Louis Armstrong ballad is now a standard and the score exudes innovation with the first use of the synthersier. I can even forgive the Nina song for the children's back ground vocal! if you haven't got this yet, get it now.
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on 28 January 2007
The film OHMSS was controversial for two reasons one goerge lazenby first and only james Bond film and the film is one of the few films that were close to the original flemming novels too.over the years the film as topped most JB fans polls and also the soundtrack too.

Why? Because this soundtrack is simply oo heavan This was Barrys finest hour, from the memroable synth theme which is as good as the JB theme

in my view to the tender love theme we have all the time in the world which weaves itself throughout the soundtrack. again the expanded version of the soundtrack really adds to the feeling of the film with the missing cues if you only buy one JB soundtrack this is the one to have
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on 7 March 2007
For me too, On her Majesty's Secret Service was the first James Bond I ever saw. I was 11 and I remember how much I wanted to be James Bond just to be with Diana Rigg ! What a beautifull talented woman !The Louis Amstrong song is undoubtly my favourite piece and everytime I am in Lisbon I walk by the jewlery shop where Bond and Tracy chose a ring. Very funny feeling. Think Louis Amstrong was at the end of his life, sick. production went to the US and the whole business was wrapped in 2 takes. Now that's talent !

Anyhow, this is in my view the best ever James Bond soundtrack just as the movie ( I am a big Sean Connery fan ) the best Bond ever. George Lazenby was far from being bad. Think of Roger Moore !!

When I think Brigitte Bardot or Catherine Deneuve were originally thought of for Tracy's part, sweat runs down my spine. None of those women can act !

They don't make music like this anymore and I cannnot understand why. Grab this piece of soundtrack anthology before it gets off the shelves. Close your eyes and you won't believe the flow of memories that come back :))
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on 25 March 2015
Is this John Barry’s best movie score ever? It might possibly be just that. The fabulous blend of brass and synthesisers give this a unique flavour that sets it apart from other Bond soundtracks. The only weak spot? That flaming song from Louis Armstrong. The producers took the brave decision not to have a theme song and then ruined it with the schmaltz fest that is We Have All The time In The World. It works so much better as the basis for the instrumental themes than it does as a song. Fortunately it’s out of the way early in the album, after which it is five stars all the way. You can almost see 007 racing down the mountains from Piz Gloria as the escape and chase music builds up. There is an overwhelming sense of speed and time running away as the main theme plays that is splendidly counterbalanced by the ponderous regal beat that accompanies Bond’s establishment alter ego, Sir Hilary Bray, in the movie. The left-field Do You Know How Christmas Trees Are Grown? By Nina seems an odd choice for an action movie but succeeds marvellously in jolting the listener back to the mundane real world. The finest track on the album must be the closing titles. A slow sensitive arrangement of We Have All The time In The World morphs into The James Bond theme complete with moog synthesiser.
Five stars and a meal at the Piz Gloria restaurant on top of the Schilthorn
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