On Friday, November 29 La-La Land Records issued the long-awaited expanded soundtrack to the James Bond film "Moonraker." I was the producer on this release and worked with everyone to bring it out. My dad likes when I write notes for these albums, but what I have to say about this score and project may be too personal for an officially licensed product. However I'm happy to share some details here.
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| Album cover for the new "Moonraker" CD |
I first saw "Moonraker" in the summer of 1987. It was the 25th anniversary of the James Bond film series and the television special, "Happy Anniversary 007: 25 Years of James Bond" had aired earlier in the year and turned me into a James Bond fan. We already owned the first three James Bond films on the extinct RCA CED video format, and that was basically all I'd seen of the official series. I taped that television special, hosted by Roger Moore, and watched it almost every day after school. I became determined to name what film each clip was from, so I started renting the tapes and going through the films in no particular order.
I was 10 going on 11 when I watched "Moonraker" that summer, and as I've said over the years, that's the perfect age to see this movie. As an adult I maintain that if you cut out some of the jokiness "Moonraker" is a solid spy film....that still ends up with James Bond going into space with space marines getting into a laser battle. But this is precisely why as a 10 year old, "Moonraker" was the greatest movie I had ever seen. I was floored by this film, right from the amazing aerial pre-title sequence. I loved the movie so much my mom bought the film on VHS for me for my birthday, CED being dead and buried at this point.
Over the years, I've collected "Moonraker" on various home-video formats, LaserDisc, DVD, Blu-ray, and now 4K digital. Shoot, when I first discovered eBay I even bought it on CED. I've also attended various 35mm repertory screenings, the first of these was a midnight show at some theater in Philadelphia. I went to this theater because they were playing "Indiana Jones and the Temple of Doom" at midnight and I saw a flyer on the door advertising "Moonraker" showing in the coming weeks. This was in the early 2000s and for a brief moment, when I saw it was going to be playing, I turned back into that little 10 year old boy. I was so excited to see it, and you know what? It didn't disappoint on the big screen.
My most memorable viewing of "Moonraker" was on February 26, 2011. My friend Athena (that's her below giving it a "9" out of 10) was celebrating her birthday. To mark the occasion she wanted to watch and rank every James Bond film in order with friends over the weekend. I couldn't make it on Friday for the early films, but I showed up on Saturday towards the beginning of "Moonraker." There's video and I show up around 2:20.
That's me in the front row on the left giving "Moonraker" a "7" (10 year old me would be so disappointed). See that lady sitting right next to me in the grey shirt also giving it a "7"? We met that day and this is the very first photo of us together. About 2 1/2 years after this photo was taken we were married. That's right, I met my wife Marie while watching "Moonraker."
Now that all the personal stuff is out of the way, it's time to discuss the new 45th Anniversary Expanded Edition from La-La Land Records. A little history first on the status of the soundtrack. The original soundtrack album was released concurrently with the film in 1979 on LP. It featured the main and end title songs performed by Shirley Bassey and about 25 minutes of the score. This same program has been issued twice on CD. In 2000 two cues were re-recorded for a James Bond compilation album, but it turns out these recordings were takedowns from listening to the film, duplicating tracking and not having endings because they weren't in the film. In 2015 there was a Kickstarter to re-record the score, but despite being funded, the project was cancelled due to rights issues. So for 45 years, there was a 30 minute album and two incomplete re-recorded cues.
Enter MV Gerhard and Matt Verboys of La-La Land Records, a label that specializes in issuing classic film scores with additional, previously unreleased music. Over the last few years we've been working with MGM and EON Productions on reissues of the classic Bond scores. Last year, after wrapping up "Live and Let Die" and "Octopussy" I submitted a list of suggestions and "Moonraker" was one of the titles. At the time I didn't know what existed as there was an internet rumor the tapes were lost. That didn't faze me as when we started on "Octopussy" nothing could be located and we wound up finding the entire score. In March 2024 "Moonraker," along with "Goldfinger" and "The Man With the Golden Gun," was approved so work could begin.
While waiting for the inventory report I was talking things over with my friend, colleague and mentor Mike Matessino. I mentioned "Moonraker" is happening and I'm not sure what the elements will be like yet, although at this point I heard it could be multi-track. Before I could finish asking Mike if he wanted to mix it, he'd said "Yes." So that was settled, now I just needed to know what we had. When I got the report I immediately called writer and friend Jon Burlingame, who was going to write the notes for the album. I couldn't quite contain my excitement. I had to let him know. Based on the report, it looked like it was all there. A short while later, I had all of the data on my computer ready to dive into the score.
The first thing I heard was the engineer speaking in French as the score was recorded in Paris. This was going to be a challenge. While I took French in high school, it was 30+ years ago and I was a lousy student. After awhile though, I did start to understand the engineer calling out the reel and part numbers. I needed to listen carefully, as currently I didn't have any paperwork to indicate what was on the tapes. I figured out most of the cues and I also discovered that there was a 3-track LCR stereo film mix on the tapes along with the sixteen separate, discrete tracks for each section of the orchestra. Playing only the 3-track made editing to the film easy and I was able to confirm we had the proper film and album takes. I still requested photos of the tape boxes and any other paperwork to aid in this work and MGM was great at delivering this imagery. The most gratifying part of this process was realizing all of the correct takes were on these tapes. I was concerned that maybe these were tapes that had the selected film takes cut out. Luckily that was not the case. So much for the "lost recordings" rumor.
Were there any surprises? Plenty. There are six score cues completely unused in the movie while many of the cues in the film are shortened or changed and we now had the full recordings. Hearing the score as intended was a revelation. Figuring out where the unused cues went was an exciting challenge. My friend, and fellow Bond fan, Harry Frishberg helped make videos restoring the unused music to the movie so Jon could see how the music was intended for his liner notes.
The biggest surprise though was uncovering the Paul Williams version of the title song. Burlingame had written extensively about this in his book "The Music of James Bond" but I never expected to hear it especially from the original multi-track tapes. Remember, at this point I didn't have any documentation to explain what was on the transfers, so I was going in blind. Yet here it was and I immediately called Jon when I made this discovery. I'm happy to report that we got all of the approvals needed to include two versions of this song on the release.
Because the Williams lyrics were abandoned, Hal David was brought in to write the final lyrics. This version was recorded in the US. There were two dates, May 7 and May 14. The May 7 session, the source for the "alternate" main and end title instrumentals, did not have vocals archived on the 2" tapes. Engineer Dan Wallin wrote a note on the box saying as much. Shirley Bassey recorded the main and end titles at the May 14 session although keyboardist Michael Boddicker came back on May 15 to record an overlay heard in the film version of the end titles. As these were recorded in Los Angeles, these all had vocal slates in English. The track layout was a little different as well compared with the Paris recordings and a 3-track mix was not archived on these tapes, which is not unusual for a Wallin recording. I've encountered this before on other projects like The Karate Kid and Star Trek II – The Wrath of Khan.
Once I had all of the music sequenced and edited it was time for Mike to mix it. This was a rewarding process. Mike would upload the latest mixes every night and in the morning I'd wake up and there'd be a few more cues waiting on my computer for me to evaluate. I'd been listening to the 3-track mixes and while they differed from the 1979 original soundtrack album mixes (which it turns out none of us were crazy about) they couldn't prepare me for what Mike accomplished with access to the full multi-track. This was "Moonraker" supercharged! As I listened I took notes and we'd discuss what we thought was best and the mix came together. There were a few times where tears started forming during this process. That's when I knew we were on the right path.
By the beginning of June, the mixes were finalized and I was able to go back and rebuild the original 1979 soundtrack album. The album takes were the same as the film with the exception of the ending to "Bond Lured To Pyramid." The album used take 3 exclusively with a slow fade out at the end while the version on disc 1 uses a combination of takes 3 and 4 to match the choices made for the film. Other subtle differences between the film and album were addressed in mixing. I also prepared all of the album combos to match the timing of the original album release. With that in place it was onto mastering.
I love when albums are getting mastered. This is the part where it all comes together. Until an album is mastered, the final assembly only exists on a spreadsheet and in my head. Doug Schwartz was the mastering engineer on this and all of the other previous La-La Land James Bond expansions. Doug is incredibly patient with every nitpick change I want to make and he also has great ears and taste which always brings out the best in the music. Again, there were moments of intense emotions listening to this music.
And while all of this is going on, Jon is busy writing his notes and Dan Goldwasser is busy designing the booklet. We also worked with Jim Titus on the images. I had very specific ideas for the packaging and it turned out better than I imagined. As of this writing I haven't seen the final printed version, but I must have reviewed about 20 different versions and proofs.
Beyond all of this, there's also a lot of administrative work between the label and the various rights holders. I won't detail it here, but I'm thankful for everyone at EON Productions, MGM and Universal Music Enterprises who made this release happen.
Something else to note, while all of this is occurring, I was also working with Chris Malone on "The Man With The Golden Gun," sometimes evaluating his new mixes at the same time as Mike's new "Moonraker" mixes. I was also in the middle of "The Godfather Part II," "Spider-Man 2," "Jurassic Park III," "Last Action Hero," and some other titles that haven't been announced yet.
And there it is. After wanting this score expanded and remastered for years, it was all done in about seven months. I'm thrilled with the final release. We include the original 30 minute LP program, but also over 55 minutes of additional score, source cues and alternates. According to my music player roon, I've listened to it over 30 times but that doesn't count all of the times I had to listen while editing, mixing and mastering and I'm still not tired of it. I hope everyone enjoys it as much.
I'm sure once people listen to this and the newly-released "The Man With The Golden Gun" album there will be some questions. I'll post a follow-up entry about both once people have listened to them.
Neil Bulk Will Return
