dhtaya.blogg.se

A blistering sax solo unfurls against rhythm guitar, then it’s back to those strings and fat horns punching up that 60s glam. The brass kicks it up a notch, and then that propulsive, MASSIVE bass guitar anchors the groove while the strings punch out the theme like they are on a combination of speed and caviar. Just listen to the way those opening mega drums propel us forward (the drumming on all Phase 4 records is fantastic – was it the same guy, and if so, who was he?). The track that really blew my ears back was I Spy. The music flew out of the grooves, sexy and sassy, with gigantic drums and bass guitar, tight brass licks, and kinetic strings. It featured all the accoutrements of the gentleman spy or world adventurer, guaranteed to pique the interest of a kid who was already devouring James Bond’s adventures on the page and screen at every possible opportunity.Īll the music was compelling, from Leonard Bernstein’s jazz-inflected On the Waterfront to Miklos Rozsa’s lurid Hollywood fantasmagoria, Spellbound, but the tracks that most caught my schoolboy imagination were those by Roland Shaw, of themes from spy movies. The cover was the first thing to catch my attention.

Leafing through the record bins I happened upon a collection titled The Phase 4 World of Thrillers. I’ve had a number of these, but one of the first happened when I was around 12.

A moment when they happened upon a new record of unfamiliar music that, for whatever reason, was a revelation, and subsequently became a firm favorite, a cornerstone of their collection. James Bond Theme (Roland Shaw and his Orchestra):Īnyone who collects records has the story of a Eureka moment. I was unable to correct those errors, so it was just easier to republish the post with everything reinstated. (PLEASE NOTE: This post was originally published in 2014, but that version developed some problems including missing text, photos, audio etc.