While a good film, plot wise, George Lazenby failed to make much of an impression as Bond and so Sean Connery was wooed (no doubt with significant amounts of money) for one final (save for the unofficial Never Say Never Again) appearance in Diamonds Are Forever. Although I'm sure I've seen it, Diamonds Are Forever is not an entry I recall much about, but after scouring some reviews, the response is generally favourable and one thing I am sure about, John Barry's score is as classy as ever, still managing to be fresh even after five previous entries. It was the last of Barry's initial run of scoring Bond films, but as indicated in the other reviews, few composers have come close to equally the allure of his marvellous scores.

The title song is a little more mysterioso than usual and the lyrics amusingly explicit given the rather odd choice to use the diamond as a euphemism for a man's fundamental organ. Quite how Barry decided upon this and how he had the guts to suggest it to Don Black probably makes for an interesting anecdote. Still, it's another memorable entry with Shirley Bassey giving a performance of considerable restraint compared to that which she delivered for Goldfinger. As usual, the song is used as underscore in several guises, either with quotes of the main theme in the strings or little moments of the eerie opening motif. A lounge jazz piano version and laid back orchestral reading appear in the two titular central cues. The sequencing presumably a by product of the original LP order where track 5 would end the first side and 6 begin the second. Fortunately a good enough tune to be heard consecutively.

Given that it's an action film, the score is surprisingly laid back; a witty xylophone motif enlivens Moon Buggy Ride and a waltz provides for a pleasing stand alone number during Circus, Circus. A variant on the Space March from You Only Live Twice is used to good effect in 007 and Counting, sweeping strings and brass ensure the cue is a highlight. Unfortunately, Q's Trick is a jazzy, big band track that somewhat spoils the mood, even if it is most enjoyable in its own right. Barry's 007 action motif, as opposed to the Bond theme itself makes To Hell with Blofeld the most exciting track of the album and is a good way to end, even if it doesn't really offer anything in the way of new orchestration or variation.

For my money, Diamonds Are Forever isn't perhaps one of Barry's best Bond scores, like some of its predecessors, it suffers from a little too much source music and not enough score on the album. A little research has indicated that some of the best cues from the film were left off the album and if these were re-instated it would be something of an improvement. Another unfortunately poor sounding album with hiss which, at times, obscures Barry's subtle orchestration. Quite how nobody could re-release and re-master these scores is a mystery, no doubt there is some obscure legal problem.

Rating ~

1. Diamonds Are Forever (2:43)
   Performed by Shirley Bassey
2. Bond Meets Bambi and Thumper (2:07)
3. Moon Buggy Ride (3:15)
4. Circus, Circus (2:58)
5. Death at the Whyte House (3:46)
6. Diamonds Are Forever (3:46)
7. Diamonds Are Forever (2:34)
8. Bond Smells A Rat (1:54)
9. Tiffany Case (3:47)
10. 007 and Counting (3:33)
11. Q's Trick (2:27)
12. To Hell with Blofeld (1:35)

Total Time ~ 34:31