007 Music: The James Bond Theme - Barry vs. Norman

[MacNimon]

The James Bond Theme - John Barry arrangement
Dr No title sequence
The James Bond Theme - Monty Norman arrangement

A rather topical question this week, given the sad death of John Barry at the weekend. There’s a bit more depth and history, not to mention animosity and copyright court cases, involved this time. As well as asking you to pick a favourite track, this week I’m going to pose the question: Who really deserves the writing credit for the James Bond theme - Monty Norman, John Barry, or should it be considered a co-writing effort? As evidence, I’ve got several links regarding the history and development of this track scattered through my post for you to watch/listen to this week. Hopefully you’ll find it interesting enough to come to an informed decision.

As everyone knows, the James Bond theme was originally composed by Monty Norman and the version as it appears in Dr No (and the later movies) was arranged by John Barry. But how much of that theme tune was actually down to Norman, and how much (if any) was the work of Barry? This theme has been the subject of two separate court cases, both ruling in favour of Norman. As you’ll see, while it can’t be disputed that the basic melody is Norman’s, how much else is…?

The development of the theme began several years before Dr No was filmed. Norman wrote a score for a musical which never came to fruition, which featured one particular song called “Good Sign, Bad Sign” which you’ll find here.

You’ll have to listen closely as the song bears little resemblance to what we now know as the Bond theme, but the melody is there. The song sat on the shelf for years, unused, until as Monty explains here, he had the opportunity to revisit it for use in the Dr No soundtrack.

Barry’s part in the story began when he was called in by the film’s producers to ‘flesh out’ Norman’s track, which they weren’t entirely happy with as it stood. All the parts that Barry added to the mix are as recognisable as Norman’s initial theme, but it’s that mix which has caused confusion and argument over the years regarding authorship of the track. You’ll find a video here regarding Barry’s input into the finished track.

So the question this week is...who do you think should be credited with writing the track: Monty Norman, John Barry or should it be regarded as a collaboration with each getting a co-writer credit?

And although not the question in the poll, which version of the track do you prefer…Norman’s or Barry’s?

[Rob McCow]

Perhaps I'm biased but...

It sounds to me like Norman vaguely whistled a theme, while John Barry added the touches and embelishments that made it a hugely memorable icon of cinema. There's a huge gulf between writing a theme tune and getting it 'right'. My thought is that Norman was a workman while Barry was an artist.

[SiHart]

It's a similiar argument to the original Doctor Who theme isn't it? Ron Grainer may have written the tune, but arguably, it's the arrangement by Delia Derbyshire that made it a huge success.

Certainly listening to the three versions here, you can see why John Barry had such a strong case for making the Bond theme an instantly recognisable theme. He added the staccato start with the big orchestra stabs and the iconic electric guitar phrase, over the jazz styings and far less urgent vesion Norman produced. But Norman did come up with the basic theme Barry then took and made fly.

So I'm going for a mix of the two.

Si xx

[MacNimon]

Perhaps I'm biased but...

It sounds to me like Norman vaguely whistled a theme, while John Barry added the touches and embelishments that made it a hugely memorable icon of cinema. There's a huge gulf between writing a theme tune and getting it 'right'. My thought is that Norman was a workman while Barry was an artist.

That's pretty much how I see it as well, Steve. But at the same time, although it was John Barry who MADE the James Bond Theme, it was still Norman who had the original inspiration for Barry to expand upon; if Norman hadn't written the original tune - even if it wasn't exactly what the producers wanted - then the James Bond Theme as we know it wouldn't exist today. Barry took the bare bones and added so much to it that he deserves a writing credit. I wonder what he would have came up with as a theme if he didn't have Norman's music to build upon?

I'd credit it as Norman-Barry, myself.

[Zbigniev Hamson]

It's a rather confusing bunch of links. For example, the last link is pointing out a bit from the "Poor Me" theme as if to say this is Barry's work, even though the same part is heard in the original Normal theme in the link at the top of the post. Where does that "original" Norman theme come from? Is it an accurate representation of his original arrangement, or is it something that's been made since?

As far as calling the Norman arrangement a bare-bones arrangement that Barry fleshed out... that doesn't really seem fair on the evidence here. Norman's arrangement is equally fleshed out and detailed, it's far more than just vaguely whistling the theme, it's just that it's in a totally different style, more akin to The Pink Panther or something. Obviously Barry introduced a lot of his own style and sound into his version, but then that's what "arrangement" is and that's what he got his credit (and presumably a nice payment) for. Why give him more credit than that? Isn't that enough?

[MacNimon]

It's a rather confusing bunch of links. For example, the last link is pointing out a bit from the "Poor Me" theme as if to say this is Barry's work, even though the same part is heard in the original Normal theme in the link at the top of the post. Where does that "original" Norman theme come from? Is it an accurate representation of his original arrangement, or is it something that's been made since?

It wasn't easy finding links while trying to be fair to both parties!

I hear what you mean about that piece, I assume the poster was alluding to how it was arranged? Without hearing the version that Norman originally handed in, I don't know if we'll ever know. Easier to answer is your second question...it's not the original version (as far as I know), it was released on a Monty Norman album called 'Closing The Circle' but I've no idea when it was actually recorded. It was the only link I could find though which which had a Monty recording rather than the John Barry one. The rights issue surrounding ownership of the theme ihas been something of a legal minefield over the years, I don't know if Norman would have been able to use part of a Barry composition (assuming even that the bit of "Poor Me" here actually was a Barry composition...I honestly don't know) in a later recording of the track such as this while citing his own name alone as composer...after all, the courts had ruled that he was the sole composer (of the James Bond theme).

As far as calling the Norman arrangement a bare-bones arrangement that Barry fleshed out... that doesn't really seem fair on the evidence here. Norman's arrangement is equally fleshed out and detailed, it's far more than just vaguely whistling the theme, it's just that it's in a totally different style, more akin to The Pink Panther or something. Obviously Barry introduced a lot of his own style and sound into his version, but then that's what "arrangement" is and that's what he got his credit (and presumably a nice payment) for. Why give him more credit than that? Isn't that enough?

Like I said above, without hearing Norman's original version there's no way of knowing. Personally, my thoughts are that what he handed in wouldn't have been as polished as the (Norman) version linked to above. 'Good Sign, Bad Sign' I reckon gives us more of an idea how Norman's version would have been, (my guess again, no proof to back that up in the slightest!) certainly much more basic when you consider what the rest of Monty's soundtrack for Dr No sounded like - largely based around Calypso music and such like from that region of the world, it certainly sticks out like a sore thumb in terms of style from all the other (later) soundtracks. Not that I mean that as a criticism of the music, rather an observation about how different the musical styles of both men were.

The only way to decide for certain would be to listen to the original unused recording, but I have no idea whether it was ever even released; and if so, where to find it. Anyone have any ideas?