John Barry’s Most Underrated James Bond Moments

With the late John Barry being honored with a plaque in York, England, maybe it’s a good time to reflect a little on the composer’s James Bond career.

Much of his Bond music is iconic, though we should note (as a reminder) that the “James Bond Theme” was actually composed by Monty Norman. Nevertheless, Barry went on to compose classics such as “007 in Action,” along with the main themes to Goldfinger, You Only Live Twice, and On Her Majesty’s Secret Service.

But there are many Bond tracks that Barry composed that are overlooked as classics. Certainly, Bond fans will recognize them, but they aren’t ones that generally come to mind when we think of Barry and his Bond music. Maybe we can change that.

“Into Miami” (from Goldfinger)

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Heavy on the horns, this composition played during the aerials over Miami Beach, right after the the film’s title sequence. Parts of it were used by American skating duo, Marissa Castelli and Simon Shnapir, at the 2014 Winter Olympics.

The “Mr. Wint and Mr. Kidd” theme and “The Whyte House” (from Diamonds Are Forever)

Overall, the soundtrack for Diamonds Are Forever might be Barry’s most underappreciated Bond score. These two tracks, in particular, are standouts. Fans will remember the “Mr. Wint and Mr. Kidd” theme as the background music when the pair of assassins kill a dentist (and diamond smuggler) with a scorpion. “The Whyte House” features horns, similar to “Into Miami” that serve as the backdrop for Bond’s arrival in Las Vegas:

“Centrifuge and Corrine Put Down” (from Moonraker)

Moonraker is know for its camp, but there is nothing campy about Barry’s music. This track, used for the scene when Corrine is chased and ultimately killed by Hugo Drax’s two dobermans, is a compelling and haunting piece of music.

“The Chase Bomb” (from Octopussy)

As Bond sneaks aboard a train car, where a nuclear device is being assembled, Barry’s music plays softly (maybe too much so) in the background. It is easy to forget the track, but pure joy comes from listening to it on its own.

“Snow Job” (from A View to a Kill)

This guitar-infused action track is featured during the pre-title chase sequence, as Bond uses a make-shift snowboard to elude his would-be assassins. Problem is, director John Glen interrupted the track to stick in a bit of The Beach Boys’ “California Girls.” Maybe if given the chance to do it all over again, Glen would have left Barry’s music alone.