Springfield drew the choice task of singing 'The Look of Love,' a beautiful and sexy song arranged somewhat in the vein of an Astrud Gilberto tune. And certainly, Alpert's pop sensibilities were at their height with Casino Royale.ĭusty Springfield was the second pop luminary connected with Casino Royale. Alpert was a perfect match for Bacharach's loopy, horn heavy score, the composer's music often of a piece with Alpert's own work. Like The Ventures, the Tijuana Brass had a distinctive style that was immediately identifiable and generally spelled laid back fun. Herb Alpert and the Tijuana Brass were engaged to perform 'Casino Royale Theme.' Alpert, who despite a legion of Big Band and Jazz trumpeters before him, may be the best remembered of them all.Īt the time, Alpert's Tijuana Brass was the top-selling instrumental group along with The Ventures. Since Casino Royale was competing with the 'real' Bond films and, because this was a send up of those films, it was only right to one-up the official franchise by hiring not one, but two pop performers for song numbers.

Both albums present the music out of sequence, front loading it with the two hit songs, 'Casino Royale Theme,' and 'The Look of Love.' It was a tradition of the Harry Saltzman-Albert Broccoli James Bond films to feature a current pop singer warbling the title theme of the movie. Originally released as a Colgems Lp (COSO-5005), the recording was later issued on a Varese Sarabande CD (VSD-5265). Besides it's uniformity, it was fun and sexy.

Everything was big, big, big and its plethora of stars in bits and cameos actually worked against it.īacharach's assured score provided a consistency that held the patchwork movie together. The film had suffered setbacks and the result was an uneven film of varying moods and styles. Feldman, producer of What's New Pussycat, offered him the assignment to score Casino Royale. He was riding the wave of this tsunami of creativity when Charles K. His other scores, for films like What's New Pussycat? (1965) and Butch Cassidy and the Sundance Kid (1969) contribute greatly to those films and show a flair for the demands of film scoring and the commercial market needs of popular music.īacharach was the wildly successful songwriter, and sometimes singer, who found pop music success in a string of enormously popular compositions, literally dozens of top 40 hits. His score for Casino Royale (1967) is the one element of that troubled film that needs no apology. One of the great mysteries in film music history is why Burt Bacharach didn't score more movies. See more files at The James Bond Sourcebook James Bond Sourcebook: Casino Royale (1967) Soundtrack The Thunder Child Science Fiction and Fantasy Thunder Child James Bond Sourcebook: Casino Royale 1967 CD Review

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