So I'm getting to compare each composer's style on how they approach action themes, suspense, and naturally, how they play with the original motif from all those years ago. During the 70s they kept this knack of trying to go with "pop" composers (George "Fifth Beatle" Martin for Live and Let Die, Bill "Rocky" Conti for For Your Eyes Only), and after each, the next director would go "what the hell" and go back to the great John Barry.
And that, of course, means I can also hear Barry's development over the 25 years he was working on Bond films, noting how often what he did for Bond was similar to other movies he was doing at the time. E.g., his Moonraker themes are in many ways an extension of his work for Disney's The Black Hole.
There is one exception to the composer switch: Michael Kamen's work on License to Kill is astounding.
I need to listen more deeply to David Arnold's work during the Brosnan era.
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