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Hear the Quantum song that never was!


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#91 Royal Dalton

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Posted 12 November 2009 - 12:16 AM

This song sounds to me in parts like a cross between Mad About The Boy and the theme from The Beast in the Cellar. Which probably isn't a good thing.

Don Black with Bond isn't my cup of tea at all (love TO SIR WITH LOVE). I'd be interested in hearing Bricusse or David return (I'd even take Tim Rice)...

Agreed. Well, apart from the Tim-Nice-But-Rice part.

I still think it was a massive missed opportunity that they didn't get Duffy for the last one, though. She was red hot back then.

#92 Jeao007

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Posted 12 November 2009 - 12:31 AM

Actually, I thought the song was fantastic. It's a shame that this wasn't used for QOS. I simply cannot stand AWTD.

#93 Dekard77

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Posted 12 November 2009 - 04:34 AM

Trever Horn did a nice collaboration with Pet Shop Boys Concrete Live Album .Some of the orchestration is simply Bond-like. Robbie Williams does a superb job with Jealousy.
Either way I felt AWTD has a really nice action/modern ring to it and nicely blended with the tres cool main titles.

#94 Quantumofsolace007

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Posted 12 November 2009 - 04:53 AM

Trever Horn did a nice collaboration with Pet Shop Boys Concrete Live Album .Some of the orchestration is simply Bond-like. Robbie Williams does a superb job with Jealousy.
Either way I felt AWTD has a really nice action/modern ring to it and nicely blended with the tres cool main titles.



Maybe trevor Horn should do the next bond theme he is more then a producer.. I'd explain how i know this but I've board the bond comunity with yes knowledge and the yes comunity with 007 ...LOL




On topic I listened to it again despratly trying to see what everyone else does and I just don't see it.

#95 sharpshooter

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Posted 12 November 2009 - 05:43 AM

I listened to it again despratly trying to see what everyone else does and I just don't see it.

I agree it's not the best song, but in comparison to "Another Way to Die", it's streets ahead for me. It's a step in the right direction at least. It attempts to correspond with the film's vibe and themes. We needed more of a ballad, not a rock song. It’s like they thought, “You Know My Name" was well received; let’s give them more of the same. But by doing so, they missed the point.

#96 Dekard77

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Posted 12 November 2009 - 06:25 AM

In the case of QOS Arnold makes a good attempt at least in a minimal way to introduce certain parts of AWTD into the main score. Had he done that with a bit more it would have grown on us better. I hated YKMN until I heard the instrumental version on score and it grew on me. Most fans didn't like it first either, I suppose.

#97 JADSTERSDAD

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Posted 12 November 2009 - 08:13 AM

We've received a bit more clarification from Mr Arnold on this.

NGAG wasnt written as a bond song for QOS,it was written as a song for Dame Shirley to sit in that album with the other material that i had put together.It happens to use the string line from QOS, but of course it isnt what I would have done for QOS had I been writing the song for it.This is obviously a nod to her and my past soundwise and would hope people could enjoy it,or not,for what it is rather than for what it is not

So there we have it.

A lovely song in its own right. I haven't heard anything else from The Performance, but on the basis of this track, I'm tempted to pick it up.


I only half buy this.

Of course it doesn't snugly fit the current film or (awful) titles. But it's what the title song should have been for a FILM that should have been. I don't blame Arnold for not wanting to give the impression that this new song would sit comfortably with Forster's eventual product. BUT... the fact that it was completed, albeit retrospectively, in the way that it was, makes it completely a Quantum of Solace song. Completely a Bond song. Maybe just not for THIS Quantum of Solace movie!

#98 Mr_Wint

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Posted 12 November 2009 - 09:58 AM

I agree that it doesn't touch Surrender, BUT this is still better than the God awful AWTD and of course Shirley still has it! I can only hope the producers consider her for Bond 23 cause I'm tired of these rock songs for Bond. Bring back the classic trumpet blaring Bond song!

Totally agree B)

#99 Gustav Graves

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Posted 12 November 2009 - 10:33 AM

If you want it or not, this topic itself, in which mostly younger Bond fans are posting their stuff, is a good reason why the Bond franchise needs a song like 'No Good About Goodbye'. While also many people in here say the song is 'too classic', I would say the song is very timeless. The biggest resemblance between all previous Bond songs until 'Tomorrow Never Dies' were, that they had a timeless feel to it.

'Another Way To Die' completely lacks that basic characteristic. In about 15 years from now, 'AWTD' will sound as one of the most dated Bond songs. While I do agree that Bond shouldn't go back to the past, I disagree with the fact that with 'No Good About Goodbye' producers would go back to the past.

Listen to today's pop music: Duffy, Adèle, Amy. They made some remarkable nice songs and are considered to be part of today's pop music, while those songs still could have worked fantastically in those roaring sixties. It's the quality of composing: Creating a timeless gem with lots of melody in it. 'No Good About Goodbye' has got that original melody and timeless charm. I disagree with the guys in here who think 'NGAG' is boring. It's taste off course, and I think the Bond franchise should opt for a slower, loungier Bond song again. Bring back some jazz (And am I the only one who thinks the song is as lovely as Amy Winehouse's 'Love Is A Losing Game'?? Hence the fact that the lyrics of the song were, again, truly marvellous. That's something today's MTV-generation tends to forget as well: Lyrics! So bring back Don Black please!

And most importantly: It's time to give David Arnold full creative control for the next Bond film again. Give him more time, so he can get the inspiration from within. Perhaps even bring back Dame Shirley Bassey (Wow, what a voice she has!). I'm done with Sony Pictures and other outside commercial ventures who basically abuse Bond films to promote their own damned stuff! Out of it! Get off OUR beloved Bond franchise!

In the past the Bond franchise was the trendsetting, number 1 spy franchise. Bond films in the early days weren't specifically produced for the young kiddo's. Hence the fact that they are NOT Disney family movies. Still, this is what attracted youngsters. Today alas, Bond producers tend to focus too much on the young MTV generation. Sick and tired of it! Bond films should inspire the young, not becoming MTV B) for the young!

Edited by Gustav Graves, 12 November 2009 - 10:41 AM.


#100 Zorin Industries

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Posted 12 November 2009 - 10:44 AM

In the past the Bond franchise was the trendsetting, number 1 spy franchise. Bond films in the early days weren't specifically produced for the young kiddo's. Hence the fact that they are NOT Disney family movies. Still, this is what attracted youngsters. Today alas, Bond producers tend to focus too much on the young MTV generation. Sick and tired of it! Bond films should inspire the young, not becoming MTV B) for the young!

To be fair though, Bond films will not "inspire the young" with the likes of Bassey now. I want her back as much as the next glitter-queen, don't get me wrong. And it's worth remembering that the likes of Bassey, Jones and Sinatra WERE the youth of their day when they sung their Bond tunes.

#101 Gustav Graves

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Posted 12 November 2009 - 11:00 AM

In the past the Bond franchise was the trendsetting, number 1 spy franchise. Bond films in the early days weren't specifically produced for the young kiddo's. Hence the fact that they are NOT Disney family movies. Still, this is what attracted youngsters. Today alas, Bond producers tend to focus too much on the young MTV generation. Sick and tired of it! Bond films should inspire the young, not becoming MTV B) for the young!

To be fair though, Bond films will not "inspire the young" with the likes of Bassey now. I want her back as much as the next glitter-queen, don't get me wrong. And it's worth remembering that the likes of Bassey, Jones and Sinatra WERE the youth of their day when they sung their Bond tunes.


I think in the end it's about the finished product that should perhaps not only inspire the young, but in fact all cinema-go-ers. QOS in my opinion was too much an attempt to become another Jason Bourne film again. It was too much focussed on the young MTV-generation.

Also, and now I'm solely supporting Bond fans, I think writing off Dame Shirley Bassey is a clear signal how today's youth treats the older generation. It's a fact that they are an important group for marketeers, but frankly I don't give a damn. If Tina Turner can sing one hell of a theme called 'GoldenEye', then why not bring back Bassey.

A Bond film does not stand or fall solely on one Bond song. So the next Bond film could easily inspire the young, while bringing back the Dame at the same time (Did you forget Glastonbury??). And inspiration has nothing to do with youngsters if they don't ask themselves: "Hmmm, I haven't heard of this singer before. Who is she??". You inspire young fans by focussing less on them and bringing on board performers that youngsters haven't even heard off before.

Using Alicia Keys had nothing to do with inspiring young people. It was sole marketing stuff from Sony to bring in cash OUTSIDE the actual film! I despise that.

#102 Dekard77

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Posted 12 November 2009 - 11:16 AM

In the past the Bond franchise was the trendsetting, number 1 spy franchise. Bond films in the early days weren't specifically produced for the young kiddo's. Hence the fact that they are NOT Disney family movies. Still, this is what attracted youngsters. Today alas, Bond producers tend to focus too much on the young MTV generation. Sick and tired of it! Bond films should inspire the young, not becoming MTV B) for the young!

To be fair though, Bond films will not "inspire the young" with the likes of Bassey now. I want her back as much as the next glitter-queen, don't get me wrong. And it's worth remembering that the likes of Bassey, Jones and Sinatra WERE the youth of their day when they sung their Bond tunes.


I think in the end it's about the finished product that should perhaps not only inspire the young, but in fact all cinema-go-ers. QOS in my opinion was too much an attempt to become another Jason Bourne film again. It was too much focussed on the young MTV-generation.

Also, and now I'm solely supporting Bond fans, I think writing off Dame Shirley Bassey is a clear signal how today's youth treats the older generation. It's a fact that they are an important group for marketeers, but frankly I don't give a damn. If Tina Turner can sing one hell of a theme called 'GoldenEye', then why not bring back Bassey.

A Bond film does not stand or fall solely on one Bond song. So the next Bond film could easily inspire the young, while bringing back the Dame at the same time (Did you forget Glastonbury??). And inspiration has nothing to do with youngsters if they don't ask themselves: "Hmmm, I haven't heard of this singer before. Who is she??". You inspire young fans by focussing less on them and bringing on board performers that youngsters haven't even heard off before.

Using Alicia Keys had nothing to do with inspiring young people. It was sole marketing stuff from Sony to bring in cash OUTSIDE the actual film! I despise that.


Using Ton Jones, Bassey, Paul Mccartney,Sheena Easton and Duran Duran had nothing to do with inspiring the youth at that time?? They weren't trying to cash in then?

#103 Gustav Graves

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Posted 12 November 2009 - 11:21 AM

You are naming examples of performers that have actually performed a bunch of the Best Bond songs in history. 'A View To A Kill' got a Golden Globe nomination. 'For Your Eyes Only' and 'Live And Let Die' almost won an Oscar. So those are truly remarkable and unforgettable songs. And I am sure that 'Another Way To Die' will never be in that list. Hence the fact that 'AWTD' isn't exactly Oscar-stuff!

You can inspire young people with good stuff? Or you can inspire young people with trash. Alicia Keys did the latter B).

Edited by Gustav Graves, 12 November 2009 - 11:23 AM.


#104 Zorin Industries

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Posted 12 November 2009 - 11:38 AM

Using Alicia Keys had nothing to do with inspiring young people. It was sole marketing stuff from Sony to bring in cash OUTSIDE the actual film! I despise that.

That has ALWAYS been the case with Bond songs since Moses came down from the mountains with the final cut of DR NO in a wooden film can.

#105 Gustav Graves

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Posted 12 November 2009 - 11:45 AM

Bullocks! Songs like 'Goldfinger' and 'Diamonds Are Forever' were never big chart successes. 'GoldenEye' and 'TWINE' were just moderate successes. In essence, there is nothing wrong with generating cash for the franchise outside the actual Bond film, but PLEASE compose a gem then!

And I thinkkk.....Moses had never anything to do with Bond films. He didn't even write an entire song, only carved two stone tablets B).

#106 Tybre

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Posted 12 November 2009 - 11:56 AM

And I thinkkk.....Moses had never anything to do with Bond films. He didn't even write an entire song, only carved two stone tablets B).


Actually it was three.

#107 Safari Suit

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Posted 12 November 2009 - 11:58 AM

'GoldenEye' and 'TWINE' were just moderate successes.


TWINE maybe, but I recall Goldeneye being played excessively in the UK, more maybe then it's #10 chart peak would indicate.

#108 Zorin Industries

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Posted 12 November 2009 - 12:19 PM

Bullocks! Songs like 'Goldfinger' and 'Diamonds Are Forever' were never big chart successes. 'GoldenEye' and 'TWINE' were just moderate successes. In essence, there is nothing wrong with generating cash for the franchise outside the actual Bond film, but PLEASE compose a gem then!

And I thinkkk.....Moses had never anything to do with Bond films. He didn't even write an entire song, only carved two stone tablets B).

Sorry Mr Graves, but it's male cows back at you I'm afraid...

The GOLDFINGER album...Bassey got her first and (so far) only Top Ten hit (with the single) and went in at number 2 in the UK charts. The album also knocked The Beatles A HARD DAY'S NIGHT off the top of the US album chart... no mean feat.

THE WORLD IS NOT ENOUGH went to Number 11 in the UK charts.

GOLDENEYE went in at Number 10 in the UK and a lot higher in a great many European countries.

Hardly "moderate".

#109 Gustav Graves

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Posted 12 November 2009 - 12:36 PM

Now, you're right about those ones, allthough you mix chart positions of albums AND songs at will. All Bond songs from the Connery-era never entered the top 15:

--> Goldfinger: peaked at no# 21
--> Thunderball: peaked at no# 35
--> You Only Live Twice: peaked at no# 44
--> Diamonds Are Forever: peaked at no# 38
--> The Man With The Golden Gun, Moonraker, Never Say Never Again and All Time High did even worse (Hence the fact that 'Moonraker' financially, and with inflation correction, is one of the most succesful Bond films in history, but the song 'Moonraker' didn't even enetered the charts!)

I call those...moderate successes. And you tend to forget it's only the peak position of one week. Before and after peak positions, Bond songs do rarely that good for several weeks or months. And it's a fact that 'TWINE', 'TND' and 'AWTD' barely got in the top 10 for a nice period of time.

So don't overestimate Bond songs as sole chart successes. The Beatles, Elvis Presley, ABBA and nowadays Britney, Beyoncé and Lady Gaga do/did so much better without Bond...

But hey, we're overdiscussing some minor aspects that you actually brought up. In essence I just want the best for Bond. And as I have already stated before, I think it's time both producers and composers stick together and will put their stamps on Bond 23. David Arnold should have full creative control over it. And I think most, NOT ALL, but most Bond fans don't mind to see Dame Shirley Bassey back for one more time.

Or....you want to see a song like 'Another Way To Die' again?

And I thinkkk.....Moses had never anything to do with Bond films. He didn't even write an entire song, only carved two stone tablets B).


Actually it was three.


Really? Well, the Flinstones-era is gone now :tdown:

Edited by Gustav Graves, 12 November 2009 - 12:41 PM.


#110 Zorin Industries

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Posted 12 November 2009 - 12:44 PM

Now, you're right about those ones, allthough you mix chart positions of albums AND songs at will. All Bond songs from the Connery-era never entered the top 15:

--> Goldfinger: peaked at no# 21
--> Thunderball: peaked at no# 35
--> You Only Live Twice: peaked at no# 44
--> Diamonds Are Forever: peaked at no# 38
--> The Man With The Golden Gun, Moonraker, Never Say Never Again and All Time High did even worse (Hence the fact that 'Moonraker' financially, and with inflation correction, is one of the most succesful Bond films in history, but the song 'Moonraker' didn't even enetered the charts!)

I call those...moderate successes. And you tend to forget it's only the peak position of one week. Before and after peak positions, Bond songs do rarely that good for several weeks or months. And it's a fact that 'TWINE', 'TND' and 'AWTD' barely got in the top 10 for a nice period of time.

So don't overestimate Bond songs as sole chart successes. The Beatles, Elvis Presley, ABBA and nowadays Britney, Beyoncé and Lady Gaga do/did so much better without Bond...

But hey, we're overdiscussing some minor aspects that you actually brought up. In essence I just want the best for Bond. And as I have already stated before, I think it's time both producers and composers stick together and will put their stamps on Bond 23. David Arnold should have full creative control over it. And I think most, NOT ALL, but most Bond fans don't mind to see Dame Shirley Bassey back for one more time.

Or....you want to see a song like 'Another Way To Die' again?

And I thinkkk.....Moses had never anything to do with Bond films. He didn't even write an entire song, only carved two stone tablets B).


Actually it was three.


Really? Well, the Flinstones-era is gone now :tdown:

No "at will" with my facts there, I think you will find. And the album sales of GOLDFINGER in America are quite relevant. People bought albums then as well as singles.

I wouldn't mind if any Bond song was another ANOTHER WAY TO DIE. As I have said in my review/s of the film in its various outlets...the track is a solid Jack White song that aides and supports the film it is in. I like it. And always have. The Bond sound needs to be progressive. I LIKE that some fans hate it because it doesn't sound like this and that Bond song. THAT to me means the track has succeeded.

#111 Gustav Graves

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Posted 12 November 2009 - 12:56 PM

The Bond sound needs to be timeless in the first place, thus being both progressive and with a clear reference to what makes a Bond film great. Hence the fact that the sole two words 'Bond sound' aren't progressive at all! It thrives on a tradition of 47 years!

A sole progressive song? Nonsense. With Bond it's about a delicate level between being both progressive and staying conservative at the same time; about attracting new fans and meanwhile maintaining all those older people.

Anyway, I guess.....we disagree completely then B). That can happen even with the most die-hard Bond fans. Let's....agree to disagree :tdown:?

Edited by Gustav Graves, 12 November 2009 - 12:58 PM.


#112 Mr. Arlington Beech

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Posted 12 November 2009 - 12:58 PM

I really think that recreating the sound and style of the classic Bond songs is no way to go about it. Just think of Live And Let Die, Nobody Does It Better, A View To A Kill, You Know My Name ... all gave something 'new' to the series, while definitely giving the Bond vibe.

I agree!!

White and Keys may have failed with their song, but at least it was its own man, as it were. It crackles and moves along nicely, and I'd take that over the Bassey song any day.

However, I have to state that AWTD is (already) a kind of recreation of the sound and style of You Know My Name. So not so inventive, particularly in the introduction.



#113 Gustav Graves

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Posted 12 November 2009 - 01:08 PM

Yes, but one needs to realize that that Bond vibe in itself isn't exactly a progressive thing.....Many fans tend to forget that. I mean, how original can a franchise be after 47 years? We should not try TOO hard to come up with something new that makes the link with that Bond vibe smaller and smaller. Wrong IMO. You named some good examples though, but 'AWTD' IMO was pure utter dire trash. I thought it would have worked well as a Jason Bourne-end title theme. But I missed the Bond vibe completely.

Again, that is my honest opinion B).

#114 Zorin Industries

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Posted 12 November 2009 - 01:18 PM

The Bond sound - when it was first carved in stone in the 1960's - WAS very much a progressive sound.

I think that if any future Bond song does become a standard and a hit it will not have that "Bond vibe" at all.

#115 Gustav Graves

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Posted 12 November 2009 - 01:24 PM

Come on....even Jack White himself compared his awful entry -which IMO misses any Bond vibe- to the guitar riffs from 'Live And Let Die'.

Anyway....it's damn nice to discuss about this B). Right now I'm playing 'No Good About Goodbye' again. Just love it.

#116 Zorin Industries

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Posted 12 November 2009 - 01:27 PM

Anyway....it's damn nice to discuss about this B). Right now I'm playing 'No Good About Goodbye' again. Just love it.

It's not just me then. Though I am really liking OUR TIME IS NOW.

#117 Gustav Graves

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Posted 12 November 2009 - 01:38 PM

That's the John Barry composition huh? WHERE?? WHERE IS IT? On YouTube? Downloadable already? Please, help me B).

#118 Nikos78

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Posted 12 November 2009 - 01:50 PM

Sometimes I just can't understand us Bond fans. After 30 years we re given the first hint of what might have been a new Bassey Bond theme with all the proper mystery and glamour along with a beautiful melody, and all we do is keep nagging about it. I bet that if Arnold intended it for the film he would have orchestrated it with even more flair and grandeur, but even in that version I think it sounds fantastic. And I don't think that Bond films should only use grandiose themes- Cornell's is one of my favorites and perfectly in-tone with the film. But AWTD made NOT want to hear a Bond theme repetitively and deprived me of a soundtrack when you need it the most: when a new film is out and you need to carry the experience with you everyday outside the theatre.
Anyway. I say give her all she asks and bring her back for 23. Thanks.

#119 Gustav Graves

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Posted 12 November 2009 - 01:54 PM

Hey Nikos78 dude B). I am in favour of Bassey's song :tdown:. Most of the people in here more or less agree....

#120 Zorin Industries

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Posted 12 November 2009 - 02:00 PM

That's the John Barry composition huh? WHERE?? WHERE IS IT? On YouTube? Downloadable already? Please, help me B).

Yep, it's the Barry/Black effort.

Try buying the album itself... and show to the music bods that she is bankable.. it all helps... !