48 replies to this topic

[A Kristatos]

Finally got the soundtrack which I'm now listening too. None of the Walmarts in my area even carried the soundtrack. That's four different stores within a 60 mile radius. My sister finally tracked down one copy at a Hastings and brought it home for me.

By far Blunt Instrument is my favorite. I just loved it in the film and I'm so glad it's on the CD.

I found the last copy at my local Walmart last Monday. I'm wondering if it was the last of many copies, or the only copy they had!

[00Twelve]

"Vesper" gets more and more beautiful every time I hear it. Whomever said "Solange" would have been a better theme for Vesper is someone with whom I completely disagree. To each his own, however. And yes, it does sound extremely Barryesque, and so is climbing closer and closer to my "fave love theme" spot. Don't know yet if I'll let it unseat OHMSS, but it's dang close already.

[ComplimentsOfSharky]

I've been listening to Dinner Jackets and The Swithc quite a bit lately.

[deth]

"Vesper" gets more and more beautiful every time I hear it. Whomever said "Solange" would have been a better theme for Vesper is someone with whom I completely disagree. To each his own, however.

I'm the one who said that... and actually I also kind of disagree with it now. I made that statement before I saw the movie, and thus was relating it to the book version of the character... I still think it suits the book character.

also, don't forget that were we to hear "Solange" using similar instrumentation to Vesper's theme (pianos and all)... the effect would be quite interesting I think.

[00Twelve]

Indeed...

[mrsbonds_ppk]

I like many from this one, but my favorite would have to be "City of Lovers". Love the strings very romantic.

[capungo]

For me, the top 3 is...
-Vesper=It has haunting elements give it that bit of depth and mystery that's so prevelant in the character. Much prefer it to Solange, which just sounds beautiful, although very Barry as well.

-Fall of a House=If I were to purely judge by the progression of the soundtrack, I'd say that it's at the end of this track (when the Bond theme comes in at full intensity) and not at "The Name's..." where Bond makes his transformation into the Bond we know and love. Note that "the bitch" starts out with a very realized Bond melody.

-"The Name Is..." =That's not to say that this isn't pure Bond. Easily Arnold's best take on the Bond theme yet. I'd go so far to say that it will be his definitive take on it.

[deth]

I'm curious to know why everyone loves this take on the Bond theme so much. to me it sounds (with a few minor tweaks) like a very generic version of the theme. It was one of the most dissapointing things about the soundtrack for me. I was hoping for something like what John Williams did for the Imperial theme at the end of Attack of the Clones.

is THAT what's so great about it?

[capungo]

I'm curious to know why everyone loves this take on the Bond theme so much. to me it sounds (with a few minor tweaks) like a very generic version of the theme. It was one of the most dissapointing things about the soundtrack for me. I was hoping for something like what John Williams did for the Imperial theme at the end of Attack of the Clones.

is THAT what's so great about it?

Not to get off topic, but what did you feel was so great about the Williams ATOC Imperial theme? I felt it was rather limp myself, like he just took away some of the "sinister" brass, and boom, instant Imperial march that isn't quite evil yet

Personally, what I like about the version of the theme we hear in "The Name's..." is...
-Before the theme hits full blast, there's that nice little buildup action going on.
-It's been de-techno'd from Arnold's previous renditions.
-It has the electric guitar going full front and center(something I don't recall actually hearing in a Bond movie for a while. There's a couple seconds in TND while he's sneaking around in the Carver building where it goes up, but aside from that, it really hasn't been around THAT much
-Bongo drums, which work nice.

Just curious, what would you have wanted out of a new take on the Bond theme?

Edited by capungo, 04 December 2006 - 05:27 AM.

[darthbond]

1. The name is... - Brought happy memories to my thoughts.
2. Dinner Jackets. - Played it while searching the internent. Felt like Bond.
3. Death of vesper. - Beautiful and haunting. Really sad.

darthbond

[deth]

I'm curious to know why everyone loves this take on the Bond theme so much. to me it sounds (with a few minor tweaks) like a very generic version of the theme. It was one of the most dissapointing things about the soundtrack for me. I was hoping for something like what John Williams did for the Imperial theme at the end of Attack of the Clones.

is THAT what's so great about it?

Not to get off topic, but what did you feel was so great about the Williams ATOC Imperial theme? I felt it was rather limp myself, like he just took away some of the "sinister" brass, and boom, instant Imperial march that isn't quite evil yet

Personally, what I like about the version of the theme we hear in "The Name's..." is...
-Before the theme hits full blast, there's that nice little buildup action going on.
-It's been de-techno'd from Arnold's previous renditions.
-It has the electric guitar going full front and center(something I don't recall actually hearing in a Bond movie for a while. There's a couple seconds in TND while he's sneaking around in the Carver building where it goes up, but aside from that, it really hasn't been around THAT much
-Bongo drums, which work nice.

Just curious, what would you have wanted out of a new take on the Bond theme?

the AOTC imperial them was a nice twist on a familiar theme. It's interesting that you feel the sinister element was taken out (I don't really agree).... because that could very well be the point of what he did... given the story of the film (the evil not being fully revealed yet)

as for the Bond theme, I should mention that the little bit at the start of "The name's...Bond" is one of my favorite parts of the score.... however, the rest, to me... brings nothing new. The Bongos... but that's about it. I'm not looking for something completely revamped... but I was hoping for an interesting, yet familair arrangement of the Bond theme (without electronics, of course). Not being a composer, I have no idea what I would do to accomplish this.

To me, this isn't any better, or really any different than a lot of his Bond them that was used in the TND track "Newspaper Factory Fight & Exit" (in feel I mean)

[00Twelve]

Actually, Mr. Arnold accomplished a feat that truly impressed me. True, he brought back the same, traditional Bond theme.

However, through making the brass bigger, more "bombastic," so to speak, and mixing the guitar so it sounded about 2% more raw, and adding back the bongos and hi-hat, he actually made it sound (despite the original Norman/Barry arrangement) as if this was the first time the Bond theme was ever uttered, and every other rendition we will have heard (even said Norman/Barry arrangement) is an echo of this "original" arrangement.

I know it sounds crazy, but that's really how I hear this arrangement. It sounds more like a "fanfare" than any other version I've ever heard. And that, to me, makes perfect sense. As if to say, "Hear this? This is the musical description of who James Bond has just become." And for that, again, I credit Mr. Arnold and his creativity.

[Double-Oh Agent]

I get what you're saying 00Twelve and I think I agree. It certainly seems possible that that was what David Arnold was going for.

After listening to the soundtrack a few times I think I've switched my favorite track from Miami International to African Rundown. I love the drumbeat of it. (I'm sure the scene it accompanies doesn't hurt either. )

[deth]

interesting point, 00Twelve. I can almost believe it, but I personally keep refering every new version of the Bond theme to the original from 1962... the one that sounded the "rawest" to me. (maybe it's the lower sound quality, lol)

I will admit that it was appropriate for this film, however. Maybe I was hoping for soemthing like what Barry did when Bond became a new actor...

Connery = guitar
Lazenby = synth
Moore = strings

(I've no idea why he didn't continue this for Dalton... maybe he didn't want to be bothered by that point)


Craig = Connery I suppose.

[Matt_13]

I like Blunt Instrument, Dinner Jackets, Vesper, and The Bitch is Dead.

[mrsbonds_ppk]

I get what you're saying 00Twelve and I think I agree. It certainly seems possible that that was what David Arnold was going for.

After listening to the soundtrack a few times I think I've switched my favorite track from Miami International to African Rundown. I love the drumbeat of it. (I'm sure the scene it accompanies doesn't hurt either. )

interesting point, 00Twelve. I can almost believe it, but I personally keep refering every new version of the Bond theme to the original from 1962... the one that sounded the "rawest" to me. (maybe it's the lower sound quality, lol)

I will admit that it was appropriate for this film, however. Maybe I was hoping for soemthing like what Barry did when Bond became a new actor...

Connery = guitar
Lazenby = synth
Moore = strings

(I've no idea why he didn't continue this for Dalton... maybe he didn't want to be bothered by that point)


Craig = Connery I suppose.

U have a interesting point of view, but I think
Connery = strings
Moore = guitar
and ur right about Lazenby = synth

[00Twelve]

Actually, going on Barry's orchestrations, it's

Connery - guitar
Laz - synth
Moore - strings/woodwind/brass
Dalton - low synth with beats

then Arnold:
Brosnan - guitar
Craig - guitar

[capungo]

Actually, going on Barry's orchestrations, it's

Connery - guitar
Laz - synth
Moore - strings/woodwind/brass
Dalton - low synth with beats

then Arnold:
Brosnan - guitar
Craig - guitar

Yeah, I get this feeling too. I think we were on the brink of seeing a VERY big change in Barry's Bond scoring style, had they had him for later Bonds. Dalton's Bond had a lot of synth-y beat elements to it; lent a very contemporary spin to the Bond theme. Would've loved too seen where he would've taken that, as TLD is one of my Fav. Barry pieces overall.

As for Arnold, I don't get the impression that he's modelling any of his score stylings after his Bond actors per se. To him, Bond is Bond, pure and simple. He seems to focus more on the themes in each film put under a screen of one size fits all Bond.

[00Twelve]

True about Arnold, I think.

I just listened to "Licence: 2 Kills" and I can't help being really impressed with Arnold for this score. I think some of the best cues, or at least, atmospheric ones, are the bonus tracks on i-tunes. I recommend them highly.