2673 replies to this topic

[Invincible1958]

Now the only question remains is : who WILL perform the title song for "SKYFALL".

No. The question is: WILL there be a performer? Or will it be an instrumental titeltrack like in 1969?

I could imagine Thomas Newman thinking about doing an instrumental piece for the opening credits. What do you think?

David Arnold is a fan of working with singers. But I don't know about Newman.

[tdalton]

I very much doubt that EON isn't going to have a title performer for the 50th Anniversary film. There's only been one instance where there hasn't been a vocal performer for the films, which was 40+ years ago, so it's not like there's a truly strong precedent to suggest that EON might be leaning in that direction.

I would think that we'd find out the performer at any time now, if the timeline for the last two films are anything to go by. We found out about Chris Cornell and the duo of Jack White and Alicia Keys at the end of July of 2006 and 2008 respectively, so we're already a little beyond that timetable now.

[Leon]

Hey, don't rule it out. I'd make a guess at it being much more likely that they'd decide to get a vocalist in for it, but you can't say it's impossible that they may take a gamble by going for a strong instrumental piece. Might happen.

I just rewatched the international cut of the trailer again, muted it and played some old Bond classics over it. Diamonds Are Forever went really well. Screw it, get Shirley Bassey back for one more! She's still singing and has maintained a grand fame from all those great Bond songs to this day. It would be a nice tribute actually to her, as well as guarentee a great, signature sounding Bond song, with the nice contemporary spice of Newman's orchestration and style.

This was just a couple of months ago, everyone loved her and she's still got it. Her voice would sound better still given the care of a studio over a difficult open air concert:

[tdalton]

Hey, don't rule it out. I'd make a guess at it being much more likely that they'd decide to get a vocalist in for it, but you can't say it's impossible that they may take a gamble by going for a strong instrumental piece. Might happen.

I don't rule out the possibility, but it's such a remote possibility that is made even less likely by the fact that this is the 50th Anniversary and EON seems to be moving back towards the iconography of the series after Quantum of Solace (thankfully) ignored quite a bit of it. The bombastic title songs, sung by the likes of Shirley Bassey, are a significant part of the iconography of the series, and I'd bet that EON is going to try to copy that style with Adele performing the title track.

[JCRendle]

There's only been one instance where there hasn't been a vocal performer for the films, which was 40+ years ago, so it's not like there's a truly strong precedent to suggest that EON might be leaning in that direction.

There have been 3 opening credits without a proper song, Dr. No, which had the short Three Blind Mice poem was mostly instrumental, From Russia with Love was instrumental, the Matt Monroe song was for the end credit (and over the radio during the film), OHMSS was also instrumental, with We have all the Time in the World used during the film.

It's highly unlikely that Skyfall will be instrumental, a well known name behind a title track sells. Not that they'll need the income if the film is successful, but every little helps and this is a business, out to make money as well as films.

[Leon]

The bombastic title songs, sung by the likes of Shirley Bassey, are a significant part of the iconography of the series, and I'd bet that EON is going to try to copy that style with Adele performing the title track.

I agree, this is the most likely scenario. I have gone off the idea of Adele over time, after listening to more of her stuff. It could be good, but just would feel like imitation Bassey. Why have something similar when you could have the real thing?

[tdalton]

The bombastic title songs, sung by the likes of Shirley Bassey, are a significant part of the iconography of the series, and I'd bet that EON is going to try to copy that style with Adele performing the title track.

I agree, this is the most likely scenario. I have gone off the idea of Adele over time, after listening to more of her stuff. It could be good, but just would feel like imitation Bassey. Why have something similar when you could have the real thing?

I'm no fan of Adele's music, either. I'd prefer that they not even try to go for that style of song for Skyfall, as I think we've had enough of it over the course of the franchise. But I think it's a foregone conclusion that it's going to be Adele, as it seems to be the worst kept secret in Hollywood at the moment, so I've pretty much resigned myself to the probability that we're getting another title song in the Shirley Bassey style.

[S K Y F A L L]

The bombastic title songs, sung by the likes of Shirley Bassey, are a significant part of the iconography of the series, and I'd bet that EON is going to try to copy that style with Adele performing the title track.

I agree, this is the most likely scenario. I have gone off the idea of Adele over time, after listening to more of her stuff. It could be good, but just would feel like imitation Bassey. Why have something similar when you could have the real thing?

No one besides Bond fans want and know who Bassey is but Adele would put young people who wouldn't normally go to see a Bond film in the seats.

There's only been one instance where there hasn't been a vocal performer for the films, which was 40+ years ago, so it's not like there's a truly strong precedent to suggest that EON might be leaning in that direction.

There have been 3 opening credits without a proper song, Dr. No, which had the short Three Blind Mice poem was mostly instrumental, From Russia with Love was instrumental, the Matt Monroe song was for the end credit (and over the radio during the film), OHMSS was also instrumental, with We have all the Time in the World used during the film.

It's highly unlikely that Skyfall will be instrumental, a well known name behind a title track sells. Not that they'll need the income if the film is successful, but every little helps and this is a business, out to make money as well as films.

The only way I could imagine an instrumental is if it was the Bond theme. Which could work because it is the 50th Anniversary although the song then might seem overused in the film.

[Leon]

No one besides Bond fans want and know who Bassey is but Adele would put young people who wouldn't normally go to see a Bond film in the seats.

Then why was she one of the biggest and most popular acts at the Queen's Jubilee just a couple of months back? Everyone knows who Shirley Bassey is, she's huge. Everyone knows the songs Goldfinger and Diamonds Are Forever because they are burned into pop culture and still played all the time on TV, radio and other media. Even alot of people who may not know who she is would hear the news that the singer of Goldfinger, DAF and Moonraker is doing another, anniversary Bond song. They'd think, oh right, they are the big classic Bond songs, interesting. They'd then have found out who she was and be intrigued at least. The news of a return of Bassey for the new song would put plenty of other people in the seats also. It would generally be a big bit of news and publicity overall. Maybe an Adele song in the titles could statistically be percieved as likely to attract even more extra people than that, but that just gets into odd territory.

This film is going to be massively successful no-matter what the song is. So go for the best choice at this stage, not just a number-crunching choice. Put the cherry on the top and dress it beautifully, rather than some cheap sprinkles for kids. Give the film that extra substance and timelessness rather than just whats hot right now to earn a few extra dollars from youngsters. Have a bit more pride in the James Bond franchise than that.

Anyway, you may be right about the marketting point of view. I just would personally rather something great than something bland to appeal to the masses, especially considering all the care and attention to detail they have clearly been crafting into this film for the big 50.

[S K Y F A L L]

No one besides Bond fans want and know who Bassey is but Adele would put young people who wouldn't normally go to see a Bond film in the seats.

(......................)
Give the film that extra substance and timelessness rather than just whats hot right now to earn a few extra dollars from youngsters. Have a bit more pride in the James Bond franchise than that.
(......................)

Try telling that to the product placement department at EON.

[Leon]

Try telling that to the product placement department at EON.

Product placement in Bond films is inevitable even if they didn't have to/get any money for it. You have Bond driving specific luxury cars and drinking expensive wines, cocktails etc, it's part of his character. Martini is a product placement, the cocktail is named after the brand of vermouth. We live in a world of products and logos, but they do need to stop with some of the cringe-making references to his 'Omega!' watch in conversations or special close ups on a logo. These are comparatively rare - I assume they get more money for it. I'm sure Walther have sold a lot more PPK handguns because of James Bond, but I don't think the producers get money from them, I'd hope that would be illegal frankly.

I won't care in the slightest to see bottles of Hieniken or an Omega watch or whatever sort of car, so long as it's just a part of the film and not made obvious reference to. If Bond's drinking a bottle of lager at a bar, that's fine by me, and it has to be some brand of lager doesn't it, so who cares? He drinks a beer or two in the occasional Fleming novel too.

However, on the original song selection point, I will add that the producers get to make the decisions here. If they wanted to give Bassey the job they would not be told no by marketing.

[S K Y F A L L]

Try telling that to the product placement department at EON.

Product placement in Bond films is inevitable even if they didn't have to/get any money for it. You have Bond driving specific luxury cars and drinking expensive wines, cocktails etc, it's part of his character. Martini is a product placement, the cocktail is named after the brand of vermouth. We live in a world of products and logos, but they do need to stop with some of the cringe-making references to his 'Omega!' watch in conversations or special close ups on a logo. These are comparatively rare - I assume they get more money for it. I'm sure Walther have sold a lot more PPK handguns because of James Bond, but I don't think the producers get money from them, I'd hope that would be illegal frankly.

I won't care in the slightest to see bottles of Hieniken or an Omega watch or whatever sort of car, so long as it's just a part of the film and not made obvious reference to. If Bond's drinking a bottle of lager at a bar, that's fine by me, and it has to be some brand of lager doesn't it, so who cares? He drinks a beer or two in the occasional Fleming novel too.

However, on the original song selection point, I will add that the producers get to make the decisions here. If they wanted to give Bassey the job they would not be told no by marketing.

I think Bassey would steal the spot light away from Judi Dench who the film seems to be centered around possibly because it may be her last film.

I'm sorry I don't think I fully understand you; are you saying I don't have enough pride in the franchise?....or........

[JimmyBond]

I've always been a huge supporter of Adele doing the theme. I can't get behind this notion that she'd somehow feel like a retread of Bassey. Plus Bassey's already done three, I feel like going back to her would be a step in the wrong direction.

[The Shark]

I think Bassey would steal the spot light away from Judi Dench who the film seems to be centered around possibly because it may be her last film.

Wouldn't want anyone thinking this was Bond film.

[S K Y F A L L]

I think Bassey would steal the spot light away from Judi Dench who the film seems to be centered around possibly because it may be her last film.

Wouldn't want anyone thinking this was Bond film.

That is why they'll keep the gun barrel at the end of the film.

[DaveBond21]

I've always been a huge supporter of Adele doing the theme. I can't get behind this notion that she'd somehow feel like a retread of Bassey. Plus Bassey's already done three, I feel like going back to her would be a step in the wrong direction.

I think Adele will do the theme, and I think it will be quite Bassey-esque. It wouldn't be the first time that they've used another singer to do a very Bassey-like vocal performance, when we think back to Gladys Knight and kd lang.

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[marktmurphy]

I very much doubt that EON isn't going to have a title performer for the 50th Anniversary film. There's only been one instance where there hasn't been a vocal performer for the films, which was 40+ years ago,

Well, three vocal-free title sequences, and they've never not had a song with a singer recorded.

[The Shark]

I've always been a huge supporter of Adele doing the theme. I can't get behind this notion that she'd somehow feel like a retread of Bassey.

It falls down to the song itself. If it were Arnold writing it, it would probably be another soulless Bassey pastiche like THE WORLD IS NOT ENOUGH, but with Newman I hope for something better. I want a Bond song that captures the spirit of 2012, not 1964.

[Odd Jobbies]

I've always been a huge supporter of Adele doing the theme. I can't get behind this notion that she'd somehow feel like a retread of Bassey.

It falls down to the song itself. If it were Arnold writing it, it would probably be another soulless Bassey pastiche like THE WORLD IS NOT ENOUGH, but with Newman I hope for something better. I want a Bond song that captures the spirit of 2012, not 1964.

Like them or not, i think the last 3 Bond songs have had a very contemporary edge.

[The Shark]

I've always been a huge supporter of Adele doing the theme. I can't get behind this notion that she'd somehow feel like a retread of Bassey.

It falls down to the song itself. If it were Arnold writing it, it would probably be another soulless Bassey pastiche like THE WORLD IS NOT ENOUGH, but with Newman I hope for something better. I want a Bond song that captures the spirit of 2012, not 1964.

Like them or not, i think the last 3 Bond songs have had a very contemporary edge.

I'd say Madge's was the most contemporary Bond song since Duran Duran's, for all its flaws. In comparison YKMN and AWTD look back to previous decades (90s post-grunge/stadium rock and 70s-psychedelia).

[marktmurphy]

AWTD is 70's psychedelia?!

[SecretAgentFan]

Only if you have enjoyed psychedelia.

[The Shark]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

[Dustin]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

That's actually what I thought myself (minus all that tech-y talk), it's a rather oldfashioned song, isn't it?

[Odd Jobbies]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

Because something is 'retro' doesn't mean it isn't contemporary, otherwise most of Jack White's stuff would be seen as non-contemporary, as well as anything that sounds like 90's grunge and YKMN.

What exactly do you class contemporary and would such music suit a Bond movie, or any action-thriller?

I think what we're talking about here is not retro, but mainstream. Madonna is mainstream, but YNMY and AWTD are slightly further to the edges of mainstream. The last thing i want is middle of the road mainstream for Skyfall.

Edited by Odd Jobbies, 06 August 2012 - 04:16 PM.

[marktmurphy]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

Jack White's often pretty retro-looking and traditional, equipment and technique-wise and he knows his history of music, but I wouldn't say his sound is old, if you know what I mean. He's fresh and genuine, albeit with the history of blues, rock and country behind him.
I don't really see anything of psychedelia in there. Plus of course he's got an R'n'B singer in the mix!
It's a great Bond song, much more credible than YKMN.

[Odd Jobbies]

I agree with Mr Murphy, it's a superb song and IMO almost too contemporary, or experimental for a lot of Bond fans to accept.

[The Shark]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

Because something is 'retro' doesn't mean it isn't contemporary, otherwise most of Jack White's stuff would be seen as non-contemporary, as well as anything that sounds like 90's grunge and YKMN.

Perhaps I'm guilty of using the words here, but by contemporary in that context I meant utilising the latest production techniques, and being on the cutting edge on the evolution of mainstream pop music, much like AVTAK back in the day, or more recently with DAD and its electroclash influence.

I'm a big QOTSA fan, so I'm no foe of contemporary, old school rock n roll, but I just fear that with Adele onboard, we're going to get another bloody death march down memory lane, packing every Bond song cliché because it's the 50th anniversary.

What exactly do you class contemporary and would such music suit a Bond movie, or any action-thriller?

LMFAO, obviously.

I don't really see anything of psychedelia in there.

I've always found the bit after the first chorus pretty trppy, with the swampy tremolo, plus the bridge. It's an interesting mix.

[DaveBond21]

AWTD is 70's psychedelia?!

Laced with blues rock, but yeah, it's a pretty retro song. I believe recorded onto tape with a Fairchild 670 Compressor, Roland RE-301 Space Echo, and mixed onto 2 16 track Studer A827s. Plus you've got the Memphis Horns!

With the exception of the RnB beat during the second verse, it could have easily come off one of the Nuggets albums from the late 60s and onwards.

Yeah, AWTD is deliberately very 70's sounding. It has more in common with LALD than any other Bond song.

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[marktmurphy]

I'm a big QOTSA fan, so I'm no foe of contemporary, old school rock n roll, but I just fear that with Adele onboard, we're going to get another bloody death march down memory lane, packing every Bond song cliché because it's the 50th anniversary.

Yeah, I hope not. Even though there's a bit of electro in there something like Surrender is definitely what I don't want. It's a nice tune but it's old hat. I don't think it's a given that Adele would do that, though.
YKMN was a bit more interesting but sadly a bit too Dad-rock: it wasn't very convincing. AWTD felt like a proper new song with a bit of actual soul to it. I'd agree that YKMN is nicer melodically, but AWTD has more feeling, and feels totally Bond too.

I don't really see anything of psychedelia in there.

I've always found the bit after the first chorus pretty trppy, with the swampy tremolo, plus the bridge. It's an interesting mix.

Yeah, fair enough, I suppose there's a touch of that in there.