2673 replies to this topic

[Gt Munn]

So much for misdirection and elaborate marketing ploys. Oh well. Time to accept it... and enjoy it eventually. At some point.

Dear Madonna and Jack White and Alicia Keys, HANG YOUR HEADS IN SHAME!! LOL...

I liked Another Way to Die

Nobody's perfect.


You can tell the brass is going to build and build. Looking forward to hearing in full.

Edited by Gt Munn, 02 October 2012 - 05:23 AM.

[Dekard77]

Quite horrible. But the credit sequence will give it some justice. A cross between TND and TB (not in a good way). Is the music a bit electronic in style of David Arnold?
YKMN and GE were some of the great recent Bond songs.

AWTD is a good Bond song. It's quite trippy and out brassy.

[x007AceOfSpades]

Quite horrible.

At least it isn't Dubstep, which every movie has a song and score done in the vein of.

[Guy Haines]

Skyfall theme preview - I like what I've heard so far. A nod in the direction of the old school Bond themes, by the sound of it, and it has one element that has been missing from almost all the previous title songs since the 1960s - a brief snatch of the original Bond theme. Might seem cliched, but appropriate this time around.

I mentioned in previous posts on this thread that I hoped a few notes from the Monty Norman theme might make a brief appearance in this theme, and it seems they have.

[Dekard77]

Guy Haines, by Monty Norman theme you mean Bond theme or the way music was done for DN? Need a bit of clarification if you don't mind.

[SecretAgentFan]

Strangely, when I first listened to this snippet I was underwhelmed. When I listened to it again, I liked it. Now I love it.

Expectations can ruin something...

[The Shark]

I like what I've heard so fear.

Freudian Slip eh?

[JimmyBond]

Just curious Shark, but what do you think of the preview clip?

I've actually been looking forward to your opinion

[seawolfnyy]

Granted it's only 90 seconds, but it seems like the song is built around the Bond theme and therefore isn't creating it's own identity. Having said that, the clip reminds me slightly of Gladys Knight's Licence to Kill, but better...if that makes any sense.

[JimmyBond]

Couldn't the same be said about Goldfinger or Thunderball?

Besides, out of the 90 second clip, the Bond theme doesn't come in until a minute into it. And also, for the fiftieth anniversary, it's kind of nice having a song that includes the Bond theme.

Edited by JimmyBond, 02 October 2012 - 06:42 AM.

[seawolfnyy]

It wasn't meant to be a bad thing. More like the song was really reaching back to the songs of the 60s vs. the newer ones. However, I will reserve full judgement until Thursday night (Friday morning for those of you in the UK).

[JimmyBond]

I'm not sure about likening it to LTK though. For me it has more of a TND vibe.

[Guy Haines]

Guy Haines, by Monty Norman theme you mean Bond theme or the way music was done for DN? Need a bit of clarification if you don't mind.

Fair enough. It isn't the Bond theme as done in DN, but if you recall in Thunderball the third verse ends with four notes which are recognisably derived from the Norman theme. It's a little bit like that.

[The Shark]

Just curious Shark, but what do you think of the preview clip?

I like it, but more for the chorus (really dig the punchy drums, which have got a lot more balls to them than in DA's three songs). There's a neat half time groove going to it. I'm also liking the vulnerability in Adele's vocals (noticed how she doesn't perfectly hit the high C in the chorus, i.e. "stand tall"). Not trying to be diva or ape Bassey.

I wish the harmony was a bit more interesting. Some Major 7ths or jazz chords would be nice. From what I've heard it sounds like the chord progression's straight ripped from Arnold's spin on the Bond theme in YKMNK - with the m6/half-dim 7th chord replaced by a IV (in this case - Cm6 becomes F) - but in the more sombre and brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score). Just listen to the YKMN variation at the end of "Dinner Jackets" from CR - then play "Skyfall" immaterially after, and you'll hear what I mean.

The crunchy trombones/tuba in the second verse are promising, and leave me to guess that this is a builder.

[Dekard77]

Guy Haines, by Monty Norman theme you mean Bond theme or the way music was done for DN? Need a bit of clarification if you don't mind.

Fair enough. It isn't the Bond theme as done in DN, but if you recall in Thunderball the third verse ends with four notes which are recognisably derived from the Norman theme. It's a little bit like that.

Thank you, I have not managed to notice to such detail. I will give the song another listen or two and another go at TB.

[JimmyBond]

From what I've heard it sounds like the chord progression's straight ripped from Arnold's spin on the Bond theme in YKMNK - with the m6/half-dim 7th chord replaced by a IV (in this case - Cm6 becomes F) - but in the more sombre brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score). Just listen to the YKMN variation at the end of "Dinner Jackets" from CR - then play "Skyfall" immaterially after, and you'll hear what I mean.

I like that you mention that. Because after listening to it I immediately thought of Arnold's Casino Royale variation of the Bond theme.

As an aside, I listened to Cornell's YKMN and immediately listened to this, it's a bit of a leap to go from that hard rock song to this ballad. Will be interesting to see where they go next with the themes, since I believe AWTD was in the same vein as YKMN.

[Simon]

I like it, but more for the chorus (really dig the punchy drums, which have got a lot more balls to them than in DA's three songs). There's a neat half time groove going to it. I'm also liking the vulnerability in Adele's vocals (noticed how she doesn't perfectly hit the high C in the chorus, i.e. "stand tall"). Not trying to be diva or ape Bassey.

I wish the harmony was a bit more interesting. Some Major 7ths or jazz chords would be nice. From what I've heard it sounds like the chord progression's straight ripped from Arnold's spin on the Bond theme in YKMNK - with the m6/half-dim 7th chord replaced by a IV (in this case - Cm6 becomes F) - but in the more sombre and brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score). Just listen to the YKMN variation at the end of "Dinner Jackets" from CR - then play "Skyfall" immaterially after, and you'll hear what I mean.

The crunchy trombones/tuba in the second verse are promising, and leave me to guess that this is a builder.

Goodness!

Must admit to that meaning less than nothing to me but it sounded good.

[Vauxhall]

From what I've heard it sounds like the chord progression's straight ripped from Arnold's spin on the Bond theme in YKMNK - with the m6/half-dim 7th chord replaced by a IV (in this case - Cm6 becomes F) - but in the more sombre brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score). Just listen to the YKMN variation at the end of "Dinner Jackets" from CR - then play "Skyfall" immaterially after, and you'll hear what I mean.

I like that you mention that. Because after listening to it I immediately thought of Arnold's Casino Royale variation of the Bond theme.

I'm no expert on such matters but I also sensed a hint of CASINO ROYALE and "Dinner Jackets" in there, so feeling quite pleased with myself now!

More importantly, given the involvement of JAC Redford, I can easily imagine that Thomas Newman will have built aspects of "Skyfall" into his score. If anything, this has heightened my anticipation for the soundtrack.

[sharpshooter]

Really hoping Newman uses the instrumental version of the song in the score, ala the 'good old days'. This song would sound very nice in that fashion, especially given the segue into the Bond theme.

[AgenttiNollaNollaSeitsemän]

Just heard the 90 second clip - it certainly sounds bondian enough and I like the melancholic touch it has. Judged by the clip it is better than AWTD but a tad worse than YKMN - which is in my top 5 when it comes to theme songs.

[Dekard77]

Really hoping Newman uses the instrumental version of the song in the score, ala the 'good old days'. This song would sound very nice in that fashion, especially given the segue into the Bond theme.

Amen ! I want more of the instrumental theme, this is where YKMN worked! It grew on me and the moment I left the cinema I was hooked. A song which I felt didn't work initially.

[sharpshooter]

Amen ! I want more of the instrumental theme, this is where YKMN worked!

Yeah. And given the song itself is close to 5 minutes long, there's a chance we get an instrumental in there too.

The length of the song isn’t bothering me at this stage, going on the 90-second preview. It has a relaxed, confident pace to it where I’m engaged and not looking at my watch.

Again on that Bond theme - George Martin was a master at integrating it into his LALD cues, so yes, I enjoyed the moment in Adele’s song.

[JCRendle]

The full version of You Know My Name was 4.02, Another Way to Die was 4.22.

[Shrublands]

Am I the only one who dislikes the inclusion of the Bond Theme - I actually find it disappointing when it comes on. It's as if they're resorting to the bloody obvious in order to make it Bondian. A bit like all the gun barrels in the art work - Can't we have something original?

Other than that, I like it.

[00Twelve]

I understand where you're coming from on that, Shrublands. As long as it doesn't become too overbearing throughout the whole thing, it might stand proudly next to some of the other songs that incorporate the Bond vamp to varying degrees of success (GF, TB, GE, YKMN).

[PeteNeon]

Ok, I've listened to it 79 times now, I think that's enough...

[Royal Dalton]

Am I the only one who dislikes the inclusion of the Bond Theme - I actually find it disappointing when it comes on. It's as if they're resorting to the bloody obvious in order to make it Bondian. A bit like all the gun barrels in the art work - Can't we have something original?

Other than that, I like it.

Well, I love it. It fits in well with Sam Mendes' "one foot in the Sixties" mentality.

[MattofSteel]

The crunchy trombones/tuba in the second verse are promising, and leave me to guess that this is a builder.

Agreed. Every time I hear it, my brain skips a step when it thinks it's listening to Goldfinger.

[PPK_19]

But this is what we've been waiting for in the Craig era haven't we? No more subtle touches of the James Bond theme in amongst the usual brash Arnold score. We want to actually HEAR it, Bond with capital 'B', 'one foot in the sixties' , whatever you want to call it.

Whilst perhaps not harking back to the heyday of Brosnan, where the theme was so in-yer-face it could make you pyrotechnically sick, the slow rhythm creeping alongside Adele's powerful vocals just works so well in my opinion. And we are yet to hear the whole song yet!

I wonder how much of the theme will be worked into the actual film's score? I liked how YKMN was used in Arnold's CR score very much.

[junkanoo]

Well, I love it. It fits in well with Sam Mendes' "one foot in the Sixties" mentality.

As with all threads here (I suppose) I get a bit of a laugh out of the bi-polar responses. Such as:

Love it / Hate It

Love the Bond Theme touch of continuity / Hate the Bond Theme touch - be original

The anti-Bassey female vocal serving new ground, new generation / A return to the 60's vibe

Love Adele / Hate Adele

I suppose the self-reflective posts are next ... such as 'I love that I hate it / I hate that I love it'