2673 replies to this topic

[Leon]

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.

I agree, but I think it's just down to the way they did it and the generic Bond-style melody on the whole. I am not a big fan of this song - I think Adele sounds great, but the song is bland, unimaginative and laced in reverb with some very clumsy lyrics - a lot of words saying very little. The great classic Bond songs were much more dynamic and tight. It will surely sound lovely worked into the score, of course.

Hasn't anybody else noticed that the last three Bond songs have just lazily taken the Bond theme progression and worked around it? They didn't need to do that for YOLT or FRWL for example, and when they did with, say, Goldfinger and DAF it was more subtle and placed within a much bolder, more imaginative piece of music. The bass line in DAF is amazing, for one.

I can't help but see this from the perspective that they have just gone for an incredibly safe option, and gone about it in the same old way again, using a very formulaic approach to the music.

[marktmurphy]

It's very nice. Feeling a bit generic maybe, but done very well indeed; unlike, say, TWINE; which is just a generic Bond song with nothing extra.
This feels like it's got a bit of soul to it, and Adele's vocal is already ahead of Bassey shouting everything out, for me.

I like that 'Skyfall' sounds like it's a location in the lyrics...

[Iceskater101]

Where can we listen to this Adele song? Is it on youtube?

[DominicGreene]

The piano in Skyfall reminds me a little bit of Nadia's theme (aka The Young and the Restless theme).

[Pussfeller]

I approve of the classic feel, and Adele's performance, but I can't get a sense of a distinctive melody. Assuming there is one, it doesn't stick with me after the song has stopped playing. Perhaps this is because the Bond theme quotations distract from what original melody there is. Of course we haven't heard the whole thing yet, and the parts we haven't heard may be more distinctive. A Bond theme should be distinctive enough that it can be recognized by a few bars whistled or hummed. This is the main reason I hate DAD and AWTD - there's no recognizable tune underneath the electronic farts and caterwauling. This is also why I'm favorable to TND and TWINE - they're distinctive and clear in my mind, and I can easily hum or whistle the tune.

[glidrose]

Fantastic post, Pussfeller. Mostly my own thoughts. Too much Bond, not enough distinctive melody.

[Leon]

I approve of the classic feel, and Adele's performance, but I can't get a sense of a distinctive melody. Assuming there is one, it doesn't stick with me after the song has stopped playing. Perhaps this is because the Bond theme quotations distract from what original melody there is.

Dude, that's because the melody is just cruising along atop the basic Bond theme progression that's been given a few alterations and long repetitions in a weak attempt to disguise the fact that it's utterly unoriginal and generic - this lazy fiddling with something solid creates something similar but weak. I liked when the percussion kicks in, but quickly realised that the drumming sucked too. Listen to the bass line too... it's awful. The whole thing has just been done in a very polished sounding way to package it nicely and luckily Adele has a great voice to add to it.

It's by no means one of the worst Bond songs at all, but it is pretty lazy, speaking as a musician and a lover of Bond and some classic Bond music.

Listen to this again and then listen to a minute and a half from near the start of DAF just before it kicks in. Similar kinds of Bond song, only a massive difference in quality of both composition, songwriting and musicianship.

[MattofSteel]

I approve of the classic feel, and Adele's performance, but I can't get a sense of a distinctive melody. Assuming there is one, it doesn't stick with me after the song has stopped playing. Perhaps this is because the Bond theme quotations distract from what original melody there is. Of course we haven't heard the whole thing yet, and the parts we haven't heard may be more distinctive. A Bond theme should be distinctive enough that it can be recognized by a few bars whistled or hummed. This is the main reason I hate DAD and AWTD - there's no recognizable tune underneath the electronic farts and caterwauling. This is also why I'm favorable to TND and TWINE - they're distinctive and clear in my mind, and I can easily hum or whistle the tune.

That's a legitimate criticism, but I can't help but feel hearing the full song will change that impression.

[quantumofsolace]

http://www.guardian....nd-theme-review

[Loomis]

I approve of the classic feel, and Adele's performance, but I can't get a sense of a distinctive melody. Assuming there is one, it doesn't stick with me after the song has stopped playing. Perhaps this is because the Bond theme quotations distract from what original melody there is.

Dude, that's because the melody is just cruising along atop the basic Bond theme progression that's been given a few alterations and long repetitions in a weak attempt to disguise the fact that it's utterly unoriginal and generic - this lazy fiddling with something solid creates something similar but weak. I liked when the percussion kicks in, but quickly realised that the drumming sucked too. Listen to the bass line too... it's awful. The whole thing has just been done in a very polished sounding way to package it nicely and luckily Adele has a great voice to add to it.

It's by no means one of the worst Bond songs at all, but it is pretty lazy, speaking as a musician and a lover of Bond and some classic Bond music.

Listen to this again and then listen to a minute and a half from near the start of DAF just before it kicks in. Similar kinds of Bond song, only a massive difference in quality of both composition, songwriting and musicianship.

Spot on, Leon.

[The Shark]

snip ... but in the more sombre and brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score).

What's "sombre and brooding" about Barry's DAF instrumentals? The major use of the DAF theme such as "Bond and Tiffany" and "Plenty then Tiffany" are slow and seductive - a playful tease and appropriate to the tease that is Tiffany Case. This is no Bond's lament.

While there is a dark edge to the closing measures of "Plenty then Tiffany" - I was thinking more of haunting cues like "Following the Diamonds", "Bond Meets Bambi and Thumper" and parts of "Death at the Whyte House."

For all the film's campiness, the score is at times oddly poignant and funereal.

[WhatMeWorry?]

I have to admit when I first read that Adele was singing the title song I was a little dissapointed. I thought she was too "obvious" and "so hot right now", but after listening to the preview/clip I was blown away. Her song sounds amazing, I love it.

[tdalton]

I approve of the classic feel, and Adele's performance, but I can't get a sense of a distinctive melody. Assuming there is one, it doesn't stick with me after the song has stopped playing. Perhaps this is because the Bond theme quotations distract from what original melody there is.

It's by no means one of the worst Bond songs at all, but it is pretty lazy, speaking as a musician and a lover of Bond and some classic Bond music.

Lazy is definitely the word I'd use to describe it, although I'd go further and say that, if the rest of the song is as bad as the preview clip, then it could be in the lower tier of Bond title songs. Usually when I don't care for a Bond title track upon first listen, it tends to grow on my to some degree to the point where I at least don't mind listening to it. I've given the clip a couple of listens today and I find I like it less and less with each listen.

[AMC Hornet]

Thanks for the warning - I'll stay away from the theme until game day.

I'd rather start disliking the song after seeing the movie than before.

Why start off with a prejudice that may spoil the whole proceedings?

[Guy Haines]

snip ... but in the more sombre and brooding key of C minor rather than B minor (like Barry's instrumentals of DAF in its score).

What's "sombre and brooding" about Barry's DAF instrumentals? The major use of the DAF theme such as "Bond and Tiffany" and "Plenty then Tiffany" are slow and seductive - a playful tease and appropriate to the tease that is Tiffany Case. This is no Bond's lament.

While there is a dark edge to the closing measures of "Plenty then Tiffany" - I was thinking more of haunting cues like "Following the Diamonds", "Bond Meets Bambi and Thumper" and parts of "Death at the Whyte House."

For all the film's campiness, the score is at times oddly poignant and funereal.

I'd agree with you about the DAF score, Shark. And I'd add the cues involving Wint & Kidd - for all the campiness and the bluesy sound, there's a hint of menace and doom in the background of them.

[marktmurphy]

That's what I love about Barry: he adds a lovely serious tone to the movies which makes them work so well. See also Moonraker (which even becomes beautiful) and A View To A Kill actually feels dangerous and moody despite being a silly film!

[thecasinoroyale]

I'm still 50/50 on this - it sounds alright but I think there's a lot of over-hype surrounding this and I can't tap into the feel of it as most others do. I hope I'm not losing my touch!

I think the way she says "Fall" sounds a little odd...like never finishes the word itself!

But I can't judge until the final piece is out, but I can tell I will like this far better in the final film, with the titles and hearing it follow an exciting opening!

[x007AceOfSpades]

I hear you TCR, I'm hoping my mind will change and that I'll really enjoy the final version and not a sample.

[sharpshooter]

The song has received a lot of hype. Whether or not we think it is justified, I'm sure we can all agree it's positive for the film and its marketing.

[Vauxhall]

The song has received a lot of hype. Whether or not we think it is justified, I'm sure we can all agree it's positive for the film and its marketing.

Quite right. That can only help the movie, and consequently the franchise too. It's even more pleasing that it's largely positive hype from the wider world too. From memory, there was a bit of hype about Madonna's track ahead of DIE ANOTHER DAY, but generally accompanied by disparaging comments!

[Dustin]

The song has received a lot of hype. Whether or not we think it is justified, I'm sure we can all agree it's positive for the film and its marketing.

It even briefly featured on Esquire's Culture blog. Begging the question how much of a 'leak' it was in the first place...

Edited by Dustin, 03 October 2012 - 11:05 AM.

[SecretAgentFan]

Am I paranoid or do I hear the same chord progression and parts of the song´s melody in the "iFly"-cue?

Could that actually mean that it is Newman´s cue ("iFly") and that he used the song in his score?

[Vauxhall]

Am I paranoid or do I hear the same chord progression and parts of the song´s melody in the "iFly"-cue?

Could that actually mean that it is Newman´s cue ("iFly") and that he used the song in his score?

I'm no chord progression expert, but I'll bump up the Coca-Cola Zero advert link just in case others can help.

[Dekard77]

Skyfall is where we start lyric is very childish……………………………….

[Vauxhall]

Skyfall is where we start lyric is very childish……………………………….

Why's that? We're trying to keep lyrics discussion in this thread for those who are avoiding listening to the track until the film is out, but I'd say one thing:

Spoiler

Depending on from whose point of view the song is being sung, "Skyfall is where we start" may very well be one of the lines of the song linked closest to the actual plot and back-story of the movie, so I think it's very important, and not at all "childish".

[Dekard77]

Sorry about the post! I didn't watch the trailers with the sound nor did I read any plot or synopsis.
I meant the way she sang that line was very childish. No idea about the meaning of the song. I don't want to know until I have finished watching the movie.

As a defender of AWTD I have to say that I love it. It sounds like Bond song. Doesn't have the elegance of Barry but certainly not as bad as most claim it. In short it gives Bond a tough feel. Credit sequence blends in well.

[Vauxhall]

Sorry about the post! I didn't watch the trailers with the sound nor did I read any plot or synopsis.
I meant the way she sang that line was very childish.

Ah, understood now! My mistake.

Yes, I'm looking forward to hearing the full version of the track to hear if there's a large crescendo towards the end of the song where Adele can really show off her voice on a few high notes. I can also imagine it working very effectively over a reflective title sequence from Daniel Kleinman.

[Dekard77]

Sorry about the post! I didn't watch the trailers with the sound nor did I read any plot or synopsis.
I meant the way she sang that line was very childish.

Ah, understood now! My mistake.

Yes, I'm looking forward to hearing the full version of the track to hear if there's a large crescendo towards the end of the song where Adele can really show off her voice on a few high notes. I can also imagine it working very effectively over a reflective title sequence from Daniel Kleinman.

Agreed, feeling now that we heard this song a bit too early. Maybe two weeks prior to release would have been enough. Your right about Adele hitting a few high notes maybe then I might actually enjoy it better. I started liking Adele initially but one day having a long listen to her first album on the way back from the beach put me into such a miserable mood I couldn't take it anymore. There is a lovely remix of her song Set fire to the rain with Daft Punk which is the only song I can listen to over and over again but for the moment I don't like her take on Skyfall.

[Shrublands]

I meant the way she sang that line was very childish.

What?

As a defender of AWTD I have to say that I love it.

Sorry, it contains the line, “slick trigger finger for her majesty” and therefore is sub-childish idiocy.

[The Shark]

I liked when the percussion kicks in, but quickly realised that the drumming sucked too.

How so? I'm a musician myself, and liked the drumming, Though it had a nice bluesy groove to it. Slightly behind the beat, and the kick has a real punch to it.