1942 replies to this topic

[Dustin]

Oh my...


Edit: This is bound to stay controversial, it's trademark Smith with only very little to suggest it as a conventional choice for a Bond song. I would say it's probably one of the least 'obvious' Bond songs, even more so than AWTD.

[thecasinoroyale]

Yeah on my 2nd listen and there is so much promise when it starts the:
 
"If I risk it all

Could you break our fall..."

 

It's like YES - come on Sam, you can do it! Power, get that power there and capture that swell of Bond triumph.

 

And then the wet fish flops on deck with tinkly piano and that god-awful falsetto sounding like some Michael Jackson ballad.

[Vauxhall]

Universal are being very sharp on YouTube copyright. I've seen two videos muted or deleted within just 3 or 4 minutes of attempting to upload the song. Most impressed I've been all morning...

[deth]

It does grow on you... but there's so much filler in this song.

[Vauxhall]

Quite a few saying it reminds them of Michael Jacksons 'Earth Song' - even Radio 1 are having a little dig!
 
https://twitter.com/...313013293215744

Haha! I knew the build-up reminded me of something but couldn't quite put my finger on it... That's it!

[Navy007Fan]

Okay, gave it a good listen, and while it is not as good as YKMN or Skyfall, it did not make me say "WTF?" like AWTD did.  I'll reserve final judgment until after I see the film and assess how well the song works with the opening credits.  Question, has anyone heard the orchestral version of this yet?  I know it is included with the CD version of the song, is it on iTunes along with the single? 

[univex]

I hate it as much as I´ve always hated Michael Jackson. Adele was Beethoven compared to this gobshite of a song. It now sits down there with TMWTGG song and with Madonna´s poor effort for DUD. Oh well, first thing about SPECTRE I don´t like. Not bad, I´d say. It could work with decent imagery though. And yes, I prefer the lousy little thing that is AWTD to this, even though it´s crap as well. No Good about Goodbye and Surrender were awesome lost opportunities at the time. I dare to say even Radiohead would be interesting compared to this. Damn, I really, really don´t like this guy´s voice. And the melody could very well be a part of the score; but only that, never a main theme. Awful, as far as i´m concerned. Sorry. Rant over. 

[DamnCoffee]

I'll still take this fan edit any day!

 

[Shrublands]

Oh my...


Edit: This is bound to stay controversial, it's trademark Smith with only very little to suggest it as a conventional choice for a Bond song. I would say it's probably one of the least 'obvious' Bond songs, even more so than AWTD.

 

I agree it's one of the least 'obvious' Bond songs. But I don't think it's that trademark Smith either. For me, it would seem at home in a Broadway musical like Wicked.

[killkenny kid]

Obviously, not for every Bond fan. I like it, well done Sam.

[Brimar]

I can see why people might be put off by the high vocals in the song, but honestly, the melody and orchestration (could not be more Barry-esque), the verses, the lyrics are beautiful and Smith really sings it all with emotion. The strings sound as Bondian as anything I can think of. And I also think the lack of too many backing tracks like percussion, will allow DK to give us a title sequence as great as any he's done before.

Mark my words, in time, after seen in context of the film, the song will be appreciated more than now for its simplicity and strength of Sam's vocals. But obviously not by everybody, I realize that.

I've seen the initial reactions to the last 4-5 themes and maybe with the exception of Skyfall all were met with a 'meh' reaction - even YKMN. I remember reading that Cornell's vocals were not suitable for Bond and it wasn't as edgy as CR needed. Then the film came out, the song blazed over the credits awesome title sequence in a great Bond film, and now the song is seen as great theme. Again, not saying by everyone.

The fact the vocals are front and center here show me Smith and co. are confident his singing will stand the test of time. And over time the strengths of the song will surface. I appreciate that in a song. Reactions on social media or Twitter are so knee jerk anymore I think seeing how it works with a general audience in the film is all that counts.

But if you don't like Smith then the song was highly unlikely to please you. I feel he gave it his all.

[dirtymind]

I can see why people might be put off by the high vocals in the song, but honestly, the melody and orchestration (could not be more Barry-esque), the verses, the lyrics are beautiful and Smith really sings it all with emotion. The strings sound as Bondian as anything I can think of. And I also think the lack of too many backing tracks like percussion, will allow DK to give us a title sequence as great as any he's done before.

Mark my words, in time, after seen in context of the film, the song will be appreciated more than now for its simplicity and strength of Sam's vocals. But obviously not by everybody, I realize that.

I've seen the initial reactions to the last 4-5 themes and maybe with the exception of Skyfall all were met with a 'meh' reaction - even YKMN. I remember reading that Cornell's vocals were not suitable for Bond and it wasn't as edgy as CR needed. Then the film came out, the song blazed over the credits awesome title sequence in a great Bond film, and now the song is seen as great theme. Again, not saying by everyone.

The fact the vocals are front and center here show me Smith and co. are confident his singing will stand the test of time. And over time the strengths of the song will surface. I appreciate that in a song. Reactions on social media or Twitter are so knee jerk anymore I think seeing how it works with a general audience in the film is all that counts.

But if you don't like Smith then the song was highly unlikely to please you. I feel he gave it his all.

 

I completely agree.

[The Shark]

The lyrics (once you can make them out) are problematic. If I didn't know anything about the film, I'd assume Bond will be a pathetic wreck, blubbering into his scotch.

[jamie00007]

Song seems to be taking a bit of a beating on social media, maybe more so than AWTD.

[univex]

The lyrics (once you can make them out) are problematic. If I didn't know anything about the film, I'd assume Bond will be a pathetic wreck, blubbering into his scotch.

Yes. Pathetic wreck is actually what comes to mind when I hear the song. What a whiny histerionicall crap this is. Sorry. Haven´t been this upset over Bond business since DUD and the editing of QOS. 

[antovolk]

I'm probably repeating myself - I think within the context of 1. the film and 2. whatever Kleinman comes up with in the title sequence, the song will work better.

Listened to it a few more times, it's definitely growing on me, especially the vocals. The orchestral backing is phenomenal IMO, I'll say this. A much slower and more haunting take on the classic Bond/Barry sound.

[Tiin007]

As I am technologically challenged, it took me a few minutes to properly access the song (my wife assured me that Spotify is safe). While I was struggling (and failing) to find it on youtube, I read many of the comments here, which made me fairly concerned. 

 

But after actually listening to it on Spotify, I rather like it. Is it the best Bond song? No. But it certainly isn't too bad, especially on repeat listens. And I honestly prefer it to Smith's atrocious "Stay with Me," a song whose popularity baffles me. 

 

And yes, I too LOVE the instrumental portions.

[Vauxhall]

I have to keep reminding myself this is a theme for a Bond movie, which probably isn't a good thing. Now resigning myself to looking forward to the instrumental version. Of course, need to wait until we see the titles - as at the moment, I just can't picture at all how it will fit.

[Dustin]

Oh my...


Edit: This is bound to stay controversial, it's trademark Smith with only very little to suggest it as a conventional choice for a Bond song. I would say it's probably one of the least 'obvious' Bond songs, even more so than AWTD.

I agree it's one of the least 'obvious' Bond songs. But I don't think it's that trademark Smith either. For me, it would seem at home in a Broadway musical like Wicked.

Well, trademark may be the wrong word. But it's recognisably Smith, even for a layman as I happen to be. Obviously many hoped for at least a temporary transformation.

That said, it would seem the choice of artist for the main titles song now is firmly in the hands of the marketing stargazers. Smith said he knew for a year now he was going to do it, so the dice fell well before the first frames of the film were even shot. That suggests it now comes down to whoever had a solid run one or two years ago. Without knowing Smith's entire work I would say this is something like I would have expected from him; but I would hardly have expected it as the next Bond song.

[tdalton]

I'm probably repeating myself - I think within the context of 1. the film and 2. whatever Kleinman comes up with in the title sequence, the song will work better.

 
It would have to.      
 
I would have gladly welcomed Adele back had I known this would be the end result. If this kind of choice in title song artist is what we can expect from the EON/Sony partnership, I think I might be in favor of EON leaving Sony and going elsewhere.

[Walecs]

I'll still take this fan edit any day!

 

 

Sounds like a Bond medley, actually, but it's pretty good.

[Vauxhall]

Positive review from the Telegraph:
http://www.telegraph...ll-song-review/

Negative review from the Guardian:
http://www.theguardi...wall?CMP=twt_gu

Edited by Vauxhall, 25 September 2015 - 01:01 PM.

[MattofSteel]

Absolutely a marketing-influenced decision. As it should be. But then again - with the right approach, any great Bond song - even from an obscure or past-their-prime artist - can work in the film's favour. But ultimately, even Bond isn't a given where box office is concerned. There's a degree of consideration that must go into 'eyeballs', or rather, eardrums. The title song artist can be, in marketing parlance, an "easy win."

 

Regarding WOTW - 

 

I like it. Quite a lot. It's not Skyfall, and I think that's the point.

 

I'm surprised by how personal and vulnerable the song is, almost the exact same way I was surprised how personal and vulnerable the film Skyfall was at the time. This might be the most Bond has ever been emotionally exposed through his music. 

 

Call it a subjective reaction, but going through something extraordinarily similar in my own life at the moment, this speaks to me. I have a major appreciation for what the song's trying to be. I think it quite confidently succeeds at conveying the emotional longing and fracturing that comes with this sort of thing.

 

And it's undeniably Bond-ish. The orchestral bits are simply phenomenal, and Smith himself stretches well into Bond-artist territory. Frankly, the song's exactly what I expected - and better.

 

All of that being stand, I completely understand why many aren't responding positively to it. The falsetto bits that bring the chorus to a grinding halt, in particular. They take the song's vulnerable quality to an extreme that it might not have needed to get the same message across.

[Matt_13]

Pretty much in agreement with everyone else. I hope it carries folks through Daniel Kleinman's titles, as to my ears it's not an especially exciting piece of music.

[mattjoes]

It's a fine melody, with good orchestral backing. For the most part, Smith's singing is okay, although it's not really my cup of tea. The part where he's utterly dreadful is when he hits those really high notes. He also seems to have a bit of a lisp, but nothing too serious.

I hope we're getting an instrumental. It'll be nice to hear somebody else sing it, bring those high notes down an octave perhaps. I suspect you could hand the melody over to a big string section and the theme would be dramatically improved. I hope Newman uses it frequently in his score.

[David_M]

Pinning a lot of hopes on Kleinman here.

 

Otherwise, thanks Sam for giving us a four-minute break to go buy our popcorn.

[Emrayfo]

Hmmm it might be a grower.

Parts I really like: the orchestration (wish it continued throughout the song, but I'm guessing that part will make a regular appearance in the film score); the vocalisation where "writing's on the wall" is sung.

Parts I don't really like: the falsetto doesn't really work for me.

Might be a slow burn. We'll see.

[0024]

Some time to digest and actually seeing it implemented with visuals will decide it's fate.  But it will never be a fave.  

 

My thoughts, precisely.  Most likely will never be a fave.  

 

I can't tell if it's better than AWTD, but it's definitely better than DAD.  I kept waiting, and then the song slightly swells, I'm thinking, "This!  Here is where it's really going to take off."  Alas, it doesn't really go anywhere.  I do like the orchestra, but it is very subdued.  Someone mentioned that there really isn't any percussion, and I think it does a disservice to the song because it never really kicks in.  Adele's bridge in Skyfall is always a highlight for me when she blasts, "Where you go I go, What you see I see... Of your loving arms, Keeping me from harm..."  There's some long-winded phrases in this song, too, with an atypical structure, for sure.

 

To paraphrase M, Christ, I miss David Arnold.

Edited by 0024, 25 September 2015 - 01:48 PM.

[thecasinoroyale]

I'll accept this with the titles and the edits and the comedown from Mexico City as I sit in the cinema opening night.
 
I love the music and the power that swells with "If I risk it all could you break my fall?"

 

Musically it's strong and lyrically it is good. Singing just doesn't work for me and as that is what I will be listening to, this will be one of those not repeated on my iPod and just listened to when I watch the movie.

[sharpshooter]

Song seems to be taking a bit of a beating on social media, maybe more so than AWTD.

Yeah. I said before I think this is perhaps better than AWTD. But I'm now not so sure. AWTD did have quite a catchy melody, but I didn't like the singing component. I don't like the falsetto choices in this song, so that's about even. The opening 15 seconds of WOTW are good, but the song never truly recaptures that elegant and dangerous atmosphere. I think Smith's song has the basis for something great, but it doesn't reach those heights. Truthfully, we're a long way from the likes of Paul McCartney, Shirley Bassey, Tom Jones and those performers. I don't think the song is terrible, but it's serviceable.