473 replies to this topic

[MattofSteel]

Very much so. Wasn't hot on "Adrenaline", but I'm a huge fan of those two SPECTRE tracks. (EDIT: Strangely enough, I love Shanghai Drive. I'm peculiar).

 

The standouts for me are "Snow Plane" and "Madelaine".

 

The first is one of the most inventive and propelling (no pun intended) action tracks I've heard in recent memory.

 

The second is just simply beautiful. Might be my favourite romantic Bond motif of all time. The way that harmony lands combines beauty, sensuality, and finality in such an iconic way. It's emotional completion, in music - a sense of Bond finally securing it, perhaps. It evokes something that's deliberately different and more meaningful than so many of the other love/romance motifs we've heard in Craig's era, and I'd wager that's 100% intentional. It's almost got a palpable sense of relief - the pure pleasure and security of finally finding a woman you can let yourself love forever. 

 

Newman doesn't get near enough credit from this fan base.

[Professor Pi]

Article on Newman scoring SPECTRE with mention of radio broadcast discussing it this weekend:

 

http://www.houstonpu...ewmans-spectre/

 

Okay, starting to appreciate Newman a little more.

[sharpshooter]

I thought the score worked fine in the film. I'm not hung up about Newman re-using some Skyfall tracks. I think it did connect the two films musically, giving it the feel of a direct continuation. So I think the reasoning was sound - especially in bringing back 'Mother' and 'Skyfall'. Those two motifs are the core DNA from Skyfall. 'Skyfall' during the funeral was perfect, IMO. Hinting at Bond's childhood origins with Oberhauser, as well as creating a ghostly, foreboding atmosphere. 'Mother' is a strong cue, and Newman's motif for Dench, so why not bring it back?  

 

And as well know, the majority of the score is all new. 'Silver Wraith' is probably my favourite at the moment, and 'Madeleine' is superb for the reasons MattofSteel mentions above. These two tracks stood out most to me during the film. Snow Plane and Backfire suited their scenes. Especially Snow Plane. 

[The Shark]

I like the new material and some of the callbacks to Skyfall are appreciated, but more often than not--the wholesale cannibalising of cues such as Quartermaster (Bond escapes collapsing hotel in PTS), Grand Bazaar (helicopter struggle, car chase) gives the impression of a temp score. It's as if the Mendes and the editing team structured their cut around tracks passed from Skyfall, and asked Newman to conform to these, with slight embellishments in the orchestration and texture.

 

Others have mentioned the PTS while possibly the highlight of the film, still feels off, I reckon Newman's score has something do with it.

[AMC Hornet]

"Blindfold" is when Bond's being taken to MI6 in the back of the truck, while Q etc. pick up M and race toward CNS. "Careless" is Bond following the arrows, intercut with Mallory confronting C. "Detonation" begins with Blofeld pressing the button.

I have my copy of the soundtrack now.

 

Quite right - Careless and Los Muertos Vivos Estan are my favorite tracks so far.

[deth]

I like the new material and some of the callbacks to Skyfall are appreciated, but more often than not--the wholesale cannibalising of cues such as Quartermaster (Bond escapes collapsing hotel in PTS), Grand Bazaar (helicopter struggle, car chase) gives the impression of a temp score. It's as if the Mendes and the editing team structured their cut around tracks passed from Skyfall, and asked Newman to confirm to these, with slight embellishments in the orchestration and texture.

 

Others have mentioned the PTS while possibly the highlight of the film, still feels off, I reckon Newman's score has something do with it.

 

 

Well said, and it's quite possible that some of this originated at the temp stage. A bit of a shame, really.

 

As for the PTS, the best parts of the action of screen are those that have original musical content to accompany it... it's probably a coincidence, but perhaps not.

[sharpshooter]

Close Shave is also used again for Moneypenny.

[Orion]

Hey, been away from the forums last few weeks so am playing catch up, is there a list of the order the tracks appear in within the film itself?

[Harmsway]

I like the new material and some of the callbacks to Skyfall are appreciated, but more often than not--the wholesale cannibalising of cues such as Quartermaster (Bond escapes collapsing hotel in PTS), Grand Bazaar (helicopter struggle, car chase) gives the impression of a temp score. It's as if the Mendes and the editing team structured their cut around tracks passed from Skyfall, and asked Newman to confirm to these, with slight embellishments in the orchestration and texture.

A very possible scenario.

[Professor Pi]

Hey, been away from the forums last few weeks so am playing catch up, is there a list of the order the tracks appear in within the film itself?

 

It seems pretty much the order on the CD, except for the source music Day of the Dead (track 18) which is sequenced at about the torture scene, but really should be track #2, chronologically.

[Mr_Wint]

Best parts:
* The last 30 sec of "Safe House".
* Choir in "Backfire"
* Build-up to Blofelds re-apperance in "Careless"

Best overall tracks are "Snow-plane", "Los Muertos Vivos Estan" and "Writing's On The Wall (instrumental)".

[DaveBond21]

I notice that "Westminster Bridge" has a short blaring tribute to Thunderball.

[sharpshooter]

I'm really familiar with the SPECTRE soundtrack now, and I think it's just as good as Skyfall. Newman has cemented his position as my second favourite Bond composer. His soundtracks aren't universally loved, but they click with me.

[MattofSteel]

I'm not loving it quite as much as Skyfall's, but it's still very good. Many, many individual highlights.

 

Madelaine's theme is one of the series' most beautiful love motifs. The harmonic sequence Newman's using there says so much about the narrative around it. Powerful stuff.

 

"Donna Lucia" is far from a "Severine" clone. Again, Newman somehow perfectly captures the emotion and uniqueness of that scene musically - and emphasizes what makes it different from Madelaine's material.

 

"Snow Plane" is an amazingly propulsive and inventive action track. I don't think tension and pace have ever been simultaneously captured quite that effectively in a Bond score before. 

 

"Backfire" is a definitive dismissal from Newman of the ridiculous notion that he can't handle contemporary Bond action music. Powerful, iconic, and elevating. Even with the Skyfall repetition.

 

"L'Americain" is wonderfully complex and ends in such a subtly iconic way.

 

...and Los Muertos Vivos Estan is quintessentially Bond. One of the best collective musical sequences to open a Bond film - maybe ever.

 

My only real complaint is that there's an unreleased "Q's cue" from the initial scene in his lab that's as of yet unreleased. It starts in the film when Q completes the smart blood injection and continues up until the start of "The Eternal City." Wonderful bit of Bond theme ambience that's sorely missed on the album.

[Professor Pi]

The Pale King (wish it were longer) and Secret Room too.  But I lose interest after A Reunion.

[Arbogast777]

The Pale King (wish it were longer) and Secret Room too.  But I lose interest after A Reunion.

 

Westminster Bridge doesn't do anything for you?

[The Shark]

 

The Pale King (wish it were longer) and Secret Room too.  But I lose interest after A Reunion.

 

Westminster Bridge doesn't do anything for you?

 

I like the Thunderball quote, but that one note motif from The Moors was dull even the first time round. 

[mattjoes]

I just want to say I love how well spotted the helicopter sequence is. It reminds me of the Bond-Franks fight in Diamonds are Forever. No music at all --just the sound of kicks, punches and the helicopter engine-- until Bond takes the ring. Then the reprise of Grand Bazaar and the lovely segue into Writing's on the Wall.

[graric]

One part of the score that I haven't heard much discussion about is the little piano motif that serves as abit of a Bond/ Madeline romance motif (it's heard during Secret Room, in the middle of Safe House and in Out of Bullets.)

While it is abit of the minimalist side (rather than being a full blown theme)- it's a small piece of the Spectre soundtrack that has really grown on me.
(Especially it's use in the film at key points in the relationship between Bond and Madeline.)

[Professor Pi]

 

The Pale King (wish it were longer) and Secret Room too.  But I lose interest after A Reunion.

 

Westminster Bridge doesn't do anything for you?

 

 

No.  I tried listening to it again and gave it an honest try too.  That motif from The Moors just drags on, and it was also in Careless the track before.  I do like Safe House, however.

 

Where is the Thunderball reference I'm supposed to be hearing?

[sharpshooter]

Where is the Thunderball reference I'm supposed to be hearing?

The Bond theme which blares early on during Westminster Bridge. 

[Professor Pi]

 

Where is the Thunderball reference I'm supposed to be hearing?

The Bond theme which blares early on during Westminster Bridge. 

 

 

I have to re-listen to Thunderball.  Makes sense.

[AMC Hornet]

Post moved.

[Matt_13]

I can say with absolute confidence that Los Muertos Vivos Estan is my favorite Bond track of all time. It exudes such a sense of effortless cool. The rest of the soundtrack was okay, but nothing else really stands out like that opening track. I will admit that I had a big, stupid grin when the horns blared the Bond theme as Bond began firing on the helicopter at the end. Fun moment.

[Single-O-Seven]

OHMSS night tonight!

Lessee...

Champagne? Check.
Caviar? Check.
Foie gras? Check.
Smoked Salmon? Check.
Ruffled shirt & bow tie? Check.
Beloved newlywed bride to watch it with? Check!

Be mindful of your new bride!! Don't dare stop to give her flowers, and don't jinx the moment saying you have all the time in the world!

[AMC Hornet]

I'm still trying to figure out how this post ended up here. I thought I was in the 'What film do you feel like watching?' thread.

[sharpshooter]

I can say with absolute confidence that Los Muertos Vivos Estan is my favorite Bond track of all time. It exudes such a sense of effortless cool.

Yeah, lovely track. SPECTRE's version of 'New Digs'. When Bond says he won't be long and steps outside, the cue really begins to swagger.

[Single-O-Seven]

I can say with absolute confidence that Los Muertos Vivos Estan is my favorite Bond track of all time. It exudes such a sense of effortless cool. The rest of the soundtrack was okay, but nothing else really stands out like that opening track. I will admit that I had a big, stupid grin when the horns blared the Bond theme as Bond began firing on the helicopter at the end. Fun moment.

 

 

It is a great track, and so far the only one I've purchased from iTunes off the soundtrack. Nothing else has really caught my ear or piqued my excitement the way listening to that track over and again has been able to.

[Professor Pi]

While rewatching SPECTRE a fourth time, I noticed a lot of music not on the CD.  For example, there's more music in the PTS when Bond starts prevailing on the helicopter.  Also, and this was the best use of Newman using cues from Skyfall, he rescored the "Quartermaster" theme from Skyfall while Bond was in the torture chair trying to activate the watch Q gave him.  Perfect.

[MattofSteel]

While rewatching SPECTRE a fourth time, I noticed a lot of music not on the CD.  For example, there's more music in the PTS when Bond starts prevailing on the helicopter.  Also, and this was the best use of Newman using cues from Skyfall, he rescored the "Quartermaster" theme from Skyfall while Bond was in the torture chair trying to activate the watch Q gave him.  Perfect.

 

That subtle Quartermaster thread in the torture chair was brilliant.

 

Many of the Skyfall recycles work perfectly well. The latter half of the helicopter fight and Rome chase both make great use of "Grand Bazaar", for example. And the recycling of the "Skyfall" cue itself whenever Bond or another character thematically confront an element of the past worked well. 

 

The only bits that might have bothered me were - 

• "Close Shave" reprisal for Moneypenny chasing Bond down in the courtyard. It's not a character theme (whatsoever) and that piece was originally written for something so different and tonally specific. Felt totally wrong where it was used in SPECTRE.
• The use of that "Someone Usually Dies" Bond theme motif as, basically "filler/background music" for a couple of SPECTRE scenes (M on the phone to Q on the Tokyo balcony, Bond and Madelaine arriving at Q's room at the Pevsner). Again - wonderful piece in Skyfall, written for something very specific, and then dragged into SPECTRE and dropped in basically just to be noise. Feels like a lazy disservice to what was originally such a brilliant track.
• How structurally identical Skyfall's "Brave New World" and SPECTRE's "The Eternal City" are. You might as well just call it "Newman's Bond leaves on his mission template cue" (although the latter track redeems itself a bit with that haunting choir).
• The verbatim lift of the "With Pleasure" track from Skyfall's final scene for use again in SPECTRE's. It might literally be the same recording. Admittedly: it's terrific, and fits the SPECTRE ending like a glove.

 

Ironically, the one piece I wish Newman would have re-used would be the 1:40-2:10 bombastic Bondness in Skyfall's "The Bloody Shot" (that shows up again in "Deep Water" at 0:45). That's my favourite bit of modern-era Bond score.