Spectre title song - Writing's on the Wall

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Comments

  • edited October 2015 Posts: 2,081
    bondjames wrote: »
    patb wrote: »
    Kanye West or similar? pleaaaaaaaaaaaaaaaaaaaaase no! Bond is not "bad-ass"

    I'd rather have Justin Bieber in a duet with One Direction doing a Bond theme, hell two Bond themes! than Kanye even doing one note of a Bond theme.

    I'm open to Kanye on the mix. He's a very talented chap. However, he's a prima donna, and as I said above, we can't have that. Hip hop, if done sparingly and with style, can work, combined with other influences in the song. It's all about execution.

    Prima Donna is putting it mildly, he has a God complex combined with no manners at all.

    Really? Oh. Well, maybe it's better I don't know any more about him than I know his music. I only sort of know he's both popular and very not popular.

  • I though this latest Spectre theme would sound better with visuals, but I was wrong indeed
  • dominicgreenedominicgreene The Eternal QOS Defender
    Posts: 1,756
    Matt007 wrote: »
    Hip hop and bond go together like caviar and angel delight.

    Last time bond overtly tried to appeal on that level was DAD. And we all know what happened there.

    I don't think so. An alternative theme worked for Casino Royale when it's really good. Same could go for hip hop. Kind of Great Gatsby-ish elegance vs contemporary.
  • Posts: 2,081
    Matt007 wrote: »
    Hip hop and bond go together like caviar and angel delight.

    Last time bond overtly tried to appeal on that level was DAD. And we all know what happened there.

    I don't think so. An alternative theme worked for Casino Royale when it's really good. Same could go for hip hop. Kind of Great Gatsby-ish elegance vs contemporary.

    I absolutely hated the contemporary music in Gatsby, eww... really took me out of the movie, too.

    Can barely comment on hip hop or rap with Bond. Just not my kinda music at all.
  • edited October 2015 Posts: 25
    How about.........




    Been digging him for some time now.
    Oh and he's British
  • Posts: 1,314
    Why not hip hop for Star Wars? Imagine the new one with a dub step track over the back of it. Or an electro one. Na. Bond doesn't need overtly contemporary music.

    A modern twist yes, but melody is king IMO.
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,959
    @Tuulia, that was probably one of my bigger complaints with 'The Great Gatsby': that horrible contemporary music that completely took me out of the mood and feel of the film. The movie was stripped of something great, such as classic jazz, and riddled with awful hip-hop and rap music of today.
  • Posts: 2,081
    @Creasy47, that's how I felt, too. not only was the music terrible in itself, it really, really didn't fit at all. A terrible choice of music, but it must have worked for some people then...
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,959
    Tuulia wrote: »
    @Creasy47, that's how I felt, too. not only was the music terrible in itself, it really, really didn't fit at all. A terrible choice of music, but it must have worked for some people then...

    The sad thing about it was that the director stated he went with contemporary music so the "younger generation could enjoy it." If this 'younger generation' doesn't enjoy a classic such as 'The Great Gatsby,' then they most certainly won't go and see it just because it has some cool songs on it that they like and can listen to in their free time. Bad choice, ruined it for me.
  • Posts: 4,622
    bondsum wrote: »
    Sandy wrote: »
    @bondsum he paid it's in his lower top 10, not his lower ranking.
    The only thing I got from his video is that his friends have a better taste in music. I won't be clicking on anymore of Calvin's insightful reviews, that's for sure.
    Couldn't get what he was going on about. Seemed he felt a need to justify his like for awful new Bond song.
    Turned him off after a min. Needs to get off fence. Probably secretly of #worstBondsongever persuasion. Just can't bring himself to face reality that a Bond song could be so bad.

    Truth is 3 of last 5 have been horrid. Prior to that we had 19 straight worthy, often brilliant, efforts.
    The new millennium = dark days of Bond songs, but WOTW is the biggest miss of all.
  • bondjamesbondjames You were expecting someone else?
    edited October 2015 Posts: 23,883
    timmer wrote: »
    Truth is 3 of last 5 have been horrid. Prior to that we had 19 straight worthy, often brilliant, efforts.
    The new millennium = dark days of Bond songs, but WOTW is the biggest miss of all.

    I never thought about that before, but I personally think you're right, @timmer. Dark days indeed.....they've alternated between good and awful over the recent past imho, so B25's song is likely going to be brilliant. Here's hoping...
  • Posts: 4,622
    Yes, @bondjames YKMN and SF are both worthy efforts, but not the other 3, thus if pattern holds there may be hope for B25.
    Then again maybe WOTW has launched us into the abyss and there is no return. Shudder.
  • edited October 2015 Posts: 10

    You know what? The song above, sung from Madeline's perspective, would have been absolutely amazing. I'm waiting to pass judgement on Smith's song until I see the title sequence, but I really do feel like we got ripped off in a way. I've listened to the song at least twenty times, and there's no definitive part of it that I can even remotely remember. It literally has no beat at all.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited October 2015 Posts: 4,509
    Dutch Top 40 update: In the second weak the song go from the 37th place to 35.

    Back in 2012 Adele Skyfall go to number 1 in the second weak and stay there for 6 weaks.
  • Posts: 198

    Well, this kind of music is fantastic and it would really be a bold move to get this as the theme title. At least something different, though the mood is spot on for a Bond movie!

    But hey, EON won't take chances and choose for a real artists. They choose who is popular, not who's making interesting/great music.
  • TripAcesTripAces Universal Exports
    Posts: 4,582
    In terms of hip-hop, The Weeknd could pull it off.
  • 4EverBonded4EverBonded the Ballrooms of Mars
    Posts: 12,480
    M_Balje wrote: »
    Dutch Top 40 update: In the second weak the song go from the 37th place to 35.

    Back in 2012 Adele Skyfall go to number 1 in the second weak and stay there for 6 weaks.
    Interesting. Thanks for that perspective.
  • Posts: 187
    TripAces wrote: »
    In terms of hip-hop, The Weeknd could pull it off.

    I second this. Not a big hip-hop / urban guy but I will be the first to admit I love The Weeknd and his music.
  • bondjamesbondjames You were expecting someone else?
    edited October 2015 Posts: 23,883
    M_Balje wrote: »
    Dutch Top 40 update: In the second weak the song go from the 37th place to 35.

    Back in 2012 Adele Skyfall go to number 1 in the second weak and stay there for 6 weaks.

    I'm not surprised at all. It had good hype out of the gate with the UK #1 (although it's since declined and Bieber is back on top) but I didn't think it would necessarily have 'legs'. It seems to be under performing relative to SF in other markets as well from what I've heard.
  • Posts: 2,081
    Creasy47 wrote: »
    Tuulia wrote: »
    @Creasy47, that's how I felt, too. not only was the music terrible in itself, it really, really didn't fit at all. A terrible choice of music, but it must have worked for some people then...

    The sad thing about it was that the director stated he went with contemporary music so the "younger generation could enjoy it." If this 'younger generation' doesn't enjoy a classic such as 'The Great Gatsby,' then they most certainly won't go and see it just because it has some cool songs on it that they like and can listen to in their free time. Bad choice, ruined it for me.

    I completely agree with you, and that sounds like a really lame excuse for making such a decision with the music anyway. Besides, it's not even like the movie was specifically for teen audience or something. I don't mind a movie having music I don't like if it fits the story - I wouldn't want Harsh Times soundtrack even for free, but... well, it's not like one could put Annette Hanshaw or her contemporaries on that soundtrack, it just wouldn't fit. I can imagine the next time we get a movie about Beethoven or Mozart they'll be seen composing some modern crap...
  • Creasy47Creasy47 In Cuba with Natalya.Moderator
    Posts: 40,959
    Tuulia wrote: »
    Creasy47 wrote: »
    Tuulia wrote: »
    @Creasy47, that's how I felt, too. not only was the music terrible in itself, it really, really didn't fit at all. A terrible choice of music, but it must have worked for some people then...

    The sad thing about it was that the director stated he went with contemporary music so the "younger generation could enjoy it." If this 'younger generation' doesn't enjoy a classic such as 'The Great Gatsby,' then they most certainly won't go and see it just because it has some cool songs on it that they like and can listen to in their free time. Bad choice, ruined it for me.

    I completely agree with you, and that sounds like a really lame excuse for making such a decision with the music anyway. Besides, it's not even like the movie was specifically for teen audience or something. I don't mind a movie having music I don't like if it fits the story - I wouldn't want Harsh Times soundtrack even for free, but... well, it's not like one could put Annette Hanshaw or her contemporaries on that soundtrack, it just wouldn't fit. I can imagine the next time we get a movie about Beethoven or Mozart they'll be seen composing some modern crap...

    A modern day retelling of Beethoven or Mozart as an up-and-coming rapper. Don't give them any ideas!
  • Posts: 2,081
    Ooops.

    :))
  • edited October 2015 Posts: 1,009
    WOTW is a boring piece of MOR (and MOR isn't bad at all: Matt Monro's song for FRWL is a glorious example of high quality crooning), maybe even worse than Only Myself To Blame, which ended up wisely rejected.

    Wedding Party and the aforementioned OMTB have a serious contender for worst Bond song. For me, even that terrible Une chanson d'amour from NSNA is more listenable.
  • BondJasonBond006BondJasonBond006 on fb and ajb
    Posts: 9,020
    km16 wrote: »
    TripAces wrote: »
    In terms of hip-hop, The Weeknd could pull it off.

    I second this. Not a big hip-hop / urban guy but I will be the first to admit I love The Weeknd and his music.

    I love the album of The Weeknd, not sure what it has to do with hip hop though, it's clearly very Michael Jackson-ish in places.
  • edited October 2015 Posts: 2,015
    M_Balje wrote: »
    Dutch Top 40 update: In the second weak the song go from the 37th place to 35.

    Back in 2012 Adele Skyfall go to number 1 in the second weak and stay there for 6 weaks.

    Skyfall vs WOTW in France :

    276335Capturead.jpg

    764463Capturess.jpg

    Yes it's already out Top #200 if I understand it well.

    I still have to hear WOTW on the radio, while Skyfall would play in the grocery store even 1 year after...
  • TreefingersTreefingers Isthmus City, Republic of Isthmus
    Posts: 191
    The Bond franchise is one of the few safe havens away from hip hop, let's keep it that way. And it's not that I hate hip hop though, I just don't think they'd quite fit together.

    But if they do go down that road, I certainly don't want that asswipe Kanye West doing it! There are way many other better acts.
  • MrLunnMrLunn Lunnigham
    Posts: 60

    Tuneraker


    Great Article from Popbitch.

    Weird though it seems, Sam Smith's song – Writing’s On The Wall – has become the first Bond theme ever to top the charts. How has Sam Smith managed it? We stripped all twenty-three Bond songs down to their bare essentials to see if there was any explanation for it. Any explanation at all.

    BondTop2
    BlueHatching2 Shirley Bassey couldn’t do it. Paul McCartney couldn’t do it. Louis Armstrong, Tina Turner, Tom Jones, Madonna – none of them could do it.

    Award-winning composers and lyricists tried and failed. Multi-platinum artists with record-breaking chart-toppers couldn’t crack it. Even Adele – who walked away with an Oscar for her attempt – didn’t manage it.

    And yet, somehow, Sam Smith has done it. With a song he claims took twenty minutes to write, Sam Smith has gone and taken a Bond theme to number one.

    How did he do it? A world-weary cynic will tell you that this is because it’s much easier to get a number one record in 2015 than it ever was in 1965. The charts aren’t competitive anymore. Anyone can get a number one now. You can sell more records going door to door. Et cetera, et cetera.

    There’s some evidence that would appear to bear that theory out. If you look at the charting history of Bond themes over time, you can see there are far fewer flops these days. In the last 25 years, nothing has charted below Number 20 even though the songs themselves are rarely considered classics.

    BondThemesCharts3

    True though it may well be, it’s a fairly dull reason to give – and it doesn’t go any way to explaining why both Adele’s Skyfall and Duran Duran’s A View To A Kill both stalled at number two, nearly thirty years apart, despite both songs being released at the height of the artists’ peaks.

    So if the charts are so easy nowadays, why did Skyfall miss out? What is it about Writing’s On The Wall that has ‘NUMBER ONE SMASH’ written all over it? What was missing from enduring classics like Goldfinger, Nobody Does It Better and We Have All The Time In The World?

    The only way to know for sure is to pull them all apart into their constituent bits and pieces and go pattern-searching.



    Timing

    Let’s start with something very simple – the timing. Can we ascertain how long an ideal Bond theme should be?

    BondThemesTiming

    As you can see, the general trend shows that Bond themes have been gradually increasing in length over the last 50 years.

    Before Duran Duran’s A View To A Kill in 1985, not a single one of them was longer than three and a half minutes. Then a-ha breached the four minute mark with The Living Daylights in 1987 and few themes since have dipped back down below 3:30.

    This marked a watershed moment. For not only was this the point where Bond themes began to consistently break the Top Twenty, it was also the point where Bond themes began to be routinely chopped up in order to fit the films’ opening credits sequence.

    Take The Living Daylights. The single version of The Living Daylights is 4:04. Obviously 4:04 is far too long to have an audience just sitting and reading the names of executive producers, production supervisors and second unit directors (no matter how many sexy silhouettes you have shimmying about behind them) so it got trimmed down to 2:49. More than a minute of Morten Harket left on the cutting room floor.

    A savage cut, but one that worked. The movie was a commercial success, a-ha got themselves a Top Five hit and pop fans still got themselves a decent length single for their money.

    Every Bond song since has followed this pattern. It has been written overlong and then left at the mercy of editors, who unceremoniously lop out a chunk of it to fit the films’ needs. (Except for Goldeneye – because Bono and The Edge appear to be the only modern pop composers who know how to work to a commission).

    Will the same thing happen to Sam Smith’s song? Undoubtedly. Writing’s On The Wall is one of the longest Bond themes ever written – third only to Sheryl Crow’s Tomorrow Never Dies (4:57) and Adele’s Skyfall (4:46). So even though he is in keeping with the current best practice, Sam can still expect to see a good sixty seconds of his song get snipped out of the opening sequence.

    That’s no bad thing though, because long Bond singles seem to sell best. Four of the five biggest Bond hits to date (A View To A Kill, Die Another Day, Skyfall and Writing’s On The Wall) are all longer than 3:30; and the only three which failed to chart (The Man With A Golden Gun, Moonraker and All Time High) are all shorter.

    There’s another reason that Writing’s On The Wall song goes on for so long though – and it’s this…



    Tempo

    With the exception of the piano-led intro to Live And Let Die, Writing’s On The Wall is the slowest-paced piece of Bond music to date. But where Live And Let Die ramps things up after 45 seconds and bursts into the franchise’s fastest riff, Sam Smith has decided to keep plodding along at a sluggish 66bpm for the full four and a half minutes.

    How does that tempo compare to the rest of the canon?

    BondThemesTempo

    All in all, the average tempo of a Bond song is 104bpm. By strange coincidence that is also the exact same tempo marking of Goldfinger (which is often polled as being the definitive, quintessential Bond theme) – but we are working with a wide range here.

    There has always been a mix of speeds throughout the series. You have the slower, tender, more reflective numbers like We Have All The Time In The World, For Your Eyes Only and Moonraker. Then there are the faster, punchy, full throttle numbers like The Man With A Golden Gun, A View To A Kill and Another Way To Die.

    Writing’s On The Wall is, without question, the slowest of the lot. That’s true not only of the physical tempo, but the general feel of it too.

    It stands to reason that it would be. Sam Smith has the air of a moper. A Facebook sulker. A millennial Morrissey. The sort of nightmare boyfriend who drags you out of parties to complain about the way you’re ignoring him. A solemn, overly-earnest ballad is exactly his forte.

    But compare him to Carly Simon. Nobody Does It Better is only actually a few beats per minute quicker than Writing’s On The Wall but Nobody Does it Better doesn’t seem to be anywhere near as slow. Why is that? There’s a few reasons.

    Partly it’s the choice of percussion. Carly Simon uses a full drum kit in Nobody Does It Better with the hi-hat marking out an 8-beat rhythm (the cymbal being played twice per beat); whereas Sam Smith’s primary percussion is the piano, which either marks out a 4-beat rhythm (slower, one chord per beat) or, in places, a 2-beat rhythm (slower still, one chord every two beats).

    Carly Simon also changes chord twice in each bar – a trick which gives the song the drive of something twice the speed. Sam Smith, on the other hand, relies on a string-heavy orchestra which produces slow, swelling, drawn-out chords – many of which last the full length of the bar. The huge gravity of that sound, combined with the slow count, makes for an incredibly lumbering piece.

    However, this is all to Sam’s credit – as it seems to be that fast or slow are the way to go. Hitting the mid-tempo middle ground of 100bpm seems to be pretty deadly for Bond. Two of the non-charters (Moonraker and All Time High) were paced at 101bpm and 105bpm; while none of Goldfinger (104bpm), Thunderball (96bpm) or Diamonds Are Forever (96bpm) broke the Top Twenty.

    -

    A SLIGHT SIDE NOTE: For a character that trades so heavily in innuendo, there aren’t a great number of a sex jokes hidden inside the soundtracks of James Bond. One of the tracks on the A View To A Kill OST has the title Snow Job, but a slightly more subtle gag? The tempo marking for Nobody Does It Better.

    Nobody2



    Key

    Let’s delve a little deeper into the technical side of things. What keys are most favoured by Bond theme composers?

    BondKeys2

    The three most popular keys for a Bond theme to be recorded in are E, G and B. This is not really a surprise. The notes E, G and B – when played together – make up an E minor chord, and E minor is the key of Monty Norman’s original James Bond Theme (the classic surf rock riff from the gun barrel sequence). It is therefore relatively easy to segue from the James Bond theme into a song recorded in E, G or B – so it makes sense that these keys would appear more frequently than others.

    Writing’s On The Wall is written and recorded in F minor. The other two songs to be recorded in F are Nobody Does It Better (which reached No.7) and Garbage’s The World Is Not Enough (which reached No.11).

    Not a key that has seen dizzying success previously, but one that shows some consistency (unlike E, G and B, which have all turned out some absolute turkeys).



    Key Changes

    You may have noticed that there were more than 22 dots on that little keyboard graphic above. If so, well spotted. Not much gets past you, eh? Well, those extra dots were added to account for the songs which involve some very significant key changes.

    The key change is a slightly complicated topic to discuss with film soundtracks, because soundtrack composers often have a different relationship to key than a pop composer does.

    Take songs like Goldfinger or You Only Live Twice – both of which were written by the series’ most celebrated soundtrack composer, John Barry. Both of these songs play fast and loose with their keys, often making unusual and arresting chord changes, or incorporating particular notes that aren’t a usual part of the established key’s scale. While the inclusion of these sorts of notes and chords indicates that the song may technically have changed key, they are only temporary modulations. The music will very quickly finds its way back to the original key. In these instances, such modulations can be written out easily on a score by altering a few notes, on a note-by-note basis.

    KeyChangeNancy



    When it’s out-and-out pop acts writing the theme though, the keys tend to be slightly more fixed. The chord changes they use are more traditional and predictable. The melodies are much less adventurous. If they ever do change key (and a handful of times they do) they tend to change key for a significant length of time. Enough to make it worthwhile changing the score’s key signature.



    KeyChange



    There are four songs that involve such significant key changes: Live And Let Die, All Time High, A View To A Kill and – the only one to employ the classic Westlife-standing-up-from-their-stool, once-more-with-feeling key change – Licence To Kill.

    Generally though, they’re best avoided – as Sam Smith seems to have realised.



    Tonality

    Like much of the rest of modern cinema, the Bond franchise has recently taken a turn for the gritty. But has Daniel Craig’s darker interpretation of Bond been reflected in the composition choices? Are the Bond themes predominantly major or minor?

    BondThemesMinorMaj2

    The prevailing darkness of Bond themes actually appears to have predated Daniel Craig. Minor keys have practically become de rigueur for Bond since the days of Pierce Brosnan – as every theme for the last twenty five years (from Goldeneye to the present day) has been in a minor key. As all of them have been at least a Top Twenty hit, it looks like minor keys are the safest bet and – given Hollywood’s current obsession with making every action movie dystopian, drab and colourless – it looks like this isn’t going to change any time soon.

    (FYI: That purple one which straddles major and minor is Live And Let Die. Its sung sections are in major keys, while the main instrumental riff – which makes up about half of the song’s running time – is in the parallel minor key.)



    Chords

    Never has a musical motif been so closely identified with one single character as it has with James Bond. Sure, you could make a good case for Jaws (the shark; not the henchman) and those low, ominous semitones. Norman Bates and that little stabby sequence from Psycho have become a part of the popular culture too. But with their various compositions over the years, Monty Norman and John Barry have essentially ring-fenced a handful of musical phrases and chords which now – whenever they’re used, in any context – immediately put people in mind of Bond.

    The most recognisable phrase is the rising and falling chord sequence in the James Bond Theme. It’s that shuffling, creeping bit where an E minor chord is followed by an E minor with a sharpened fifth, then up to an E minor sixth, then back down – which gets repeated over and over as the guitar jangles over the top, followed by the punchy brass, or swirling synths.

    MainThemeSheet



    Not only is this pattern used in all the films’ scores, the same progression crops up in the themes a lot too. The easiest place to spot it is in Goldfinger, under Shirley Bassey as she sings “He loves gooooooold / He loves only gooooooold” – but it makes cameos in Thunderball, Goldeneye, The World Is Not Enough, Skyfall and others too.



    GoldfingerSheet



    Though Writing’s On The Wall doesn’t use this particular progression, it does use one of the other well-known tricks in the James Bond bag: the infamous spy chord.

    The technical name for the chord is the ‘Minor Major Ninth’ – often styled ‘m(M9)’ – and it’s the one that usually punctuates the end of the song, ringing out on a guitar with that slightly spooky, dissonant sound. Sam Smith doesn’t use it excessively (nor exactly, for that matter) but it does make an incredibly brief passing appearance in his introduction.



    SamSmithMusic



    See that top note in the ringed chord? The one with the ♮next to it? That is an E natural, which is the Major 7th in the key of F. That’s the one which will fleetingly change that Fm(add9) you can see to an Fm(M7) giving it that distinctive Bond flavour.

    That tiny little note is pretty much all that separates the song from being the kind of ballad that finishes 18th in the Eurovision, and a successful Bond theme. Strange, isn’t it?



    Last Note

    And so we reach the end. The cherry on top. The final note. Shirley Bassey famously had to take off her bra to hit her final note in Goldfinger. Tom Jones claims he passed out when he sang his on Thunderball. Yes, an impressive belted note is a staple of the Bond theme. So how does Sam stack up?

    BondThemesLastNote

    The answer? Not so well. Despite giving it a go and trying to hold out for an impressive note he doesn’t even manage to beat out some of the notes that the often-ridiculed Sheryl Crow managed. (Although, admittedly, she does sound a lot less comfortable doing them.)

    However, as much as we might like to think it’s an all-important ingredient, the songs with big belted notes have actually been some of the least commercially successful. Goldfinger, Thunderball and Diamonds Are Forever all failed to make the top twenty; All Time High only reached number 75 in the charts. Adele is the only one who makes a convincing case for long notes to be a good move for a chart-topping Bond theme, and hers only came out a few years ago.

    Meaning that Sam Smith was probably right to cut out when he did.



    In Conclusion

    So how many feet did Sam Smith put wrong? Given the lukewarm critical reception that the song has received we initially thought the answer would be ‘loads’. Having pulled everything apart though, he actually seems to have done everything by the book.

    Above 3:30? Check.
    Dramatic tempo? Check.
    Minor key? Check.
    No key change? Check.
    Inclusion of a James Bond motif? Check.
    Exclusion of the actual James Bond Theme? Check.

    It couldn’t have been more precisely engineered to be successful, yet critics been pretty vocal in their distaste for it. It’s everything we want from a Bond theme, and everyone seems to have bought it, yet nobody seems to be happy. But what were the producers to do? We say we want big, bombastic brass and slinky guitars, and powerful vocals, but then we go and make Skyfall – the bleakest, greyest movie of the franchise – the most successful. We’ve practically begged for Bond to become a washed-out, fallible, guilt-racked antihero, then we get all disappointed when they let Sam Smith whinny all over the opening credits?

    He might not have given us the Bond theme we want, but he’s given us the Bond theme we deserve.

  • TripAcesTripAces Universal Exports
    Posts: 4,582
    I wonder how many critics of WOTW have changed their minds after a few more listens.
  • bondjamesbondjames You were expecting someone else?
    Posts: 23,883
    TripAces wrote: »
    I wonder how many critics of WOTW have changed their minds after a few more listens.

    Not me. To avoid further ruining my anticipation for this great film, I've avoided listening to it since my early difficult attempts.

    I hope to be pleasantly surprised in the theatre by the visuals, and perhaps greater orchestration for the song.

    In the meanwhile, I've been listening to some of the classics from the past to tide me over and maintain interest until SP hits the big screen
  • Posts: 187
    km16 wrote: »
    TripAces wrote: »
    In terms of hip-hop, The Weeknd could pull it off.

    I second this. Not a big hip-hop / urban guy but I will be the first to admit I love The Weeknd and his music.

    I love the album of The Weeknd, not sure what it has to do with hip hop though, it's clearly very Michael Jackson-ish in places.

    His love for MJ is very apparent especially given he covered Dirty Diana on Trilogy.
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