It looks like you're new here. If you want to get involved, click one of these buttons!
^ Back to Top
The MI6 Community is unofficial and in no way associated or linked with EON Productions, MGM, Sony Pictures, Activision or Ian Fleming Publications. Any views expressed on this website are of the individual members and do not necessarily reflect those of the Community owners. Any video or images displayed in topics on MI6 Community are embedded by users from third party sites and as such MI6 Community and its owners take no responsibility for this material.
James Bond News • James Bond Articles • James Bond Magazine
Comments
Not everyone is attached to the 60s aesthetic as you are. Just having a bunch of trumpets blaring doesn’t automatically make it good.
I don’t care for the Crow song mainly because of her vocals. But the instrumentals are actually a very good attempt at a modern Bond sound with the guitars.
Hear, hear.
100% agree. After Arnold, 007 soundtracks are bland and lifeless. Backseat Driver, Hamburg Break-Out, White Knight, wow. Classic 007. Not just some whimpering, lifeless strings.
That makes sense. Given that the scene seems to take place around 97 or 98 (she has a Giga Pet, which were introduced at that time), I'm glad CJF didn't have her listening to Hansen or Chumbawamba.
Edit: Indeed, that Louis Attaque track was released in 1997. The band was heavily influenced by Violent Femmes. Interesting.
You're not alone at all, though. I think "Surrender" is close to the epitome of Bond music.
It's always an interesting conversation, to me, when people don't like things I consider heavily referential or inspired -- perhaps even pastiche-y -- of classic Bond music.
I completely understand the desire to hear something newer, fresh, reinterpreted. And we get that all the time. But if a deep love for those original sounds and feelings doesn't produce instant joy at hearing them revisited, I just always think -- what are you in it for, then?
Entirely possible I'm just far, far too attached to nostalgia. But when I hear the OHMSS references in NTTD's score, for example, my reaction is the farthest possible thing from negative. It's just joy, to me. Sheer joy. To hear these things that are so close to my heart explored in a new, relevant context.
I'll admit -- I literally do not know how such brief, emotionally charged references could possibly be controversial to fans of Bond music.
Adjacent example: why am I bothered by Newman reprising Skyfall cues in Spectre, then?
Because to me, those are completely different contexts. Newman used entire scenes' worth of action cues repeated verbatim, from a film that was only 3 years old, a straight copy-paste which just totally removed originality and tension from the Spectre scenes.
Tinier references, I actually loved: the hint of the 'family' motif/sound ("Skyfall" on the original album, not the Adele one) that appears when Bond sees the back of Blofeld's head at the funeral. I thought that was brilliant.
But then it just goes off the rails: "Enjoying Death" is reprised in the Austrian clinic for a tense Bond vs. Q moment, which is a completely different context. "Someone Usually Dies" is reprised in the office/expositional/M vs. Q tension scene between Tokyo and London, in a completely different context. A piece of "Quartermaster" when Bond is trying to survive the collapsing building in Mexico city.
The strange part is, they all "work" in the film in those scenes. But to a hardcore Bond music fan, it just reeked of laziness and not caring. "The temp score works." "Meh, leave it then." As someone who waits with baited breath for each new Bond soundtrack release, I just felt so...betrayed by that choice.
(Now someone will reply that they see the OHMSS usage in NTTD the same way. And that's fine! Just sharing my reasons why I see the two cases very differently).
It's hard to hear this song in the film as the other source song by Dalida is playing at the same time.
I know it's not popular to say it, but I do believe that Arnold's scores are overrated. Specially his three Brosnan scores. The overuse of the Bond theme, the overuse and intrusion of the techno sound… There certainly are a couple of tracks that I like, and CR would be the exception - I love CR's score -, but overall I don't love his tenure. Being better than Serra isn't enough. As I've previously stated, for my money, Skyfall is the best non Barry score of the entire series.
I DON'T WANT ARNOLD BACK.
The trouble is, with noisy action scenes in Bond films they tend to drown out the score. You only tend to really hear the music properly when divorced from the film.
Arnold mentioned this when recording 'backseat driver' for TND. He said "I'm not sure how much you'd hear once all the sound effects are added"
I like Zimmer's score and it has grown on me. I don't love it, but it's certainly adequate. It's no CR but then neither is the film 😁
When I first heard the cd I immediately noticed the WHATT music from OHMSS which was just special and great to hear. In the cinema the song by Louis Armstrong was a great treat and showed how poor the titlesongs of the Craig years were when compared to the Armstrong classic. Even if the Craig years did deliver two oscar winning songs.
This soundtrack I have listened more often than the other 4 soundtracks from the Craig era combined, this one is fun even if I on occasion would expect Batman to pop up in the cinema before I had seen the movie.
So Zimmer did deliver two great soundtracks this year NTTD and Dune, the later being my favourite and better movie.
CR and SF title songs were poor...? OK....🤔
The last half minute of that track appears as part of the end credits
https://www.stevemazzaro.com/news/no-time-to-die-unreleased-music
You don't have to worry about that. The franchise has moved on to enlisting A-list talent: directors, actors, and now composers (Newman and Zimmer). They won't move several steps backwards and hire Arnold.
Agreed; my long-standing favourite track of the record.