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That's more like it Mr. Newman.
Listening to the full thing now on Spotify, so far the above track is the highlight! 8 tracks in.
Perhaps you are quoting different people.
Perhaps you are quoting people who might like the melody but do not like the voice.
There are a few Bond themes that I much prefer the melody and use of it in the soundtrack to the song itself (good example Goldfinger, dislike the vocals on that).
True, but I do miss the days of the song really feeling like it's a part of the overall movie, like it's genuinely the "theme" of the film itself - even the way Barry uses a tune as obnoxious as TMWTGG is fun and propulsive.
I'm not quoting anybody specific. Just saying.
I was wondering that myself, some people just want to have it both ways I guess :))
I liked the song from the first listen. It gave me goosebumps when I heard it on the bus to work in the morning that day. The first impression was really good.
And I'm still aghast how some people here went below the belt quite a bit in bashing Sam Smith. The same people that will complain if their favourite is criticised. Oh well...
I just purchased the score in iTunes so I will listen carefully to it in the morning (it's past midnight here now). It would be nice if the melody found its way into the score.
I'm curious about it, but I really have to go to sleep now :))
I didn't say that or at least I didn't mean that. Just meant you can't please anybody or everybody.
Was being sarcastic about the demands made by this forum sometimes.
I've come to think of the song being used in a score more as a bonus than a requirement. A lack of a song being used as the theme throughout the film isn't as damning to me anymore because nobody after Barry's wonderful TLD score (which carried three songs used as the basis for themes!) has managed to integrate a song into a score as well as those in the past. Maybe it's because Cubby isn't around anymore that nobody in EON management is as adamant about having their hired composers and singers work together, especially when it's singers that prefer to work on the songs with their own producers instead of collaborating with the composer as we saw with Madonna and Jack White & Alicia Keys. David Arnold would try to carry on that tradition as much as possible, whether he succeeded or not.
On a seperate note, I always felt the Gladys Knight song was a huge misstep from the more contemporary performers - Duran Duran and aHa - that had brought a freshness back to the series. I still can't understand why they didn't continue the trend with a George Michael or Tears For Fears song rather than the "Empress of Soul" who had had her last hit way back in 1973?
PS. Love Newman's PTS track Los Muertos Vivos Estan
No, you're correct on LTK. Kamen was supposed to collaborate with Eric Clapton on a song, possibly even have him do guitar work for the actual score. It didn't pan out.
In the mid-to-late 80s there was a resurgence of R&B music with contemporary artists like Bobby Brown, Janet Jackson and Whitney Huston topping the charts, while veterans like Tina Turner, Gladys Knight and Patti LaBelle were making comebacks with the resurgence. EON wanted to tap into that which is why Knight and LaBelle both got the gigs. From a commercial standpoint, it made more sense to go with those acts (though their music clearly did not fit in with the film's tone and story). Plus, Gladys had just had her 1987 album All Our Love reach #1 on the R&B chart, and that the song "Love Overboard" won a Grammy.
I also think the reason we didn't get a third new wave/pop-rock act is simply because the genre was already declining by 1989, so EON wanted to go with a genre that was very popular by that time.
But IMO there's a little more snobbery in the "Mendes knows better" attitude than in the "Eh those who actually invented the cinematographic Bond knew a thing or two didn't they ?" attitude.
Imagine that a few days ago one said "It would be nice if they would play the Bond theme on traditional instruments, Octopussy-style". I think the answer would not have been positive. Now, Thomas Newman has done it. I think it'll be judged "cool" or even "genius" :)
Time To Get Out: 01:20
Pursuit at Port Au Prince: 02:54
Newman is not fit to score Bond, sorry. He had the chance to show what he could really do with SP, and he once again showed his contempt for the series.
Stick to evocative, minimalist fare such as (Revolutionary) Road to Perdition, thanks ever so much Thomas.
Yes - I'm annoyed.
I have no problem with a different take on the music - but it is blatantly obvious when a composer hasn't even really tried.
If I offered this kind of work on a project my employer would rightfully put me on coffee-making duties.
Agreed. It's not Barry, but it's certainly not contempt. It will work far better with the film (Newman is a master at this at least) and there are some interesting cues in it.
Of course it's not what I ideally wanted, but it's not bad (at least what I've heard). I am not hearing a Shanghai Drive or New Digs style track here which is disappointing as I really liked both of those in SF.
I'll listen to it a couple more times prior to rendering my verdict.
As bondjames mentioned it will work so well in the film. Newman is one of my favourite composers and I love how he has blended his usual mystical sound with Bondian influences.
I must admit I really was hoping for a full rendition of the James Bond theme in there somewhere, but that first track is brilliant. It could well be in there as Mendes said there is well over 100 minutes of music in the film, and there were a few more Bond elements in Skyfall not included on the soundtrack.
Bring on Monday!!!!!
It has a very beautiful and Mysterious quality to it, and i'm sure it will be a perfect fit to such a visually stunning Movie like Spectre.
Woo I agree @GG ...very "spider like" ..I'm truly liking Newman's efforts this time from what I've heard.
For more enjoyable to just listen to outside the film.
Very bold. ...ghostly sounds to the songs.
I already thought so, because that instrumental is quite a bit shorter than the actual instrumental from Sam Smith's single CD.