I'm yet to listen to the song but the title reminds me of the GE poster: 'You know the name, you know the number.' 8-) I really wish that they had chosen a better song title.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
...and I'm not going to listen to a song I dislike over and over and over until eventually it grows on me. I've got better things to do with me ears.
You have a point. I'm not going to force myself to like it just because its Bond. If it wasn't a Bond theme it wouldn't even have registered on my radar. Its really not my cup of tea - I am no longer on the fence
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
"...I've seen angels fall from blinding heights..."
"...But you yourself are nothing so divine..."
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
edited September 2006
"...Just next in line..."
God help me... )
That's the thing about music---particularly rock music---it has a level of subjectivity which makes discussions about the right actor to play James Bond look like a playground scuffle between first graders...
Anyone who likes specific rock bands...and styles of rock music...has long ago learnt to ignore the sneers of non-believers. B-) For every fan, there is a nonfan; same as it ever was.
For some reason, I always end up liking the theme song for a Bond film...but as a fan of rock and roll, I tend to enjoy the more rock-flavoured offerings when they come along (and IMRO it is overdue), I don't have to force myself...it just happens, no doubt because they always emerge front-loaded with my goodwill...rather like the films themselves---warts and all.
We all like what we like, and dislike what we don't.
BTW, Alice Cooper's new CD, "Dirty Diamonds," f*****g rocks. He should have had another shot {:)
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
I would be very surprised if the file currently doing the rounds on the torrents and megaupload sites atm is the finished version of the track.
It still sounds like a demo to my (fairly experienced) ears.
The trouble is that all the instrumentation is what I would describe as "immediate". The strings, horns, bass and drums all sound like they are from "virtual instruments" (for those who know about these things I would hazard a guess VSL, Broomstick bass and BFD).
Nevertheless, with the bpm dropped slightly and real instrumentation, I think the song is pretty strong. The melody is good (there! A melody! Heard about one of those Madonna!?) and it is good to hear a song belted out finally by a singer who has some natural talent.
I would be very surprised if the file currently doing the rounds on the torrents and megaupload sites atm is the finished version of the track.
It still sounds like a demo to my (fairly experienced) ears.
Interesting. I had wondered if it was the finished aticle, but one of the other threads said it had been played on the radio so I assumed it must be. Then again, radio stations have access to the internet too
The melody is good (there! A melody! Heard about one of those Madonna!?).
) I'd doubt that, based on previous evidence. I'd agree with you too about the virtual-sounding instruments, Predator, but I'm not as confident as you that they signify an unfinished track.
Just been listening now, and I'm sure I can hear a second voice singing in a different key over the chorus. Listen very carefully, it can be heard over lines such as "no one else" and "save you", especially during the final run of the chorus
Just been listening now, and I'm sure I can hear a second voice singing in a different key over the chorus. Listen very carefully, it can be heard over lines such as "no one else" and "save you", especially during the final run of the chorus
Which tends to make me think even more that you've discovered a demo rather than the finished article.
Love Eon or loathe them, the theme song is where Sony get rather interested as well ...
I don't own a hat, but if I did I would eat it if this is exactly what we hear during the titles of CR.
Just been listening now, and I'm sure I can hear a second voice singing in a different key over the chorus. Listen very carefully, it can be heard over lines such as "no one else" and "save you", especially during the final run of the chorus
Which tends to make me think even more that you've discovered a demo rather than the finished article.
Love Eon or loathe them, the theme song is where Sony get rather interested as well ...
I don't own a hat, but if I did I would eat it if this is exactly what we hear during the titles of CR.
\
You could be right. However, this version is definitely the one Sony distributed to radio stations - somebody working for one emailed me the track from a promo CD. I do hope you're right though, the orchestra really needs touching up. Perhaps Sony realise that a rockier song is going to sell better with the masses, and will treat the film with a nicer version? |)
I'm yet to listen to the song but the title reminds me of the GE poster: 'You know the name, you know the number.' 8-) I really wish that they had chosen a better song title.
Yeah, it reminds me too much of "You know my name (look up the number)", the Beatles track, which is actually a spoof track, a comedy song.
I'm yet to listen to the song but the title reminds me of the GE poster: 'You know the name, you know the number.' 8-) I really wish that they had chosen a better song title.
Yeah, it reminds me too much of "You know my name (look up the number)", the Beatles track, which is actually a spoof track, a comedy song.
I'd say that is deliberate, or at least that Cornell is conscious of it.
From Wikipedia.com:
"Cornell mentions on the Audioslave - Live in Cuba DVD Documentary that he spent a 2 year period between the ages of 9 and 11 solidly listening to the Beatles after finding a large collection of Beatles records abandoned in the basement of a house."
On a side note, after getting completely addicted to the Goldfrapp song on the Verizon commerical for the Chocolate phone, I wish they had done the theme now!
Just been listening now, and I'm sure I can hear a second voice singing in a different key over the chorus. Listen very carefully, it can be heard over lines such as "no one else" and "save you", especially during the final run of the chorus
Which tends to make me think even more that you've discovered a demo rather than the finished article.
Love Eon or loathe them, the theme song is where Sony get rather interested as well ...
I don't own a hat, but if I did I would eat it if this is exactly what we hear during the titles of CR.
I think the instruments sound a bit obviously fake too, but I think this is probably the final version (the DAD strings weren't terribly real-sounding either). But that doesn't mean it's the version we'll hear on the credits; for the past few films the film versions of the songs have had a few more orchestral flourishes than the single version (and in TND's case, was a lot weaker!).
On a side note, after getting completely addicted to the Goldfrapp song on the Verizon commerical for the Chocolate phone, I wish they had done the theme now!
Sorry about starting that one! Me too! Which track is it? And I'm intrigued by the idea of a chocolate phone....
But that doesn't mean it's the version we'll hear on the credits; for the past few films the film versions of the songs have had a few more orchestral flourishes than the single version (and in TND's case, was a lot weaker!).
Remembering that this track is 4:03, there's no way that this is the version that will be played over the credits verbatim. It's at least going to be chopped up to fit a titles sequence around 2:30/3:00 long.
Mo, which Goldfrapp song is used in the Verizon ad??
I suspect, however, it will fit the film quite well and will sound infinitely better once it is married to the actual film. I find hearing music in a theater to be a different experience than hearing a CD (or, in this case, a clip sent through the Web). It could sound completely different.
Will it be a hit? Who knows. Tastes definitely have changed -- while I like Sheryl Crow, it's obvious in "Tomorrow Never Dies" that she can't really hit or hold the notes she aspires to, and Garbage's "The World is Not Enough" just drones on and on and on. But those songs have been reasonably well received by Bond fans while the much better, much more mature "Surrender" by k.d. lang got relegated to the end credits.
Will it be a hit? Who knows. Tastes definitely have changed -- while I like Sheryl Crow, it's obvious in "Tomorrow Never Dies" that she can't really hit or hold the notes she aspires to, and Garbage's "The World is Not Enough" just drones on and on and on. But those songs have been reasonably well received by Bond fans while the much better, much more mature "Surrender" by k.d. lang got relegated to the end credits.
Not sure I'd agree Surrender is better- I'd say it's much less original and less interesting than TND. It's certainly no more mature; quite the opposite- it's big, brashy, loud and is the just the stereotypical Bond song; nothing more.
Will it be a hit? Who knows. Tastes definitely have changed -- while I like Sheryl Crow, it's obvious in "Tomorrow Never Dies" that she can't really hit or hold the notes she aspires to, and Garbage's "The World is Not Enough" just drones on and on and on. But those songs have been reasonably well received by Bond fans while the much better, much more mature "Surrender" by k.d. lang got relegated to the end credits.
Not sure I'd agree Surrender is better- I'd say it's much less original and less interesting than TND. It's certainly no more mature; quite the opposite- it's big, brashy, loud and is the just the stereotypical Bond song; nothing more.
We'll just have to disagree on that one. To me, especially with all of the engineering, Crow sounds like a 14-year-old. I'll take k.d. lang's rich vocals any day. I also think the song's melody is richer -- Crow's song never seems to be going anywhere, though the notes just keep coming and coming . . .
I'm not so sure that it'll sound any better, when physically added to the visuals of the film - this sounds like Craig-ites, cluttching at straws, that something can be made of the song.
TWINE was a BRILLIANT song - but a TERRIBLE version appears on the title sequence.
The transition to screen - even for a good song - is a very rocky one.
N'ah, I actually like the song, more and more each time I hear it. I honestly thought "The World is Not Enough" stunk, but that's just me. It warbles and drones, to me, but then so do many pop songs today.
Will it be a hit? Who knows. Tastes definitely have changed -- while I like Sheryl Crow, it's obvious in "Tomorrow Never Dies" that she can't really hit or hold the notes she aspires to, and Garbage's "The World is Not Enough" just drones on and on and on. But those songs have been reasonably well received by Bond fans while the much better, much more mature "Surrender" by k.d. lang got relegated to the end credits.
Not sure I'd agree Surrender is better- I'd say it's much less original and less interesting than TND. It's certainly no more mature; quite the opposite- it's big, brashy, loud and is the just the stereotypical Bond song; nothing more.
We'll just have to disagree on that one. To me, especially with all of the engineering, Crow sounds like a 14-year-old. I'll take k.d. lang's rich vocals any day. I also think the song's melody is richer -- Crow's song never seems to be going anywhere, though the notes just keep coming and coming . . .
I'd agree that Lang's voice is far superior, but there are just more ideas in TND. Surrender just seems so imaginitively bankrupt; it's practically just a spoof of a Bond song. I really value creativity, and Surrender shows very little.
Actually TND, "Surrender," and TWINE all sound like reworkings of the same song to me, sort of a pick your poison thing IMO. I like TND best, TWINE has some nice stuff in it but the more dodgy material drags it back down, and "Surrender" is a bit one-note to my ears. Not a bad note, love the vocal, just wish the song went different places.
YKMN is a welcome change, hopefully Arnold can do something with it and come up with a memorable soundtrack for CR, his other ones all seem rather, well, forgettable IMO...nice bits but too much unengaging filler. Of course, even Barry had a hard time coming up with decent tracks for some of his later Bond soundtracks, which has always made sense to me as those later films he scored were rather bland to begin with...JMHO. Maybe the change of direction with CR inspires Arnold's work...? That's my hope, but I guess I'll see how it pans out.
To add one thing: I've always thought some of Arnold's better work has been with the love scenes, he's shown a nice soft touch IMO. I'm pretty sure CR has a love story in there somewhere...;)
Sir MilesThe Wrong Side Of The WardrobePosts: 27,749Chief of Staff
Mo, which Goldfrapp song is used in the Verizon ad??
'Strict Machine' from Black Cherry
That is a fantastic track :x
Goldfrapp were made to write/perform a Bond title song.
Mo - go and buy their albums, you will not be disappointed.
I agree whole-heartedly. The whole Bond rumour thing caused me to give them a listen, and I've become a fan.
Maybe next time.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
If this song is adapted into the soundtrack really well by David Arnold, and the melody is proves really effective, would your opinion of the song improve? I'm asking generally to those who dislike it, because I find that almost inevitably, when the theme song is weaved nicely into the score, my respect for it is greatly improved.
Comments
You have a point. I'm not going to force myself to like it just because its Bond. If it wasn't a Bond theme it wouldn't even have registered on my radar. Its really not my cup of tea - I am no longer on the fence
"...But you yourself are nothing so divine..."
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
God help me...
That's the thing about music---particularly rock music---it has a level of subjectivity which makes discussions about the right actor to play James Bond look like a playground scuffle between first graders...
Anyone who likes specific rock bands...and styles of rock music...has long ago learnt to ignore the sneers of non-believers. B-) For every fan, there is a nonfan; same as it ever was.
For some reason, I always end up liking the theme song for a Bond film...but as a fan of rock and roll, I tend to enjoy the more rock-flavoured offerings when they come along (and IMRO it is overdue), I don't have to force myself...it just happens, no doubt because they always emerge front-loaded with my goodwill...rather like the films themselves---warts and all.
We all like what we like, and dislike what we don't.
BTW, Alice Cooper's new CD, "Dirty Diamonds," f*****g rocks. He should have had another shot {:)
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
It still sounds like a demo to my (fairly experienced) ears.
The trouble is that all the instrumentation is what I would describe as "immediate". The strings, horns, bass and drums all sound like they are from "virtual instruments" (for those who know about these things I would hazard a guess VSL, Broomstick bass and BFD).
Nevertheless, with the bpm dropped slightly and real instrumentation, I think the song is pretty strong. The melody is good (there! A melody! Heard about one of those Madonna!?) and it is good to hear a song belted out finally by a singer who has some natural talent.
I am hopeful.
Interesting. I had wondered if it was the finished aticle, but one of the other threads said it had been played on the radio so I assumed it must be. Then again, radio stations have access to the internet too
Which tends to make me think even more that you've discovered a demo rather than the finished article.
Love Eon or loathe them, the theme song is where Sony get rather interested as well ...
I don't own a hat, but if I did I would eat it if this is exactly what we hear during the titles of CR.
You could be right. However, this version is definitely the one Sony distributed to radio stations - somebody working for one emailed me the track from a promo CD. I do hope you're right though, the orchestra really needs touching up. Perhaps Sony realise that a rockier song is going to sell better with the masses, and will treat the film with a nicer version?
Yeah, it reminds me too much of "You know my name (look up the number)", the Beatles track, which is actually a spoof track, a comedy song.
I'd say that is deliberate, or at least that Cornell is conscious of it.
From Wikipedia.com:
"Cornell mentions on the Audioslave - Live in Cuba DVD Documentary that he spent a 2 year period between the ages of 9 and 11 solidly listening to the Beatles after finding a large collection of Beatles records abandoned in the basement of a house."
I think the instruments sound a bit obviously fake too, but I think this is probably the final version (the DAD strings weren't terribly real-sounding either). But that doesn't mean it's the version we'll hear on the credits; for the past few films the film versions of the songs have had a few more orchestral flourishes than the single version (and in TND's case, was a lot weaker!).
Sorry about starting that one! Me too! Which track is it? And I'm intrigued by the idea of a chocolate phone....
Mo, which Goldfrapp song is used in the Verizon ad??
'Strict Machine' from Black Cherry
Oh okay- Monique; you should try something from the 'Felt Mountain' album- ever Bondier.
Will it be a hit? Who knows. Tastes definitely have changed -- while I like Sheryl Crow, it's obvious in "Tomorrow Never Dies" that she can't really hit or hold the notes she aspires to, and Garbage's "The World is Not Enough" just drones on and on and on. But those songs have been reasonably well received by Bond fans while the much better, much more mature "Surrender" by k.d. lang got relegated to the end credits.
Not sure I'd agree Surrender is better- I'd say it's much less original and less interesting than TND. It's certainly no more mature; quite the opposite- it's big, brashy, loud and is the just the stereotypical Bond song; nothing more.
I'd agree that Lang's voice is far superior, but there are just more ideas in TND. Surrender just seems so imaginitively bankrupt; it's practically just a spoof of a Bond song. I really value creativity, and Surrender shows very little.
Actually TND, "Surrender," and TWINE all sound like reworkings of the same song to me, sort of a pick your poison thing IMO. I like TND best, TWINE has some nice stuff in it but the more dodgy material drags it back down, and "Surrender" is a bit one-note to my ears. Not a bad note, love the vocal, just wish the song went different places.
YKMN is a welcome change, hopefully Arnold can do something with it and come up with a memorable soundtrack for CR, his other ones all seem rather, well, forgettable IMO...nice bits but too much unengaging filler. Of course, even Barry had a hard time coming up with decent tracks for some of his later Bond soundtracks, which has always made sense to me as those later films he scored were rather bland to begin with...JMHO. Maybe the change of direction with CR inspires Arnold's work...? That's my hope, but I guess I'll see how it pans out.
To add one thing: I've always thought some of Arnold's better work has been with the love scenes, he's shown a nice soft touch IMO. I'm pretty sure CR has a love story in there somewhere...;)
That is a fantastic track :x
Goldfrapp were made to write/perform a Bond title song.
Mo - go and buy their albums, you will not be disappointed.
I agree whole-heartedly. The whole Bond rumour thing caused me to give them a listen, and I've become a fan.
Maybe next time.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
They should really pay me a percentage for the small amount of records I helped them to shift...;)
If this song is adapted into the soundtrack really well by David Arnold, and the melody is proves really effective, would your opinion of the song improve? I'm asking generally to those who dislike it, because I find that almost inevitably, when the theme song is weaved nicely into the score, my respect for it is greatly improved.