Who Does It Better: re-evaluating the Bond songs

[Mel O'Drama]

Almost every long-running series (movies or TV) ends up in a "damned if you do, damned if you don't" scenario and a link on wiki brought me to a GoldenEye soundtrack review (rated 1 star) stating that it deviates too much from the original John Barry sound while simultaneously agreeing that the main vocal theme is too much of a classic John Barry rehash.

On a GoldenEye-related note, there was a Shirley Bassey documentary/concert type thing filmed around the same time as GoldenEye came out. It later came out on DVD - Divas Are Forever - and it has to be unauthorised as I don't think it's at all flattering to Shirley.

There's a bonkers scene in which she's out to dinner with a bunch of friends in Monte Carlo, talking about random stuff such as a man who used to go mad when she played with his nipples. The subject turns to GoldenEye and - clearly having knocked back plenty of champers - she's pretty damning about Tina's vocal on the title track. From 31:20 in this vid:

I mean... it was so awful. That note when she does "Golden iiiiiiiiiiieeeeee". She didn't have the range for it. It was meant for a group, cos there's nowhere to go with it. And when I heard Tina do it... it's not Tina.

Matt Lucas had clearly watched this when prepping to impersonate Shirley Bassey for Rock Profile. There's a whole skit based around the line above where one Bond title singer after another - from Sheena Easton to Gladys Knight - is name-checked and haughtily dismissed (from 4:10 below):

GoldenEye? I love Tina, but she doesn't have the range. I'm sorry Tina. I love you. I adore you. You know I love you, but you don't have the range. [On The World Is Not Enough] Ah, Manson. I love her to bits, but she doesn't have the range. [Sheryl Crow] She doesn't have the range. [Paul McCartney] She doesn't have the range.

 

[Mel O'Drama]

I've listened to the soundtrack on youtube and I think it's an interesting mix of ambient and industrial techo, and with a lead single that has a nicely updated retro feel to it (they did it so well in the 1990s).

This is a score I don't own, and I just had a listen to refresh myself.

At risk of doing a "he didn't have the range" of my own, this is hands down my least-favourite Bond score. It's just too dance remix sounding for my taste, and I find it fatiguing. Most importantly it also doesn't have the class I'd associate with Bond. To me there's a kind of synthetic artifice to many of the tracks.

That said, it's pretty bold and also very of its time which has a certain charm. I can understand why people who like this one might really like it.

I suppose the powers that be were minded to update the sound of the Bond scores around this time, which is why David Arnold's Shaken And Stirred project was so timely, since he got the next film off the back of that.

This might sound contradictory considering my aversion to Eric Serra's GoldenEye music, but I actually love David Arnold as a Bond composer/arranger. I think he did a great job of updating the sound and introducing a new dynamic energy while still keeping it feeling perfectly Bond (a minor spoiler: Tomorrow Never Dies is one of my favourite Bond scores and also yielded what I view as the greatest title song injustice in Bond history).

But I honestly don't recognize any of the previous songs in GoldenEye, or at least not blatantly.

I think it's the same for me, but it has a comfortable familiarity and to me it's still unmistakably a Bond song so whatever Bono and The Edge did was pretty blooming clever.

 

[Willie Oleson]

Bond Song #....(*clicks aaall the way back to page 2*) 20



So You Think You Can Write A Bond Song?
And that's how Sheryl Crow and Madonna happens. Not that there's anything wrong with these artists, but when they perform their Bond songs in their own style - or at least the style they were selling at that time - then it misses the key element that allows modern-day music to blend with the grandeur of movie music.

From my Dutch point of view, Sheryl Crow (the indie Shania Twain/the commercial Tori Amos) had a one-hit wonder with All I Wanna Do but I guess she's more famous in America.
Tomorrow Never Dies is not a bad song at all and I really like the "House Of The Rising Sun" strumming parts. I'm not sure about the title (not Crow's fault, obviously) because it seems so self-explanatory. Time never stops and even if everything disappears then there's still going to be a tomorrow, albeit with less relevance.

If, for whatever reason, this Bond theme inspired Alanis Morissette to write that other movie theme from 1998 then I'm grateful it happened. Incidentally, this is the last James Bond movie I've seen.
I checked the whole soundtrack and as always I did a lot of skipping throughout the music videos because I had a Bond song to re-evaluate and that means there was no time for a back-to-back CD experience.
Well, I don't know how I did it but somehow I always ended up listening to absolute silence. That's only part of the music of course but mysteriously enough I always placed the cursor on those parts.

On the upside, there's k.d. lang who puts the barry back in the Bond score - and how could it not with a voice that has the range for literally everything.
Even though k.d. is no stranger to ballads and jazzy themes she's not the kind of artist one would automatically associate with glamorous spy pulp fiction, which kinda proves my point of "singing outside your box" simply to make it work.

 

[Mel O'Drama]

So You Think You Can Write A Bond Song?
And that's how Sheryl Crow and Madonna happens. Not that there's anything wrong with these artists, but when they perform their Bond songs in their own style - or at least the style they were selling at that time - then it misses the key element that allows modern-day music to blend with the grandeur of movie music.

I kind of, sort of like Crow's Tomorrow Never Dies. The arrangement is great, but there's something about the laid back, California delivery that's never quite worked for me as a Bond theme.

To me it sounds as if it's being drunkenly sung in a nightclub at 2am by someone on a night out to commemorate their divorce. That has an appeal all its own, of course, but I think the verses are stronger and the chorus never quite delivers in the way I'd want, with Sheryl's voice disappearing behind the orchestration.

On the upside, there's k.d. lang who puts the barry back in the Bond score - and how could it not with a voice that has the range for literally everything.
Even though k.d. is no stranger to ballads and jazzy themes she's not the kind of artist one would automatically associate with glamorous spy pulp fiction, which kinda proves my point of "singing outside your box" simply to make it work.

I was completely unaware of k.d. lang's Tomorrow Never Dies Surrender until just under a decade ago when I watched all the Eon Bond films available on Blu-ray up to that point (I think up to the second Daniel Craig film). When the end titles to TND began I was absolutely blown away by the arrangement with David Arnold's bold, brassy, Bondy arrangement and the powerful vocal. I had no idea who was singing it until the music credits were displayed, and I was really surprised when it was revealed to be k.d.

Surrender is a contender for my favourite Bond song. It's certainly my most-played of the last decade. It's everything a Bond song needs to be, and while it might be seen as a little derivative with its Goldfinger brass and even a little sting from Diamonds Are Forever it's lovingly done and everything a late-Nineties Bond song needs to be.

Doing some rooting round after watching, I discovered that k.d.'s track had been written by the film's composer to be the opening title track, but Sheryl's was ordered by the powers that be at the last minute (which is why there are samples of k.d.'s song throughout the film score, but not even a whisper of Sheryl's), after which k.d.'s track was re-named and relegated to the end titles.

Here's how it was originally intended to look...

I've found this recent article on the song and its surrounding hoo-ha. And a few interesting facts to boot.

what the hell were they thinking demoting k.d. lang’s stunning song to the end titles?

Oh yes, money and popularity. Sheryl Crow is way more mediocre mainstream, and, well, let’s not beat around the bush: Hollywood was still unquestionably homophobic back in the 1990s, and so the first openly gay singer of a Bond main title didn’t happen in 1997 as the film’s composer David Arnold had envisaged, and we had to wait another 18 years, until the bland bedwetter (yup, you guessed it) Sam bloody Smith.

it’s worth mentioning that the title of the 18th James Bond film actually started out as Tomorrow Never Lies, which would have been the slogan of the evil media empire that runs up against Brosnan’s Bond. To all round bemusement, a typo gave the producers the alternative but predictable option of Tomorrow Never Dies, which they eventually took, even though it makes as much sense with the film as Quantum Of Solace does for a film where “Quantum” is the name of an off-brand SPECTRE.

Arnold co-wrote Surrender while scoring the film and followed Barry’s lead by embedding its motif throughout his music. With its brassy hooks and killer melody line Surrender comes comes a lot closer to the swaggering smokiness achieved in the rest of Arnold’s score (his first in the franchise and certainly his finest). Perhaps unsurprisingly, as he, David McAlmont and Don Black authored the song formerly known as Tomorrow Never Dies with a cast iron certainty that it, rather than Crow’s petulant alternative, was being commissioned as the film’s title song.

Surrender is a queer masterpiece that encapsulates, and even elevates, the themes of the film, both in a dramatic and musical sense. Like many Bond songs, it‘s a sexualised power fantasy, most likely from a villain’s point of view

(E)xplosive, dynamic, and the brashest most brilliantly bombastic 007 tune since Thunderball – although it’s far, far better than that. Opening with a cacophonous blast of drums and sexy, sleazy trumpet, it slides effortlessly into a slinky, purring verse delivered with perfectly cool authority.

And let’s just talk about lang’s incredibly commanding vocal performance for a minute. It’s commendably threatening in its intensity. Like a magnificent bird of prey zooming in for the kill, she swoops dramatically through a note to get where she needs to be, backing you in a corner until you are powerless to resist.

 

[Willie Oleson]

To me it sounds as if it's being drunkenly sung in a nightclub at 2am by someone on a night out to commemorate their divorce. That has an appeal all its own, of course, but I think the verses are stronger and the chorus never quite delivers in the way I'd want.

Bond-drunk and in a pudddle on the floor, that's how the audience should feel when the end credits roll and that's why I think it could have been a great closing theme.
Even a lovely song like You Only Live Twice has something aggressive in it, a demand disguised as a seduction but with an underlying warning as if to say "but you really shouldn't listen to me". That lovely Nancy and her diabolical victim-blaming.

I don't know how to quote from quote:
Oh yes, money and popularity. Sheryl Crow is way more mediocre mainstream, and, well, let’s not beat around the bush: Hollywood was still unquestionably homophobic back in the 1990s, and so the first openly gay singer of a Bond main title didn’t happen in 1997 as the film’s composer David Arnold had envisaged
Funny, the homophobic part never crossed my mind but I did consider the idea that, with Sheryl Crow as the promoting front, they had a prettier face to sell. I guess that means I'm not evil, just shallow.


another quote from quote:
And let’s just talk about lang’s incredibly commanding vocal performance for a minute
After "Surrender" I mindlessly clicked on a suggested video of a live performance by k.d., and it was so good that I didn't even notice it was that detestable "Hallelujah" song.

 

[Mel O'Drama]

Bond-drunk and in a pudddle on the floor, that's how the audience should feel when the end credits roll and that's why I think it could have been a great closing theme.

Spot on, Willie.

Even a lovely song like You Only Live Twice has something aggressive in it, a demand disguised as a seduction but with an underlying warning as if to say "but you really shouldn't listen to me".

Oh yes. You're absolutely right, though I wouldn't have been able to pinpoint that as eloquently as you have.

Funny, the homophobic part never crossed my mind but I did consider the idea that, with Sheryl Crow as the promoting front, they had a prettier face to sell. I guess that means I'm not evil, just shallow.

I'm sure you're not shallow, Willie. Just Aesthetically Aware.

After "Surrender" I mindlessly clicked on a suggested video of a live performance by k.d., and it was so good that I didn't even notice it was that detestable "Hallelujah" song.

Likewise, Surrender once led me to explore some of k.d.'s work. I find her stuff quite hit and miss. I mean, it's all great, but only some of it appeals to me. Of all her work, it's her Drag album that most consistently hits the spot for me. There's a lovely cover of The Air That I Breathe, and her version of the Theme From The Valley Of The Dolls is incredibly haunting:

Ironically, a big part of its appeal for me is its dreaminess along with the fact that she sounds out of it. It's like she's channelling Sheryl Crow (and perhaps Karen Carpenter).

(According to numerous YouTube comments it was used for the final scene of a certain TV series, and I can imagine it being very effective. But I'm also glad I don't have that specific association for it as it detracts from the song itself).

 

[Willie Oleson]

I'm sure you're not shallow, Willie. Just Aesthetically Aware.

*rushes to the Dynasty forum to brag about my Aesthetically Awareness Award*

Of all her work, it's her Drag album that most consistently hits the spot for me.

I like the "Marlene Dietrich" look of the album art, but as I'm typing this I suspect it is supposed to look like that (unless it isn't).

and her version of the Theme From The Valley Of The Dolls is incredibly haunting:

My, that is beautiful.

It's like she's channelling Sheryl Crow (and perhaps Karen Carpenter).

And perhaps All Time High is the Carpenters song amongst the Bond songs. And perhaps Moonraker is Bond's answer to Calling Occupants (where aaare you?)

But I'm also glad I don't have that specific association for it as it detracts from the song itself

And for saying that in a music thread that is all about association I hereby reward you back with the Unintentional Controversy Award.

But you're right, of course, an association isn't necessarily a positive byproduct.


Off-topic, who was the best actor to play James Bond?
Without considering the movies - if I could remember them - I'm beginning to think that Timothy Dalton had the best Bond "look". There's something slightly unlikeable, cunning and ruthless about him and I'm not sure if a Secret Service Agent is supposed to be a heroic and amicable hunk. After all, it's just a job.
It's very possible that Roger Moore's Dandy Bond was more suitable for the movies he did at that time and since I've never read the novels I don't know how the character was perceived by the author himself.

 

[Mel O'Drama]

I like the "Marlene Dietrich" look of the album art, but as I'm typing this I suspect it is supposed to look like that (unless it isn't).

I imagine it might be intentional. After all, is there any woman better known for having a style that equates to drag*.


*Although the "drag" of the title is also a reference to smoking, with most songs being either cigarette or addiction-themed in some way.

And perhaps All Time High is the Carpenters song amongst the Bond songs.

Ooh. Yes!

And for saying that in a music thread that is all about association I hereby reward you back with the Unintentional Controversy Award.

Thank you for that, Willie. I'll be sure to give it a good rub over with Brasso regularly.

Unless I unintentionally, controversially forget.

But you're right, of course, an association isn't necessarily a positive byproduct.

It's also got me thinking about which Bond songs are the least "Bond by association". I think for me it's We Have All The Time In The World, followed by Nobody Does It Better. I have memories of both being on the radio or in advertisements or whatever when I was young, but not necessarily making the link between them and Bond. And I suppose lyrically they're pretty neutral.

Off-topic, who was the best actor to play James Bond?

At risk of being unintentionally controversial again, I remember on my last watched I remember feeling slightly disappointed that George Lazenby had only done the one film.

I suppose Sean Connery is the safest answer.

Without considering the movies - if I could remember them - I'm beginning to think that Timothy Dalton had the best Bond "look". There's something slightly unlikeable, cunning and ruthless about him and I'm not sure if a Secret Service Agent is supposed to be a heroic and amicable hunk. After all, it's just a job.

I enjoyed the darker edge he had in his two films and he seems to be one of the more underestimated and less-remembered Bonds which makes me like him even more.

It's very possible that Roger Moore's Dandy Bond was more suitable for the movies he did at that time

Roger Moore is the Bond I grew up with, so I have a bit of a soft spot for him and his mobile eyebrows.

think you've hit the nail on the head as well. It could be viewed that every Bond was the best one - or at least the right one - for their respective era.

since I've never read the novels I don't know how the character was perceived by the author himself.

Same here.

 

[Willie Oleson]

Bond Song #21



After the indie-soft rock adventure it's back to the old skool with a highly dramatic movie theme and a title to end all James Bond titles.
I must admit I wasn't that familiar with Garbage's music except for the Stupid Girl hit (and then only because the Klone Records energized it) but Shirley Manson has the range to pull it off - after all, she was chosen by David Arnold himself.
But I also like my imaginary cover version by Alison Moyet.

Speaking of cover versions, the verse of TWINE sounds a lot like the verse of ICMEACTT, the only difference is the tempo.
Scott Walker returns From Russia Without Love, so, all in all, this is a very solid entry in the history of 007 soundtracks.

Well, there's not much to re-evaluate this time. I've always liked it and I still do.
Btw, this was the last James Bond movie I've seen, I know that because Denise Richards is in it.

 

[Willie Oleson]

It's also got me thinking about which Bond songs are the least "Bond by association".

Although this thread is inspired by the many Bond-songs-ranked videos, and although the thread title does read Who Does It Better, I don't think the ranking itself was my main goal.
For many years I've had a fixed idea of what I liked and didn't like and I thought it was time to remove that cobweb of opinions.
(*subconsciously touching the vaccinated part of my arm....* no, just kidding! There's no personality change conspiracy going on!)
But I feel it needs to happen anyway and it's causing me sleepless nights because I have no idea what kind of angle to use.

-the most "faithful" to the original John Barry sound?
-the most relevant to the movie?
-the best use of the song (opening/closing credits)?
-the most significant to pop music history?
-simply my list of favourites, regardless of the re-evaluation?

Most of these Best Of lists are without rhyme or reason and what can work for a particular song can also work against another one - Nobody Does It Better vs. All Time High being one of the most noticeable examples.

Any suggestions?

 

[Mel O'Drama]

Shirley Manson has the range to pull it off - after all, she was chosen by David Arnold himself.

Ooh. I don't think I knew that.

But I also like my imaginary cover version by Alison Moyet.

Oh - I can absolutely hear that.

ICMEACTT

Well - this took me quite a few clicks of search engine results. I suppose I could have just asked you, but I do enjoy a bit of a mystery.

I thought it was time to remove that cobweb of opinions.

Anything that allows a new perspective is a good thing, I think. I've enjoyed revisiting these tracks (and, in turn, a mini-whirlpool of Bond scores and other Bond-related/Bond-sounding tracks) and seeing some of them a little differently

I have no idea what kind of angle to use.

-the most "faithful" to the original John Barry sound?
-the most relevant to the movie?
-the best use of the song (opening/closing credits)?
-the most significant to pop music history?
-simply my list of favourites, regardless of the re-evaluation?

Perhaps these are all influencing factors rather than defining criteria. I'm just enjoying your journey through them. And as you said,

what can work for a particular song can also work against another one

 

[Willie Oleson]

Bond Song #22

Madonna: I'm gonna a-void the cli-ché

I know a lot of Bond music fans hate this song, and I used to be one of them, but maybe it's interesting to pinpoint exactly what's to hate here.
I suspected this particular choice for the new Bond theme to be some kind of ploy in order to avoid unfavourable comparison with the fantastic and larger than life Bond song from the previous movie.
But according to wiki it was the complete opposite situation: Garbage's single was not a commercial success in the US and the powers that be figured that the only way to step up to the plate was to approach a high-profile artist - and of course it doesn't get more high-profile than Madonna.

Maybe it's a childish thing to say because I do understand that a commercial franchise like James Bond has everything to do with money, but sometimes it just feels a little annoying that the US market is considered to be the most significant in everything. Even more so if you consider "James Bond" to be a British institution - and the rest of the world can take it or leave it!
Like I said, it's an emotional and terribly simplistic point of view, but sometimes I can't help feeling that way.

Anyway, it was going to be Madonna and her previous movie song Beautiful Stranger suggests that this was not a bad idea at all. Except that...she's Madonna, and Madonna's career thrives on the concept of innovation. Maybe that part is even more important than the musical output itself.
From that point of view, Die Another Day is the perfect Bond-by-Madonna song. It's basically the pushing-the-envelope "Justify My Love" amongst the Bond songs.
They wanted "Madonna" and she delivered ,therefore if there's something to hate it has nothing to do with her. She simply wasn't the right choice and what's more important, they should have anticipated that.
Well, maybe they did and still didn't care, as long as her name was connected with the movie. And if that's how they feel about their movie then why should I care?

I don't have much of an opnion on the song itself - it does absolutely nothing for me but that also means there's nothing in it that I truly dislike.
As a chart hit I can simply ignore it, however, James Bond doesn't churn out hundreds of songs every year, it only happens every two or three years, and I think that's reason enough to expect something really good.

 

[James from London]

Bond Song #22

View attachment 34805



I know a lot of Bond music fans hate this song, and I used to be one of them, but maybe it's interesting to pinpoint exactly what's to hate here.
I suspected this particular choice for the new Bond theme to be some kind of ploy in order to avoid unfavourable comparison with the fantastic and larger than life Bond song from the previous movie.
But according to wiki it was the complete opposite situation: Garbage's single was not a commercial success in the US and the powers that be figured that the only way to step up to the plate was to approach a high-profile artist - and of course it doesn't get more high-profile than Madonna.

Maybe it's a childish thing to say because I do understand that a commercial franchise like James Bond has everything to do with money, but sometimes it just feels a little annoying that the US market is considered to be the most significant in everything. Even more so if you consider "James Bond" to be a British institution - and the rest of the world can take it or leave it!
Like I said, it's an emotional and terribly simplistic point of view, but sometimes I can't help feeling that way.

Anyway, it was going to be Madonna and her previous movie song Beautiful Stranger suggests that this was not a bad idea at all. Except that...she's Madonna, and Madonna's career thrives on the concept of innovation. Maybe that part is even more important than the musical output itself.
From that point of view, Die Another Day is the perfect Bond-by-Madonna song. It's basically the pushing-the-envelope "Justify My Love" amongst the Bond songs.
They wanted "Madonna" and she delivered ,therefore if there's something to hate it has nothing to do with her. She simply wasn't the right choice and what's more important, they should have anticipated that.
Well, maybe they did and still didn't care, as long as her name was connected with the movie. And if that's how they feel about their movie then why should I care?

I don't have much of an opnion on the song itself - it does absolutely nothing for me but that also means there's nothing in it that I truly dislike.
As a chart hit I can simply ignore it, however, James Bond doesn't churn out hundreds of songs every year, it only happens every two or three years, and I think that's reason enough to expect something really good.

I've always thought it's significant is that Die Another Day is the first (and maybe only) time the story continues through the opening titles so Madonna's song is there to accompany Bond being brutally tortured rather than to help conjure a lush exotic Bondian fantasy world like the songs normally do. I think it does that brilliantly, but then I love the film and I don't know anybody else who doesn't think it's rubbish.

 

[Willie Oleson]

Madonna's song is there to accompany Bond being brutally tortured rather

Then it scores points for being functional and relevant, similar to We Have All The Time In The World as the theme to the romance montage.
But that's only one of the several criteria and at the end of the day (and when memories of the movie have faded) the song also has to perform in its own right.

With a song like Goldfinger I don't think it's necessary to know, let alone like, the Goldfinger movie.

 

[Willie Oleson]

Bond Song #23



The first song from the James Re-Bond era, I don't think I had heard it before.
It's a very catchy tune and I think there's enough of the classy Bond sound in it, but I would have liked to hear Adele singing this one, just for sheer contrast of it.

Not much to re-evaluate what I hadn't evaluated before so I'll swiftly move on to Bond song #24.

 

[Willie Oleson]

Bond Song #24



I've listened to several videos of this song because I thought there was something wrong with the audio quality, but it never stopped sounding like a cacophony no matter what I tried.
Let's put a little bit of everything in it and then call it art rock. Yeah...no, I don't think so.
The odd blare of a horn and few seconds of violin strings isn't enough to make it sound "Bond", but whether it's a good Bond song or not is the least of my worries right now.
I'm going to spend the rest of the evening trying to un-hear it.

I think it's time for a new producer instead of new "sound".
On the other hand, I've got to put something at the bottom of my list. Thanks! I guess.

 

[Mel O'Drama]

I don't think I had heard it before.

Same here. This was my first spin with both #23 and #24.

It's a very catchy tune and I think there's enough of the classy Bond sound in it, but I would have liked to hear Adele singing this one, just for sheer contrast of it.

I was always put off by the opening fuzz guitar and the accompanying clatter, but once it settled down I really liked it.

He has a great voice, though the song's name is slightly ironic since I have no idea who he is (even though I do admittedly know his name in this context).

it never stopped sounding like a cacophony no matter what I tried.
Let's put a little bit of everything in it and then call it art rock. Yeah...no, I don't think so.

Adding insult to injury, it's also indulgently long for a Bond title track: well over a minute longer than Live And Let Die (the song it it feels like it's trying to replicate).

The only longer one I can think of is the full-length Licence To Kill.

I think it's time for a new producer instead of new "sound".

It's a real shame David Arnold didn't get more involvement with the title tracks written for the films he scored. Obviously he wrote and produced The World Is Not Enough and You Know My Name, and there was the whole Surrender controversy. And they're all songs you've felt were decent Bond themes (and I agree).

I feel other title songs from his era (AWTD and Die Another Day) would have felt more cohesive if he'd been given involvement with co-writing and producing them alongside the big name artists the way John Barry did with a-Ha and Duran Duran. They could even have done a Nancy Sinatra by having the soundtrack version produced by the composer and a single version with a different producer and sound.

 

[Willie Oleson]

Bond Song #25

I think it's time for a new producer instead of new "sound".

Oops, there actually is a new producer!

It's a real shame David Arnold didn't get more involvement with the title tracks written for the films he scored

Writing and producing screen & stage music is an art in itself and the most significant advantage of this particular genre is that it doesn't have to sound cool.
If it's really good then that movie-score/pop crossover will happen anyway,

The fact that the vocal theme by Adele was not produced by Thomas Newman himself makes me like it even more.
Sometimes you read comments like "I'm glad they did something new instead of doing the same old thing over and over again", but creating something different is not so difficult. The real challenge is to create something new and exciting within the parameters of the same old genre, in this case the sound created by John Barry.

The wiki entry for SKYFALL kinda reads like The Making Of A Bond Song documentary (although not nearly as elaborate as the wiki page of DIE ANOTHER DAY because....fanbase and stuff).
Adele, who thought she wasn't the right person to sing a Bond theme, the dedication to the cause - I find it quite endearing.
It would have been so easy - not to mention tempting, considering her popularity - to turn this into an "Adele" standard, and even though it doesn't stray too far from her own genre it sounds as if she's put the "Bond" before herself.

# 25 and it's one of the best. See? It is possible.


This reminds me of the note on the Pet Shop Boys 12" single Always On My Mind (Remix): not from the album, actually.

 

[Willie Oleson]

Bond Song #26

Time to wrap things up as I'm beginning to suffer from re-evaluation fatigue and I also have planned to finish season 2 of IN TREATMENT tonight (but not because of In Treatment fatigue).



(The) biggest Bond SMASH hit of all time, at least in the country of origin.

Well, maybe there's something Bond-y going on far faraway in the background, but overall I find it plodding and too much focus on the vocal theatrics.
I don't think I could remember the song even if I wanted to. Maybe I'll forget to rank it, too.

 

[Willie Oleson]

The Final Bond Song



Let's start with some good news: no more tomfoolery and pseudo-exclusiveness, the vocal theme is on the album as it should be.

Billie Eilish, like Sammy Jo Smith, has a very distinctive voice (or singing technique) and it's just not for everyone although I seem to be the minority.
She's the youngest Bond songstress so far but if I didn't know that I could just as easily believe that she was the oldest artist to perform a Bond theme, something like old Rose from the TITANIC on her deathbed.
I can hear more "song" in it than in Writing's On The Wall but despite the extensive and collaborative efforts to create a perfect new Bond song I still don't think it's become a great marriage.

Brother and sister, young people, and they've always wanted to make a Bond song (according to wiki)....it's such a lovely idea that I almost feel bad for criticizing any of it.
And I could say, well it's a Re-Bond song and people like this style these days blablabla but that still doesn't explain why Adele, also not one of my favourite singers, got it absolutely right. And that's also a completely new song.
No Time To Die gets a happy ending - perhaps someone laced her tea with Red Bull - but then it's over!

It's not as bad as I thought it was (re-evaluation accomplished) but it's not a CRACKER, like, yeah! let's listen to No Time To Die again! I don't...really have that desire.