Menu
Forums
New posts
What's new
New posts
Latest activity
Awards
Log in
Register
What's new
New posts
Menu
Log in
Register
Forums
Entertainment
Music
Who Does It Better: re-evaluating the Bond songs
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="Mel O&#039;Drama" data-source="post: 313412" data-attributes="member: 23"><p>I kind of, sort of like Crow's <em>Tomorrow Never Dies. </em>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.</p><p></p><p>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. </p><p></p><p></p><p></p><p></p><p></p><p>I was completely unaware of k.d. lang's <s><em>Tomorrow Never Dies</em></s><em> Surrender</em> 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 <em>TND</em> 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.</p><p></p><p><em>Surrender</em> 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 <em>Goldfinger</em> brass and even a little sting from <em>Diamonds Are Forever</em> it's lovingly done and everything a late-Nineties Bond song needs to be.</p><p></p><p>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.</p><p></p><p>Here's how it was originally intended to look...</p><p style="text-align: center"></p> <p style="text-align: center"></p> <p style="text-align: center">[MEDIA=youtube]VFCJamWRqNg[/MEDIA]</p><p></p><p></p><p></p><p>I've found <a href="https://www.stevepafford.com/kdlang/" target="_blank">this recent article on the song and its surrounding hoo-ha</a>. And a few interesting facts to boot.</p></blockquote><p></p>
[QUOTE="Mel O'Drama, post: 313412, member: 23"] I kind of, sort of like Crow's [I]Tomorrow Never Dies. [/I]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. I was completely unaware of k.d. lang's [S][I]Tomorrow Never Dies[/I][/S][I] Surrender[/I] 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 [I]TND[/I] 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. [I]Surrender[/I] 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 [I]Goldfinger[/I] brass and even a little sting from [I]Diamonds Are Forever[/I] 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... [CENTER] [MEDIA=youtube]VFCJamWRqNg[/MEDIA][/CENTER] I've found [URL='https://www.stevepafford.com/kdlang/']this recent article on the song and its surrounding hoo-ha[/URL]. And a few interesting facts to boot. [/QUOTE]
Insert quotes…
Verification
What month follows July?
Post reply
Forums
Entertainment
Music
Who Does It Better: re-evaluating the Bond songs
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top