Spectre title song - Writing's on the Wall

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  • NickTwentyTwoNickTwentyTwo Vancouver, BC, Canada
    Posts: 7,527
    Not in Canada either FWIW.
  • Red_SnowRed_Snow Australia
    Posts: 2,500
    It's available for pre-order on iTunes Australia.
  • edited September 2015 Posts: 11,119
    I just hope Sam Smith's producer Jimmy Napes can pull it off, similarly to what the wonderful Paul Epworth did with this instrumental version of "Skyfall" with even better, richer orchestrated music. I especially love the passionate piano play near the climax of the song. And by jolly, hear those strings!

    Does someone actually know who conducted this wonderful orchestra? Was it Epworth himself? Or Thomas Newman? Until "Writing's On The Wall" gets released I'm re-listening this version over and over again. It's dropdead georgeous!

  • Garth007 wrote: »
    Hey is writings on the wall available to pre order on iTunes yet?
    its been available since it was announced ll

  • This interview is given me some hope it will be a classic bond song. http://www.capitalfm.com/artists/disclosure/news/sam-smith-bond-theme/
  • This interview is given me some hope it will be a classic bond song. http://www.capitalfm.com/artists/disclosure/news/sam-smith-bond-theme/

    I can't wait @Gareth007fan !!! This gives me high hopes. Man, it all feels like the 1960's again. I keep wondering how on earth can "Writing's On The Wall" match "SkyFall". But aparently, it will match that song, similar to how "Thunderball" matched "Goldfinger" perhaps :-D!

    By the way, have you listened to the instrumental version of "Skyfall" I just hotlinked to?
  • CASINOROYALECASINOROYALE Somewhere hot
    Posts: 1,003
    When will it be available to pre order in the USA ?
  • edited September 2015 Posts: 330
    This interview is given me some hope it will be a classic bond song. http://www.capitalfm.com/artists/disclosure/news/sam-smith-bond-theme/

    I can't wait @Gareth007fan !!! This gives me high hopes. Man, it all feels like the 1960's again. I keep wondering how on earth can "Writing's On The Wall" match "SkyFall". But aparently, it will match that song, similar to how "Thunderball" matched "Goldfinger" perhaps :-D!

    By the way, have you listened to the instrumental version of "Skyfall" I just hotlinked to?

    Hi, Glad it has give you hope in the tune been good. I don't want to hype it up too much, but it's sounding like it really going to be a return to classic themes Let hope so, but if its better than skyfall, I'm happy.

    I wasn't a big fan of skyfall tune, it was rather cliché and repeated skyfall a little too much. I think it will certainly beat Adele's tune in a way.
  • This interview is given me some hope it will be a classic bond song. http://www.capitalfm.com/artists/disclosure/news/sam-smith-bond-theme/

    I can't wait @Gareth007fan !!! This gives me high hopes. Man, it all feels like the 1960's again. I keep wondering how on earth can "Writing's On The Wall" match "SkyFall". But aparently, it will match that song, similar to how "Thunderball" matched "Goldfinger" perhaps :-D!

    By the way, have you listened to the instrumental version of "Skyfall" I just hotlinked to?

    Oh, and I've listened to the link thanks. Yeah its good.
  • Garth007Garth007 Missouri, USA
    Posts: 61
    Garth007 wrote: »
    Hey is writings on the wall available to pre order on iTunes yet?
    its been available since it was announced ll

    Apparently not in us itunes sadly :(
  • I just hope Sam Smith's producer Jimmy Napes can pull it off, similarly to what the wonderful Paul Epworth did with this instrumental version of "Skyfall" with even better, richer orchestrated music. I especially love the passionate piano play near the climax of the song. And by jolly, hear those strings!

    Does someone actually know who conducted this wonderful orchestra? Was it Epworth himself? Or Thomas Newman? Until "Writing's On The Wall" gets released I'm re-listening this version over and over again. It's dropdead georgeous!


    FWIW, this is the same music heard in the official Skyfall title song...just without Adele's vocals. That might be why the orchestral parts sound more prominent.

    J.A.C. Redford arranged the orchestral parts for the song. He also arranged the Skyfall theme as heard in the track "Komodo Dragon" played when Bond arrives at the casino.
  • I think it's slightly different. Listen carefully to the piano riffs.
  • Posts: 3,333
    Thanks @Gareth007, that's a refreshing read about TWOTW song having a GF vibe, though I'm not too familiar with Disclosure and what they've added to the song. Could this be another double whammy for a UK artist producing another great Bond song, proving all along that sticking with a Brit for Bond is by far the best option? I just hope that Sam's song doesn't go to waste like Adele's effort, and that Newman actually weaves the song into the score this time rather than lazily handing the job to someone else. Maybe it's time to bring back a Brit composer to do the entire score too?
  • Posts: 11,425
    This interview is given me some hope it will be a classic bond song. http://www.capitalfm.com/artists/disclosure/news/sam-smith-bond-theme/

    I can't wait @Gareth007fan !!! This gives me high hopes. Man, it all feels like the 1960's again. I keep wondering how on earth can "Writing's On The Wall" match "SkyFall". But aparently, it will match that song, similar to how "Thunderball" matched "Goldfinger" perhaps :-D!

    By the way, have you listened to the instrumental version of "Skyfall" I just hotlinked to?

    I've never heard anyone say that the TB song 'matched' GF. I've never been a fan of the TB song personally. One of Barry's least successful efforts IMO.
    bondsum wrote: »
    Thanks @Gareth007, that's a refreshing read about TWOTW song having a GF vibe, though I'm not too familiar with Disclosure and what they've added to the song. Could this be another double whammy for a UK artist producing another great Bond song, proving all along that sticking with a Brit for Bond is by far the best option? I just hope that Sam's song doesn't go to waste like Adele's effort, and that Newman actually weaves the song into the score this time rather than lazily handing the job to someone else. Maybe it's time to bring back a Brit composer to do the entire score too?

    Interesting that Disclosure are also involved. All in all, I'm pretty optimisitc it's going to be a decent song. These are all talented people, pretty close to the top of their game right now. I agree about Newman as well - really hope he pulls his finger out this time and stops behaving like a spoilt little child.
  • I'm still looking forward, counting down the days till release. I hope it is released at midnight like last time. Sure it will be, but not entirely sure where to look. They should have a countdown site like with Adele.
  • bondjamesbondjames You were expecting someone else?
    edited September 2015 Posts: 23,883
    Chill out everyone.

    Smith may not be an inspired choice (if you think about it....we all should have known all along, given EON's recent track record, and the obviousness of casting decisions in particular for this film, that it would be him).

    Having said that, I personally think both the song and score are going to surprise everyone here to the upside. I think both will be highly derivative/unoriginal (again, this appears to be the modus operandi on SP from what I can see) but I also think it will evoke the franchise's great past (which appears to be their conscious 'play' with this film).
  • From what I've read, I believe this theme song will shock a lot of people who are not happy with Sam Smith at the singer. I am not even a fan of him , but he could still pull it off. With the correct lyrics, tone of voice and classic tune, it could well be a classic as it's said to be. But I think they shouldn't be hyping it up as a classic just yet. Maybe wait till its released and see what people think. But I'm excited either way.
  • So here is the link to Sam Smith's official youtube chanel on Vevo. Is this the only place to hear the song at midnight. https://www.youtube.com/user/SamSmithWorldVEVO/featured
  • bondjames wrote: »
    Chill out everyone.

    Smith may not be an inspired choice (if you think about it....we all should have known all along, given EON's recent track record, and the obviousness of casting decisions in particular for this film, that it would be him).

    Having said that, I personally think both the song and score are going to surprise everyone here to the upside. I think both will be highly derivative/unoriginal (again, this appears to be the modus operandi on SP from what I can see) but I also think it will evoke the franchise's great past (which appears to be their conscious 'play' with this film).

    Have things really changed regarding picking the Bond title song artist? Where the picks in the 1960's more inspired....more 'arty'? In my honest humble opinion: No.

    2012 and 2015 are not as different when the title song artists were chosesn in 1965 and 1967. Both Tom Jones and Nancy Sinatra in essence were the 'Adele' and 'Sam Smith' of their days. Their fanbases were mostly teenagers, and they both were topping the more 'ordinary', but commercially succesful billboard charts.

    Just listen to this exquisit pop song, which was a popular teenager choice in 1966:



    Having said all this, I am finding myself increasingly impatient! Can't wait to hear Sam Smith's song! :-D
  • bondjamesbondjames You were expecting someone else?
    edited September 2015 Posts: 23,883
    bondjames wrote: »
    Chill out everyone.

    Smith may not be an inspired choice (if you think about it....we all should have known all along, given EON's recent track record, and the obviousness of casting decisions in particular for this film, that it would be him).

    Having said that, I personally think both the song and score are going to surprise everyone here to the upside. I think both will be highly derivative/unoriginal (again, this appears to be the modus operandi on SP from what I can see) but I also think it will evoke the franchise's great past (which appears to be their conscious 'play' with this film).

    Have things really changed regarding picking the Bond title song artist? Where the picks in the 1960's more inspired....more 'arty'? In my honest humble opinion: No.

    2012 and 2015 are not as different when the title song artists were chosesn in 1965 and 1967. Both Tom Jones and Nancy Sinatra in essence were the 'Adele' and 'Sam Smith' of their days. Their fanbases were mostly teenagers, and they both were topping the more 'ordinary', but commercially succesful billboard charts.

    Just listen to this exquisit pop song, which was a popular teenager choice in 1966:



    Having said all this, I am finding myself increasingly impatient! Can't wait to hear Sam Smith's song! :-D

    Yes, you're probably right, they were no more inspired in the past.

    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    I too am looking forward to Smith's song. I don't care if it's derivative (which I'm sure it will be) as long as it's good. Same goes for the score. Let them evoke OHMSS as much as they want........just make it sound good (Newman will do so, I'm sure of it).

    That Nancy Sinatra track is a classic. I've heard it many times but did not know she was the one who sung it. Cheers, I will go buy it at some point.
  • RC7RC7
    Posts: 10,512
    bondjames wrote: »
    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    Absolutely. I think this could be said of the whole production, not just the song.
  • Posts: 1,068
    My main fear with Smith is the danger the song with be unnecessarily melodramatic and limp wristed especially hearing it's a love song. FFS.

    I personally don't think he has the mindset (even if I believe those that say he has the strong voice), to manage a song belted out with the edge to it like Tom Jones TB.

    I guess being pessimistic makes a good song a very pleasant surprise (if Smith does manage to pull it off) though I'm not holding my breath.
  • RC7RC7
    Posts: 10,512
    andmcit wrote: »
    My main fear with Smith is the danger the song with be unnecessarily melodramatic and limp wristed.

    Big gay Sam, with his big gay Bond theme.
  • Posts: 1,068
    lol
  • AceHoleAceHole Belgium, via Britain
    Posts: 1,727
    RC7 wrote: »
    bondjames wrote: »
    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    Absolutely. I think this could be said of the whole production, not just the song.

    Therein lies EoN foolishness, however - there comes a point when you are no longer inspired by past glory, you are far too consciously trying to mimic it.

    Having said that, I like most of what I've seen of the Spectre PR (aside from the TERRIBLE LALD mimicry that opens the latest trailer... that is just plain insulting), so fingers crossed.
  • RC7 wrote: »
    bondjames wrote: »
    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    Absolutely. I think this could be said of the whole production, not just the song.

    I think it's in part also coicidental. As you guys already mentioned, back in the 1960's there wasn't a huge 50 year old Bond history. Now there is. So it's more or less inevitable that current Bond music makers are inspired by the past.

    --> David Arnold was inspired by John Barry's sound for his first soundtrack for "Tomorrow Never Dies"
    --> Narada Michael Walden explicitly used some of John Barry's "Goldfinger" riffs in his official title theme tune "Licence To Kill"
    --> John Barry slightly tried to cash in on the success of George Martin's "Live And Let Die", by coming up with a similar 'rocky' entry, called "TMWTGG"
    --> John Barry's "Thunderball" is in all aspects the perfect follow-up to that other bold, big, heart-attach-invoking title song "Goldfinger"

    I think it's very logical to conclude that....the longer the Bond franchise lasts (53 years now), the more difficult it becomes to stay truly original when composing a new title song. And on the whole, music trends come and go. When Amy Whinehouse suddenly channeled that 1960's soul vibe in her songs, most younger fans of her suddenly hailed her for being so 'damn original and new'! Same with Lady Gaga's costumes. Young fans love her 'thought-provoking, new and completely original shows full of weird outfits', forgetting that Grace Jones did it before her.
  • AceHoleAceHole Belgium, via Britain
    edited September 2015 Posts: 1,727
    RC7 wrote: »
    bondjames wrote: »
    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    Absolutely. I think this could be said of the whole production, not just the song.

    I think it's in part also coicidental. As you guys already mentioned, back in the 1960's there wasn't a huge 50 year old Bond history. Now there is. So it's more or less inevitable that current Bond music makers are inspired by the past.

    --> David Arnold was inspired by John Barry's sound for his first soundtrack for "Tomorrow Never Dies"
    --> Narada Michael Walden explicitly used some of John Barry's "Goldfinger" riffs in his official title theme tune "Licence To Kill"
    --> John Barry slightly tried to cash in on the success of George Martin's "Live And Let Die", by coming up with a similar 'rocky' entry, called "TMWTGG"
    --> John Barry's "Thunderball" is in all aspects the perfect follow-up to that other bold, big, heart-attach-invoking title song "Goldfinger"

    I think it's very logical to conclude that....the longer the Bond franchise lasts (53 years now), the more difficult it becomes to stay truly original when composing a new title song. And on the whole, music trends come and go. When Amy Whinehouse suddenly channeled that 1960's soul vibe in her songs, most younger fans of her suddenly hailed her for being so 'damn original and new'! Same with Lady Gaga's costumes. Young fans love her 'thought-provoking, new and completely original shows full of weird outfits', forgetting that Grace Jones did it before her.

    I disagree, Gustav. There are plenty of arrangements, styles and forms of music that have not been done for Bond songs.

    For instance, other than some fragments in CR's 'YKMN' we have not had any proper attempts at using the electric guitar in an interesting way. Johnny Marr (worked on the 'Inception' soundtrack, Bernard Butler (listen to early Suede, some of his dramatic guitar work is positively perfect for DC's Bond), Kirk Hammet, Jeff Beck are all guitarists who could (and some already have) add a great deal of value to the sound of cinema - and they would provide he PERFECT sound for Craig's interpretation of James Bond.
  • RC7RC7
    Posts: 10,512
    RC7 wrote: »
    bondjames wrote: »
    However, I think what's different this time around is they are consciously drawing from that illustrious past when making the film,.....and most likely, when drafting the track. There is a decision to 'evoke'. This is different from the 60's, when the films and tracks were highly original for their time (because they had no storied past to draw from).

    Absolutely. I think this could be said of the whole production, not just the song.

    I think it's in part also coicidental. As you guys already mentioned, back in the 1960's there wasn't a huge 50 year old Bond history. Now there is. So it's more or less inevitable that current Bond music makers are inspired by the past.

    --> David Arnold was inspired by John Barry's sound for his first soundtrack for "Tomorrow Never Dies"
    --> Narada Michael Walden explicitly used some of John Barry's "Goldfinger" riffs in his official title theme tune "Licence To Kill"
    --> John Barry slightly tried to cash in on the success of George Martin's "Live And Let Die", by coming up with a similar 'rocky' entry, called "TMWTGG"
    --> John Barry's "Thunderball" is in all aspects the perfect follow-up to that other bold, big, heart-attach-invoking title song "Goldfinger"

    I think it's very logical to conclude that....the longer the Bond franchise lasts (53 years now), the more difficult it becomes to stay truly original when composing a new title song. And on the whole, music trends come and go. When Amy Whinehouse suddenly channeled that 1960's soul vibe in her songs, most younger fans of her suddenly hailed her for being so 'damn original and new'! Same with Lady Gaga's costumes. Young fans love her 'thought-provoking, new and completely original shows full of weird outfits', forgetting that Grace Jones did it before her.

    Bond certainly has a 'sound', so in a way I don't think it's about being original, but about being modern in the way you approach it. DA played with the Bond sound in TND, but I don't think he mimicked Barry, per se, he took the kit of parts and put a fresh twist on it. This sounds nothing like Barry, but it feels Bondian to me.



    As @AceHole says -
    AceHole wrote: »
    there comes a point when you are no longer inspired by past glory, you are far too consciously trying to mimic it.

    This is the key thing to avoid. DC wearing the Connery dinner jacket, or driving the GF DB5 is consciously mimicking, especially when the scenes themselves are shot to look like a period film (as with this SP train scene).
  • RC7 wrote: »
    This is the key thing to avoid. DC wearing the Connery dinner jacket, or driving the GF DB5 is consciously mimicking, especially when the scenes themselves are shot to look like a period film (as with this SP train scene).

    Now that I truly find bull-shit. So when Bond wears a black dinner-jacket in "Skyfall" it's not 'consciously mimicking' but something 'truly original that we haven't seen before'?

    I think if you really want to find out the answer, you'll have to talk directly to Dutch costume designer Jany Temime. On top of that, I recall very well, that Jany Temime wanted to give Bond also a very 2012-esque look with his suits in "Skyfall", making them more slim-fit, more 'cut-to-the-bone'........so by doing so actually moving away from the retro past a bit. Well, we know how dissatisfied some people were about that.


    In my honest humble opinion, I think it completely rocks seeing Bond finally in a white dinner jacket again, and in a way I find that way way more thoughtful and creative and respectful to Bond's past, as opposed to letting 007 wear a midnight blue or black dinner jacket again. Probably this choice has also been made by taking into account the fans.

    My point really: It's a rather hollow argument to use the argument 'consciously mimicking' and to say we 'need to avoid that'. It has been done ever since "Doctor No" appeared on the screen.
  • RC7RC7
    edited September 2015 Posts: 10,512
    RC7 wrote: »
    This is the key thing to avoid. DC wearing the Connery dinner jacket, or driving the GF DB5 is consciously mimicking, especially when the scenes themselves are shot to look like a period film (as with this SP train scene).

    Now that I truly find bull-shit. So when Bond wears a black dinner-jacket in "Skyfall" it's not 'consciously mimicking' but something 'truly original that we haven't seen before'?

    I think if you really want to find out the answer, you'll have to talk directly to Dutch costume designer Jany Temime. On top of that, I recall very well, that Jany Temime wanted to give Bond also a very 2012-esque look with his suits in "Skyfall", making them more slim-fit, more 'cut-to-the-bone'........so by doing so actually moving away from the retro past a bit. Well, we know how dissatisfied some people were about that.


    In my honest humble opinion, I think it completely rocks seeing Bond finally in a white dinner jacket again, and in a way I find that way way more thoughtful and creative and respectful to Bond's past, as opposed to letting 007 wear a midnight blue or black dinner jacket again. Probably this choice has also been made by taking into account the fans.

    My point really: It's a rather hollow argument to use the argument 'consciously mimicking' and to say we 'need to avoid that'. It has been done ever since "Doctor No" appeared on the screen.

    The white dinner jacket with red rose is a one-off and associated with the most iconic film in the entire series. Dinner jackets, whether black or midnight blue are a staple ingredient. Giving DC the GF look is a conscious nod to that film. That's not bullshit, it's just fact. As I've said, I'm not a massive fan of mimicking very specific visuals, but it's just an opinion. I know others love seeing things they've seen before. For me, in the long run, I prefer to look back and see a breadth of design that is specific to each film.
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