In a moment that parallels Bollywood --I think the James Bond franchise is the only example in Western cinema where a film's music can be as eagerly anticipated as the film itself -- the song for the new James Bond film was released last week to much anticipation.
But is it any good?
Ok, I won't mince words here:
I can't stand Adele.
Really, why young female white singers think that overwrought phrasing and garbled diction is all they need to qualify as "soulful" and claim lineage to the R and B tradition is beyond me. That people buy this empress' new clothes routine is equally mystifying.
That said, she's not talent free -- and I actually don't mind her on this song. She tries to steer clear (not entirely successfully) of the Etta James/Aretha wannabe trap, doesn't garble too much (though her enunciation is still odd), hits some interesting leaps with effortless ease.
Its the first slight inkling I get that if she can step out from the hype surrounding her and find her own style and path, she could , in fact, be truly as amazing as everyone is led to believe she is at the moment. Vocally, this is the first glimmer of real original promise.
That said, I hate the song, or at least the production of it. This is James Bond as muzak, downtempo, easy listening.
The overwrought rhyming in places is embarrassing, as are the backing vocals in the chorus , which -- along with the turgid orchestral arrangement (more lugubrious than other Bond outings) -- gives the whole thing a bad early-70s-Drs-office-waiting-room-hearing -soundtracks-of-questionable-though-critically-acclaimed-French-films sort of feel to it. Cue up the shag carpet and Claude Lelouche and faded Kodacolor.
The piece lacks energy, spark, gutpunch, vitality.
It's an insult that on James Bond's 50th anniversary, the theme song gets a production geared for the geriatric set. I'm 50 next year and don't feel near this sluggish.
And this also marks the third theme in a row-- interestingly, all the Daniel Craig era ones -- heavily built around the i-VI-IV progression. "You Know My Name," "Another Way to Die," and "Skyfall" are all based around it, the only difference being "Skyfall" transposed up a 1/2 step from the first two's Bmin -- G -- E rendition.
It's very James Bond, of course, with DNA going back to earlier films, but time to change it up a bit.
Won't be surprised if Cornell/Arnold sue, as the way vocal line contours against the chords in the new one is quite close ( though not exactly) to "You Know My Name:"
But is it any good?
Ok, I won't mince words here:
I can't stand Adele.
Really, why young female white singers think that overwrought phrasing and garbled diction is all they need to qualify as "soulful" and claim lineage to the R and B tradition is beyond me. That people buy this empress' new clothes routine is equally mystifying.
That said, she's not talent free -- and I actually don't mind her on this song. She tries to steer clear (not entirely successfully) of the Etta James/Aretha wannabe trap, doesn't garble too much (though her enunciation is still odd), hits some interesting leaps with effortless ease.
Its the first slight inkling I get that if she can step out from the hype surrounding her and find her own style and path, she could , in fact, be truly as amazing as everyone is led to believe she is at the moment. Vocally, this is the first glimmer of real original promise.
That said, I hate the song, or at least the production of it. This is James Bond as muzak, downtempo, easy listening.
The overwrought rhyming in places is embarrassing, as are the backing vocals in the chorus , which -- along with the turgid orchestral arrangement (more lugubrious than other Bond outings) -- gives the whole thing a bad early-70s-Drs-office-waiting-room-hearing -soundtracks-of-questionable-though-critically-acclaimed-French-films sort of feel to it. Cue up the shag carpet and Claude Lelouche and faded Kodacolor.
The piece lacks energy, spark, gutpunch, vitality.
It's an insult that on James Bond's 50th anniversary, the theme song gets a production geared for the geriatric set. I'm 50 next year and don't feel near this sluggish.
And this also marks the third theme in a row-- interestingly, all the Daniel Craig era ones -- heavily built around the i-VI-IV progression. "You Know My Name," "Another Way to Die," and "Skyfall" are all based around it, the only difference being "Skyfall" transposed up a 1/2 step from the first two's Bmin -- G -- E rendition.
It's very James Bond, of course, with DNA going back to earlier films, but time to change it up a bit.
Won't be surprised if Cornell/Arnold sue, as the way vocal line contours against the chords in the new one is quite close ( though not exactly) to "You Know My Name:"
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