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The look, the loves, the gadgets and the lavish locations across the globe are as much a part of the 007 DNA as James Bond’s theme plucked confidently on a guitar. Cinema’s most enduring franchise celebrates its 50th Anniversary in 2012. 50 years since Sean Connery became the onscreen embodiment of author Ian Flemming’s British secret service agent, James Bond. Monty Norman provided the score for the first film, with the theme arranged by John Barry. Barry would go on to score a total of 11 Bond films, beginning with From Russia with Love and closing with The Living Daylights, with several other composers taking the reins from time to time. Barry is arguably the greatest Bond composer. Recently, David Arnold (Independence Day) has been front man for the composing duties, but with Sam Medes taking on directorial duties, his long-time collaborating composer Thomas Newman, with whom he has worked numerous times (American Beauty, Revolution Road), took over from Arnold. Though Newman is best known for his scores for domestic dramas, he has produced a muscular and occasionally reverent score for the latest Bond adventure.
Release Company: Sony Classics
Catalog ID: 88765410402
Film Year: 2012
Running Time: 77:02
Number of Discs: 1 Edition: NA
Composer(s): Thomas Newman
Release Date: November 6, 2012
Review Date: November 14, 2012
Daniel Craig returns for a third outing as MI6’s globe-trotting secret agent, James Bond. In Skyfall, a list of undercover UN agents has fallen into the hands of a malicious and quite mad cybercriminal and, struggling with the political aftermath, M finds herself targeted. Bond returns to duty following his failed mission (and a terrorist attack) to put a stop to the sale of the list on the open market. Bond Scores at their finest are an unspoiled blend of strings and the ballsy brass and percussion born from John Barry’s astounding creative contributions. There have been deviations from this recipe. Marvin Hamlisch delivered an exception to the rule, with a funky, disco-driven (and yet still memorable) composition filled with serious flair for 1977s The Spy Who Loved Me. French composer Eric Serra has long been lambasted for his contribution to 1995’s re-launch of the franchise with Peirce Brosnan taking over the Tux in Goldeneye. Serra avoided almost entirely the ‘traditional’ Bond sound, so much that another composer was reportedly brought in to spruce up certain scenes, including the tank rampage through Moscow. Michael Kamen came aboard with his score for License To Kill in 1987 (taking over for John Barry), where the results were reasonable for its time, but ultimately out of synch with the musical essence of the Bond character. And even Barry himself shifted the balance from piercing brass and bravado with his softer and more contemplative (and sublime) score for On Her Majesties Secret Service. Generally however, the sound for Bond has dipped from the same palate.
On the continuum of James Bond scores, Skyfall lands relatively comfortably with the average. It contains inspired moments, some memorable melodies, and a throaty, energetic Thomas Newman as never heard before. Newman’s unique voice isn’t as obvious as his incredible scores for works such as The Shawshank Redemption, Wall*E or Angels in America, but it can be found. Where the score for Skyfall disappoints is in the restrained use of the inimitable James Bond theme. Some ‘almost-but-not-quite’ quotations give promise for a full-blown rendition, but with perhaps one exception, it is never let loose. As heard in the film, the score is more fitting. As presented on the album, that ‘almost-but-not-quite’ is more apparent and just isn’t brassy enough. Given composer David Arnold’s full embrace of the John Barry approach, with bombastic percussion richly partnered with trumpets, trombones and other requisite brass instruments, lassoed with lush string moments (calling back to the Roger Moore days), his contributions were brilliant (though he went off the rails with Die Another Day it must be said). Arnold’s score for Casino Royale is one of the best in the entire franchise.
Newman occasionally feels comfortable in the same sandbox where Barry and Arnold cut their scores, but it isn’t always enough. Subdued brass is employed in tracks such as ‘Voluntary Retirement’ (bookending with ‘Mother’), and it’s effective. Newman’s real strength in scoring for Bond comes in his handling of the music around the globe. The opening track, where the film begins in Turkey, is a deliriously entertaining sprawl of traditional Turkish percussion and instrumentation, propulsive in accordance with the action, and entirely listenable. In the second half of the track ‘Brave New World’, Newman enjoys himself with a fireworks display of music, weaving in a memorable melody as eastern musical influences dance around the edges. It’s a wonderful piece and among the scores highlights. Finally, Thomas Newman’s DNA is perhaps most vividly evident in the Skyfall track, where his deeply ethereal voice is pronounced and his provision of a pensive atmosphere for the protagonists is first-rate.
Most disappointingly though, Skyfall is heavily dosed with good but not particularly memorable action scoring. Moments inspired by John Powell’s excellent scores for the Bourne films (in tracks like ‘Shanghai Drive’) have firm footing throughout. I should stress though that this is certainly no Bourne-clone and such a characterization would be deeply unfair. The score is a fun listen and a solid entry into the Bond soundtrack library; sparks of greatness spirit their way above the generally solid score even while a fuller embrace of Bond brass and the James Bond theme seems just out of reach.
Track Listing
1. Grand Bazaar, Istanbul (05:14)
2. Voluntary Retirement (02:22)
3. New Digs (02:32)
4. Severine (01:18)
5. Brave New World (01:50)
6. Shanghai Drive (01:26)
7. Jellyfish (03:22)
8. Silhouette (00:56)
9. Modigliani (01:04)
10. Day Wasted (01:31)
11. Quartermaster (04:58)
12. Someone Usually Dies (02:29)
13. Komodo Dragon (03:20)
14. The Bloody Shot (04:46)
15. Enjoying Death (01:13)
16. The Chimera (01:58)
17. Close Shave (01:32)
18. Health & Safety (01:29)
19. Granborough Road (02:32)
20. Tennyson (02:14)
21. Enquiry (02:49)
22. Breadcrumbs (02:02)
23. Skyfall (02:32)
24. Kill Them First (02:22)
25. Welcome to Scotland (03:21)
26. She’s Mine (03:53)
27. The Moors (02:39)
28. Deep Water (05:11)
29. Mother (01:48)
30. Adrenaline (02:18)
Skyfall is a well-orchestrated production and the CD matches the density of sound and clarity of instrumentation nicely. The precision of the percussion, particularly in the opening track and again on ‘Deep Water’, is fine and the quality throughout is spot-on.
Skyfall is a fresh approach for composer Thomas Newman who is perhaps best known for a decidedly more brooding, melancholy collection of scores, and others that delight with a unique quirk and disarming darkness. Overall, his Bond turn is a very good score for an excellent film, and as heard in the film, a better proposition than as heard on the CD. The heavy percussive veins that run through the action tracks are the welcome influence of David Arnold, and there is also what I consider to be the unmistakable influence of Eliot Goldenthal in the track ‘Jellyfish’ and even a hint of Danny Elfman’s Batman to be heard for one fleeting moment. The score is dividing score fans even while the film is scoring high marks around the globe. I would welcome a follow-up entry from Newman even while I hold out hope of Arnold taking another swipe.
Neil Middlemiss
Kernersville, NC
Release Company: Sony Classics
Catalog ID: 88765410402
Film Year: 2012
Running Time: 77:02
Number of Discs: 1 Edition: NA
Composer(s): Thomas Newman
Release Date: November 6, 2012
Review Date: November 14, 2012
The Score
3.5 / 5
Daniel Craig returns for a third outing as MI6’s globe-trotting secret agent, James Bond. In Skyfall, a list of undercover UN agents has fallen into the hands of a malicious and quite mad cybercriminal and, struggling with the political aftermath, M finds herself targeted. Bond returns to duty following his failed mission (and a terrorist attack) to put a stop to the sale of the list on the open market. Bond Scores at their finest are an unspoiled blend of strings and the ballsy brass and percussion born from John Barry’s astounding creative contributions. There have been deviations from this recipe. Marvin Hamlisch delivered an exception to the rule, with a funky, disco-driven (and yet still memorable) composition filled with serious flair for 1977s The Spy Who Loved Me. French composer Eric Serra has long been lambasted for his contribution to 1995’s re-launch of the franchise with Peirce Brosnan taking over the Tux in Goldeneye. Serra avoided almost entirely the ‘traditional’ Bond sound, so much that another composer was reportedly brought in to spruce up certain scenes, including the tank rampage through Moscow. Michael Kamen came aboard with his score for License To Kill in 1987 (taking over for John Barry), where the results were reasonable for its time, but ultimately out of synch with the musical essence of the Bond character. And even Barry himself shifted the balance from piercing brass and bravado with his softer and more contemplative (and sublime) score for On Her Majesties Secret Service. Generally however, the sound for Bond has dipped from the same palate.
On the continuum of James Bond scores, Skyfall lands relatively comfortably with the average. It contains inspired moments, some memorable melodies, and a throaty, energetic Thomas Newman as never heard before. Newman’s unique voice isn’t as obvious as his incredible scores for works such as The Shawshank Redemption, Wall*E or Angels in America, but it can be found. Where the score for Skyfall disappoints is in the restrained use of the inimitable James Bond theme. Some ‘almost-but-not-quite’ quotations give promise for a full-blown rendition, but with perhaps one exception, it is never let loose. As heard in the film, the score is more fitting. As presented on the album, that ‘almost-but-not-quite’ is more apparent and just isn’t brassy enough. Given composer David Arnold’s full embrace of the John Barry approach, with bombastic percussion richly partnered with trumpets, trombones and other requisite brass instruments, lassoed with lush string moments (calling back to the Roger Moore days), his contributions were brilliant (though he went off the rails with Die Another Day it must be said). Arnold’s score for Casino Royale is one of the best in the entire franchise.
Newman occasionally feels comfortable in the same sandbox where Barry and Arnold cut their scores, but it isn’t always enough. Subdued brass is employed in tracks such as ‘Voluntary Retirement’ (bookending with ‘Mother’), and it’s effective. Newman’s real strength in scoring for Bond comes in his handling of the music around the globe. The opening track, where the film begins in Turkey, is a deliriously entertaining sprawl of traditional Turkish percussion and instrumentation, propulsive in accordance with the action, and entirely listenable. In the second half of the track ‘Brave New World’, Newman enjoys himself with a fireworks display of music, weaving in a memorable melody as eastern musical influences dance around the edges. It’s a wonderful piece and among the scores highlights. Finally, Thomas Newman’s DNA is perhaps most vividly evident in the Skyfall track, where his deeply ethereal voice is pronounced and his provision of a pensive atmosphere for the protagonists is first-rate.
Most disappointingly though, Skyfall is heavily dosed with good but not particularly memorable action scoring. Moments inspired by John Powell’s excellent scores for the Bourne films (in tracks like ‘Shanghai Drive’) have firm footing throughout. I should stress though that this is certainly no Bourne-clone and such a characterization would be deeply unfair. The score is a fun listen and a solid entry into the Bond soundtrack library; sparks of greatness spirit their way above the generally solid score even while a fuller embrace of Bond brass and the James Bond theme seems just out of reach.
Track Listing
1. Grand Bazaar, Istanbul (05:14)
2. Voluntary Retirement (02:22)
3. New Digs (02:32)
4. Severine (01:18)
5. Brave New World (01:50)
6. Shanghai Drive (01:26)
7. Jellyfish (03:22)
8. Silhouette (00:56)
9. Modigliani (01:04)
10. Day Wasted (01:31)
11. Quartermaster (04:58)
12. Someone Usually Dies (02:29)
13. Komodo Dragon (03:20)
14. The Bloody Shot (04:46)
15. Enjoying Death (01:13)
16. The Chimera (01:58)
17. Close Shave (01:32)
18. Health & Safety (01:29)
19. Granborough Road (02:32)
20. Tennyson (02:14)
21. Enquiry (02:49)
22. Breadcrumbs (02:02)
23. Skyfall (02:32)
24. Kill Them First (02:22)
25. Welcome to Scotland (03:21)
26. She’s Mine (03:53)
27. The Moors (02:39)
28. Deep Water (05:11)
29. Mother (01:48)
30. Adrenaline (02:18)
The Sound
5/5
Skyfall is a well-orchestrated production and the CD matches the density of sound and clarity of instrumentation nicely. The precision of the percussion, particularly in the opening track and again on ‘Deep Water’, is fine and the quality throughout is spot-on.
Final Thoughts
Skyfall is a fresh approach for composer Thomas Newman who is perhaps best known for a decidedly more brooding, melancholy collection of scores, and others that delight with a unique quirk and disarming darkness. Overall, his Bond turn is a very good score for an excellent film, and as heard in the film, a better proposition than as heard on the CD. The heavy percussive veins that run through the action tracks are the welcome influence of David Arnold, and there is also what I consider to be the unmistakable influence of Eliot Goldenthal in the track ‘Jellyfish’ and even a hint of Danny Elfman’s Batman to be heard for one fleeting moment. The score is dividing score fans even while the film is scoring high marks around the globe. I would welcome a follow-up entry from Newman even while I hold out hope of Arnold taking another swipe.
Overall (Not an average)
3.5/5
Neil Middlemiss
Kernersville, NC