Maybe TMWTGG is worse than this song, but it is close.
I haven't heard this song yet but I have to say that I think TMWTGG is a great song. Lulu's rendition of it is IMO one of the best things about the film.
When it comes to worst songs, I don't think there is a single contender, but I would probably single out DAD. I like Madonna but I really think she was the wrong choice for a Bond song.
"He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they start not smiling back—that’s an earthquake. and then you get yourself a couple of spots on your hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory." Death of a Salesman
They should have gone with Goldfrapp, something along the lines of "Utopia."
In fact, Goldfrapp was linked to the main song (i saw it on Mtvla -even when Arnold deny that info-) and yes, would sound a little more electrical, but yeah,I really could listen and enjoy a Goldfrapp Bond song.
I know Barry won't do any more tracks, but you clowns should have thrown all the money you could at him - and Shirley Bassey! She still sounds great. This is the last Fleming title, why didn't they go for a timeless sound???
I felt the same way with Madonna (remember: Bond 20, 40 years after he hit the cinemas)
About DAD, i´ve say it before and i say it again, the beginning is good, afther the fist beepings its ok, but when she sings.... it´s not the same.
The intro is from a Rock song, not a Bond song (like TWINE)
The trumpets... yes, they are good, and louder would be a better effect, but i disagree about being "mariachi" type. Orchestral musig have good trumpets (i can´t recall clearly, but i believe TWINE have some)
About the ending (the "you know my name" X 7)... it´s Chirs Cornell, the Southgarden - Audioslave dude... really, didn´t you see it coming?
Yet i like it... some will say ité the worst right now, others the worst ever.. but come on, it could be worst.
At least is no Hip-Hop or for those who understand... Reggaeton.... that´s my limit.
This song is pretty bad. Coming on the heels of a very violent PTS I don't see how it will flow with what's already been established in the movie. I never thought I would say it, but where is Die Another Day when you need it. They should have gotten Rob Dougan to do the title track, hell he should have scored the film as well.
Oh, it's certainly better than any of the audio wallpaper that was associated with the Brosnan films (the only exception being k.d. lang's excellent "Surrender"), and I think it will grow on me. The melody is pretty good -- I can sense how Arnold will incorporate it with his orchestrals. It brings to mind both "Live and Let Die" and "A View to a Kill," which I wasn't crazy about upon first hearing, but it later grew on me considerably. On second listen, I liked "You Know My Name" even more.
Man...all this talk about horns and 'spanish-sounding...I was hoping for some Herb Alpert. Talk about disappointment!
) ) It's ironic; Herb did music for both "rogue" Bond movies but never for the EON productions. As a longtime Herb Alpert fan, I wouldn't have minded seeing him take a stab at an all instrumental cover for CR.
I have to agree with MBE...it definitely has an amateurish sound to it. I can see any local bar band cranking out something equitable to this.
And the ending? "YOU KNOW MY NAME! YOU KNOW MY NAME! YOU KNOW MY NAME!" It sounds like a speed-freak having a temper tantrum!
I guess I'm old fashioned, but I wouldn't classify many of the people who've done Bond title songs over the past couple of decades as particularly good singers or musicians (Tina Turner and KD Lang are probably the two major exceptions that come to mind, and they even banished poor KD's excellent Surrender to the closing credits in favor of Sheryl Crowe's mousy title cover). They're mostly flavors of the month now (and in some cases flavors from last month). I really miss the days when they had real singers do these covers with talented musicians backing them up.
Its warmed on me, very much. In fact I love it at the moment. I find it really catchy, and really Bondian at the same time as being very cool. This has been the first Bond song I've felt I can really share with my friends and they love it too. One said to me "Its great because it sounds cool but you can really tell its a Bond song".
I think I might be warming to it. Just had a another couple of listens, with the lyrics infront of me and I think it might work with the titles. Still not a Bond song though. Could definitely do with less guitar and more strings.
SeanConnery007The Bond Archive - London, EngPosts: 169MI6 Agent
I like "You Know My Name" - its different, but I think its a catchy song with real presence.
Of course the real test is how it works within the title sequence and the film as a whole.
Shame there is no mention of 'Casino Royale' - just like Octopussy's 'All Time High' - I personally prefer the theme to reference the title.
It's an unorthadox Bond theme - but then CR is as unorthadox as it comes.
Hmm. It's not a bad song, but I don't think it's a very good Bond theme. It just sounds like a typical Audioslave or Cornell song...
I think Eon/Sony have horribly watered down his usual style. The song isn't bad, its just ok, but its a missed opportunity to make a Bond rock song and it turns out this tame.
It sounds to me like a bland 'Sony's Spiderman' type of tune - they've tried to fit that young audiance template to Bond:(
Does get better the more you hear it, but alas, i couldn't possibly hear i enough times for it to become great.
Would've liked to hear what Queen might have done with a Bond theme (they did a great job on the Connery movie Highlander. Obviously that'll never happen now!
Oh, it's certainly better than any of the audio wallpaper that was associated with the Brosnan films (the only exception being k.d. lang's excellent "Surrender"), and I think it will grow on me. The melody is pretty good -- I can sense how Arnold will incorporate it with his orchestrals. It brings to mind both "Live and Let Die" and "A View to a Kill," which I wasn't crazy about upon first hearing, but it later grew on me considerably. On second listen, I liked "You Know My Name" even more.
I like that it's not a techno-twangy ballad--recent history option #1--or a lame reworking of GF--recent history option #2. Not sure what Madonna was doing, but then again I've always been a Cyndi Lauper guy myself.
Yeah it's a very bland piece song, and given that just about everything else we know about the film suggests one of the best Bond movies for years it's a crushing disappointment.
It's pretty good in the middle when the strings make an appearance, so maybe we'll get a different mix in the film which promotes the orchestra . . . but as it stands I think we have to be objective and admit that this is not what we were hoping for.
I don't get the LALD or even AVTAK comparisons at all. Those songs have energy and drive, they're fast and high wattage -- almost anthemic. This is a tonally and melodically challenged low key rock dirge with some screeching.
Oh, it's certainly better than any of the audio wallpaper that was associated with the Brosnan films (the only exception being k.d. lang's excellent "Surrender"), and I think it will grow on me. The melody is pretty good -- I can sense how Arnold will incorporate it with his orchestrals. It brings to mind both "Live and Let Die" and "A View to a Kill," which I wasn't crazy about upon first hearing, but it later grew on me considerably. On second listen, I liked "You Know My Name" even more.
I like that it's not a techno-twangy ballad--recent history option #1--or a lame reworking of GF--recent history option #2. Not sure what Madonna was doing, but then again I've always been a Cyndi Lauper guy myself.
I'd been pulling for Bowie or Depeche Mode, but I think the "roughness" of this piece will suit the film, as Bond is young and rough around the edges. It's got a simple chord progression that is a bit of reworking of the Bond theme that I think Arnold will use as a motif. The melody is simple but good, and I like the hook. I like it, more and more that I listen to it.
I was a bit unfair in my last post -- Tina Turner's "Goldeneye" wasn't bad at all, though it more or less fits into the options you listed here!
RogueAgentSpeeding in the Tumbler...Posts: 3,676MI6 Agent
From the short clip I've just sampled, it's just meh... 8-)
Hardly sounds like it has the vibe or the legs of AVTAK or LALD. And being that this guy sounds like a Sammy Hagar reject isn't helping matters for me either.
I dunno...it may grow on me.
Mrs. Man Face: "You wouldn't hit a lady? Would you?"
Batman: "The Hammer Of Justice isUNISEX!"
-Batman: The Brave & The Bold -
.....OK, i starting to like it now... I think with a much better mix to bring forward the strings in the chorus and clearer vocals, this could be very good!!!
Hopefully this is a leaked demo and the final mix will work.
SeanConnery007The Bond Archive - London, EngPosts: 169MI6 Agent
I don't get the LALD or even AVTAK comparisons at all. Those songs have energy and drive, they're fast and high wattage -- almost anthemic. This is a tonally and melodically challenged low key rock dirge with some screeching.
MBE
Completely agree.
I do not understand the comparisons with LALD.
LALD is full of melodic energy and danger,
CR-YKMN is just a thrashing rock song 'with some screeching' - I love that description.
Nobody Writes Threads Better.
RogueAgentSpeeding in the Tumbler...Posts: 3,676MI6 Agent
This is a tonally and melodically challenged low key rock dirge with some screeching.
MBE
To quote the questionably cast Craig:
"You noticed..."
Mrs. Man Face: "You wouldn't hit a lady? Would you?"
Batman: "The Hammer Of Justice isUNISEX!"
-Batman: The Brave & The Bold -
Sir MilesThe Wrong Side Of The WardrobePosts: 26,584Chief of Staff
It is what it is - Eon wanting to try something different with the theme song but just a bit scared of totally letting go.
It's ok in places, poor in others - it won't bother the pop charts and it won't break into my top 15 Bond songs I just hope it fits in with the titles.
My objection to this song is actually quite the opposite of most of you:
I think it sounds too much like a typical Bond song. It sounds too upbeat, catchy, too similiar in style to songs like Live and Let Die and A View to a Kill.
Most have said that they want less guitar. In my opinion, I want to hear MORE guitar. Not just that, but I want HARDER guitar, a much more darker melody. Like I said, I think that a very aggressive, fast, borderline metal song titled "A Whisper of Love," with no strings or horns, would be perfect. It needs to be something very, very dark; something very ruthless. Something you can imagine hearing in the background while clips of a crime scene of a brutal murder are playing. I can't imagine You Know My Name being that song.
I like the lyrics a lot. The melody just isn't nearly dark, heavy guitar-driven enough, or resembling enough of an aggressive metal sound for my taste.
Another step in the reboot direction, I guess...Totally different from what we heard so far.
Strong chorus melodically, some nice lyrics. Would benefit strongly from a much different arrangement (slow down tempo, mix out wall of heavy guitars, mix up the inaudible strings and brass, never heard such weak brass section in a Bond song).
My objec!ion to this song is actually quite the opposite of most of you:
I think it sounds too much like a typical Bond song. It sounds too upbeat, catchy, too similiar in style to songs like Live and Let Die and A View to a Kill.
Most have said that they want less guitar. In my opinion, I want to hear MORE guitar. Not just that, but I want HARDER guitar, a much more darker melody. Like I said, I think that a very aggressive, fast, borderline metal song titled "A Whisper of Love," with no strings or horns, would be perfect. It needs to be something very, very dark; something very ruthless. Something you can imagine hearing in the background while clips of a crime scene of a brutal murder are playing. I can't imagine You Know My Name being that song.
I like the lyrics a lot. The melody just isn't nearly dark, heavy guitar-driven enough, or resembling enough of an aggressive metal sound for my taste.
Klaus, I couldn't make out most of the lyrics and LR needed to have the lyrics in front of her to figure what they were. No problem hearing the lyrics with Goldfinger (still the best).
Klaus, I couldn't make out most of the lyrics and LR needed to have the lyrics in front of her to figure what they were. No problem hearing the lyrics with Goldfinger (still the best).
All throughout rock history there have been songs that have required looking at the lyrics to figure everything out. It's not uncommon. But there were very few lines in this song that I couldn't figure out alone, and when I did look them up, I realized what he's singing is perfectly intelligable.
Sometimes our brains just aren't focusing on the right things at the right time to pick every word out of a song. If we did, I don't think we would listen to songs over and over like we do.
I couldn't pick every word out of Stairway to Heaven the first time, that's for sure...
i quite like it, it's a good theme I think. When I first heard Die Another Day I hated it but it grew and now I like it, I think this is the same. The only problem I have is that it should have been an instrumental (no vocal)
IMHO it's one of the better themes for ages, a new direction. I like the fact that its a break from the endless retreads of the John Barry style that seem to have been the only direction used in a Bond theme. A definite plus to CR.
One point I feel I must argue amongst the blunt statements of repulsion is that the lyrics, despite cheesiness, are quite brilliant. They can interpreted in so many ways, and fit into the themes of the film very nicely. I think people are bashing them without thinking about the film these lyrics are meant to accompany:
"Try to hide your hand and forget how to feel"
Card game?
Bond and Vesper's relationship?
Torture Sequence?
The hand injury Bond suffers?
"Life is gone with a spin of the wheel"
Roulette wheel? Steering wheel? (The car crash).
I have to say I'm dissapointed. I do like Cornell's stuff, and at first listen I like the song, but it hardly sounds Bondian.
I really hope it grows on me.
Klaus, I couldn't make out most of the lyrics and LR needed to have the lyrics in front of her to figure what they were. No problem hearing the lyrics with Goldfinger (still the best).
I didn't say that the lyrics were well enunciated by the vocalist (they most certainly are not); I said that the lyrics themselves were great.
Klaus, I couldn't make out most of the lyrics and LR needed to have the lyrics in front of her to figure what they were. No problem hearing the lyrics with Goldfinger (still the best).
I didn't say that the lyrics were well enunciated by the vocalist (they most certainly are not); I said that the lyrics themselves were great.
The lyrics are not the problem. they are good. But up to when I listened to it reading the lyrics, it was nothing but a row.
Comments
When it comes to worst songs, I don't think there is a single contender, but I would probably single out DAD. I like Madonna but I really think she was the wrong choice for a Bond song.
In fact, Goldfrapp was linked to the main song (i saw it on Mtvla -even when Arnold deny that info-) and yes, would sound a little more electrical, but yeah,I really could listen and enjoy a Goldfrapp Bond song.
I felt the same way with Madonna (remember: Bond 20, 40 years after he hit the cinemas)
About DAD, i´ve say it before and i say it again, the beginning is good, afther the fist beepings its ok, but when she sings.... it´s not the same.
The intro is from a Rock song, not a Bond song (like TWINE)
The trumpets... yes, they are good, and louder would be a better effect, but i disagree about being "mariachi" type. Orchestral musig have good trumpets (i can´t recall clearly, but i believe TWINE have some)
About the ending (the "you know my name" X 7)... it´s Chirs Cornell, the Southgarden - Audioslave dude... really, didn´t you see it coming?
Yet i like it... some will say ité the worst right now, others the worst ever.. but come on, it could be worst.
At least is no Hip-Hop or for those who understand... Reggaeton.... that´s my limit.
Good thing he read the script before agreeing to do the song; that really made all the difference.
I guess I'm old fashioned, but I wouldn't classify many of the people who've done Bond title songs over the past couple of decades as particularly good singers or musicians (Tina Turner and KD Lang are probably the two major exceptions that come to mind, and they even banished poor KD's excellent Surrender to the closing credits in favor of Sheryl Crowe's mousy title cover). They're mostly flavors of the month now (and in some cases flavors from last month). I really miss the days when they had real singers do these covers with talented musicians backing them up.
Of course the real test is how it works within the title sequence and the film as a whole.
Shame there is no mention of 'Casino Royale' - just like Octopussy's 'All Time High' - I personally prefer the theme to reference the title.
It's an unorthadox Bond theme - but then CR is as unorthadox as it comes.
I think Eon/Sony have horribly watered down his usual style. The song isn't bad, its just ok, but its a missed opportunity to make a Bond rock song and it turns out this tame.
It sounds to me like a bland 'Sony's Spiderman' type of tune - they've tried to fit that young audiance template to Bond:(
Does get better the more you hear it, but alas, i couldn't possibly hear i enough times for it to become great.
Would've liked to hear what Queen might have done with a Bond theme (they did a great job on the Connery movie Highlander. Obviously that'll never happen now!
i must admit i like it quite a bit... i can picture it as a good PTS song, and im very glad its used
reminds me of LALD quite a bit (like everyone else said) but i really do like it - so im happy with it. better than the more recent songs. lol
I like that it's not a techno-twangy ballad--recent history option #1--or a lame reworking of GF--recent history option #2. Not sure what Madonna was doing, but then again I've always been a Cyndi Lauper guy myself.
It's pretty good in the middle when the strings make an appearance, so maybe we'll get a different mix in the film which promotes the orchestra . . . but as it stands I think we have to be objective and admit that this is not what we were hoping for.
MBE
I was a bit unfair in my last post -- Tina Turner's "Goldeneye" wasn't bad at all, though it more or less fits into the options you listed here!
Hardly sounds like it has the vibe or the legs of AVTAK or LALD. And being that this guy sounds like a Sammy Hagar reject isn't helping matters for me either.
I dunno...it may grow on me.
Batman: "The Hammer Of Justice is UNISEX!"
-Batman: The Brave & The Bold -
Hopefully this is a leaked demo and the final mix will work.
Completely agree.
I do not understand the comparisons with LALD.
LALD is full of melodic energy and danger,
CR-YKMN is just a thrashing rock song 'with some screeching' - I love that description.
To quote the questionably cast Craig:
"You noticed..."
Batman: "The Hammer Of Justice is UNISEX!"
-Batman: The Brave & The Bold -
It's ok in places, poor in others - it won't bother the pop charts and it won't break into my top 15 Bond songs
I think it sounds too much like a typical Bond song. It sounds too upbeat, catchy, too similiar in style to songs like Live and Let Die and A View to a Kill.
Most have said that they want less guitar. In my opinion, I want to hear MORE guitar. Not just that, but I want HARDER guitar, a much more darker melody. Like I said, I think that a very aggressive, fast, borderline metal song titled "A Whisper of Love," with no strings or horns, would be perfect. It needs to be something very, very dark; something very ruthless. Something you can imagine hearing in the background while clips of a crime scene of a brutal murder are playing. I can't imagine You Know My Name being that song.
I like the lyrics a lot. The melody just isn't nearly dark, heavy guitar-driven enough, or resembling enough of an aggressive metal sound for my taste.
Strong chorus melodically, some nice lyrics. Would benefit strongly from a much different arrangement (slow down tempo, mix out wall of heavy guitars, mix up the inaudible strings and brass, never heard such weak brass section in a Bond song).
Klaus, I couldn't make out most of the lyrics and LR needed to have the lyrics in front of her to figure what they were. No problem hearing the lyrics with Goldfinger (still the best).
All throughout rock history there have been songs that have required looking at the lyrics to figure everything out. It's not uncommon. But there were very few lines in this song that I couldn't figure out alone, and when I did look them up, I realized what he's singing is perfectly intelligable.
Sometimes our brains just aren't focusing on the right things at the right time to pick every word out of a song. If we did, I don't think we would listen to songs over and over like we do.
I couldn't pick every word out of Stairway to Heaven the first time, that's for sure...
"Try to hide your hand and forget how to feel"
Card game?
Bond and Vesper's relationship?
Torture Sequence?
The hand injury Bond suffers?
"Life is gone with a spin of the wheel"
Roulette wheel? Steering wheel? (The car crash).
I really hope it grows on me.
I didn't say that the lyrics were well enunciated by the vocalist (they most certainly are not); I said that the lyrics themselves were great.
The lyrics are not the problem. they are good. But up to when I listened to it reading the lyrics, it was nothing but a row.
They really blew an opportunity within the song to pay great homage to Fleming with a different line and title. In the couplet that goes:
"The coldest blood runs through my veins,
You know my name";
They could have easily changed the lyrics to:
"The coldest blood runs through my veins,
With a whisper of love, and a whisper of hate."
With a darker melody and last couple of concluding bars in the chorus, this would have been really cool and really powerful. They really blew it here.