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'm a bit baffled by all this- I can appreciate some people not enjoying it, but I don't get why everyone finds him hard to understand. All seems as clear as day to me.
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.
I'd agree (don't care for this 'Whisper of Love' title thing- I could take it or leave it)- this song is a bit too middle of the road. It's sort of like the whole film- I love that they've tried to go in a new direction, but they didn't quite manage to go the whole hog and got Martin Campbell in. I like that they've tried to get a new type of Bond song, but have ended up with a mix between TMWTGG and a Spider-Man soundtrack song, whereas if they wanted rock they should have got someone a bit fresher in. The oft-cited example of Muse would have been just the ticket and have shown some courage of conviction. But they sem to keep pulling out from going all the way at the last second, which is a bit of a shame.
I like the song. Strong and uptempo with a catchy chorus. Not sure about these suggestions of "they really blew it here" followed by fleming quotes as an alternative. The song is the song and that's all there is to it. I think a more pertinent question when we see the film will be "does it fit"?
I think it has a good chance compared to the rather uncomfortable DAD!
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
Safe to say their 'editorial position' over there isn't exactly monolithic {[]
I'm really enjoying the song; still think they should mix the horns and strings louder---but I don't want them to lose the guitar, I rather like it...that kind of growl as the verse begins...
I understand the objections, and can't say they're invalid. It is what it is...and I'm listening to it right now. It makes me smile.
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
I've read elsewhere that the vocal version is to be included at the end, and an instrumental version will open the film. Does that sound correct? (It jibes with Arnold's desire to do something more like "On Her Majesty's Secret Service.")
I've read elsewhere that the vocal version is to be included at the end, and an instrumental version will open the film. Does that sound correct? (It jibes with Arnold's desire to do something more like "On Her Majesty's Secret Service.")
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
I've read elsewhere that the vocal version is to be included at the end, and an instrumental version will open the film. Does that sound correct? (It jibes with Arnold's desire to do something more like "On Her Majesty's Secret Service.")
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
Interesting idea, and it could work nicely. But the AICN reviewer discussed the song in a way that suggested it played over the titles.
I do hope the orchestra is amplified in the song over the titles, I listened again today whilst concentrating mainly on them, and they really are very Bondian. Increasing their presence would have a really huge effect.
I just listened to "You know my name" and I was dissapointed. Some of the guitar was good, it was about time for a male voice and the song might grow on me, yes. But I didn't like it very much.
Chris Cornells voice isn't distinctive. The last male to sing a title song before him, Morten Harket, at least has a first rate and distinctive voice. "You know my name" started out fairly good, but fizzed out into a 80's power rock song.
I said thy should have hired U2! Sigh - why don't they ever listen to me?
SeanConnery007The Bond Archive - London, EngPosts: 169MI6 Agent
Could someone check my lyrics for "You Know My Name"? There's just a bit at the beginning - the third line I cant make out.
If you take a life,
Do you know what you'll give,
_?_?_?_?_?_?_?_?_?_?_?_?_?_?_?,
When the storm arrives,
Would you be seen with me,
By the merciless eyes of deceit.
I've seen angels fall from blinding heights,
But you yourself are nothing so divine,
Just next in line.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
You Know My Name.
If you come inside,
Things will not be the same,
When you return tonight.
And if you think you've won,
You never saw me change,
The game that we have been playing.
I've seen diamonds cut through harder men,
Than you yourself, but if you must pretend,
You may meet your end.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
Try to hide your hand,
Forget how to feel,
Life is gone with just a spin of the wheel.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
You Know My Name.
Okay,
I'm gonna say 5 nice things about it and add 5 criticisms:
Pros:
1 - Love the keyboard lines; they capture a "Bond feel" and complement the song itself very nicely.
The keyboard is possibly the glue that holds this song together.
2 - Like how Cornell sounds more "intimate" vocally than he often does. Adds more melodicism than might otherwise have been there.
3 - Like the way the lyrics scan, almost giving a polyrhythmic feel in a couple of places.
4 - Good drumming.
5 - The key is "Bondish" - puts me in mind of "DAF" at first listen - and Cornell is smart enough to write to cater for his voice.
Cons:
1 - The middle section "arm yourself" seems to be searching for a melody that it never finds. Sounds bland by the 2nd time.
2 - The intro is NOT attention-grabbing at all. It doesn't smack you in the chin and say. "LOOK! THE NEW BOND MOVIE!!!!!!!!!!!!!!!!!"
3 - Vocal sounds "dry". Bond needs more reverb.
4 - Disaffected vocal delivery may be "cool", but it is not timeless. I'd like to hear more PASSION in the singing.
5 - True, the guitar sound is cheesy. Something better could have been done in that department. Plus the inversions are boring and there could have been so much more in that sense.
You know what drives me crazy? U2 would have done it! Just about anyone, even the biggest stars in music, would take the call from EON. That's one of the perks of having a hugely popular long-running franchise. DUH! So why aren't they gettin the best?? Are they just too cheap? And here's an idea... Commission a FEW songs and then - wait for it - PICK THE BEST ONE FOR THE TITLES. Use the others later in the film or just on the soundtrack or say no thank you. It's a radical concept, I know.
People wonder why people like me "bash" EON. It's because they are decades behind the times.
I am in complete agreement. I don't like the song really. It is a complete wasted opportunity, especially when there are dozens of more famous male singers out there who would have cut their right arm off to do this.
Imagine if it had been Robbie Williams, or Noel Gallagher, or Bono, or even George Michael. At least it would have pushed the dreary song more into the limelight.
But no - instead some cheap rock singer who sounds like he is performing for a B-side record off an 80's Simpson/Bruckheimer movie (note I said B side - not good enough to make it onto the album itself).
Rant over....X-(
SeanConnery007The Bond Archive - London, EngPosts: 169MI6 Agent
Can I point out that the chorus section is infact written around the James Bond Theme.
"Arm yourself, -(Dur)
Because, No one else, -(Dur)
Here will save you." - (Dur)
Thats why it might sound like its searching around for the right pitch, because it is scaling upwards like the Bond Theme motif does.
Can I point out that the chorus section is infact written around the James Bond Theme.
"Arm yourself, -(Dur)
Because, No one else, -(Dur)
Here will save you." - (Dur)
Thats why it might sound like its searching around for the right pitch, because it is scaling upwards like the Bond Theme motif does.
Of course you can point that out, mate.
It's got nothing to do with what I was saying about it, though.
It is entirely possible to write a great vocal melody around that chromatic 5-#5-6 progression.
It just hasn't been done here.
It doesn't sound like it's "searching" because of the harmony, but because of the melody. Such as it is.
There are many, many great melodies built around a chromatic chord progression.
I've read elsewhere that the vocal version is to be included at the end, and an instrumental version will open the film. Does that sound correct? (It jibes with Arnold's desire to do something more like "On Her Majesty's Secret Service.")
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
That was my thinking, too -- after all, "You know my name" spoken at the end of the film makes more sense to me, as by that point, he is the James Bond that we all know. Putting the vocals at the beginning is kind of like the "This never happened to the other fellow line," which is a nod that it isn't the same Bond as before but isn't really necessary because we can see that for ourselves.
I've read elsewhere that the vocal version is to be included at the end, and an instrumental version will open the film. Does that sound correct? (It jibes with Arnold's desire to do something more like "On Her Majesty's Secret Service.")
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
Interesting idea, and it could work nicely. But the AICN reviewer discussed the song in a way that suggested it played over the titles.
I do hope the orchestra is amplified in the song over the titles, I listened again today whilst concentrating mainly on them, and they really are very Bondian. Increasing their presence would have a really huge effect.
I can't remember exactly where I read that Arnold wanted an instrumental for the opening . . . but I know I saw it. He definitely cited "On Her Majesty's Secret Service," too.
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
Interesting idea, and it could work nicely. But the AICN reviewer discussed the song in a way that suggested it played over the titles.
I do hope the orchestra is amplified in the song over the titles, I listened again today whilst concentrating mainly on them, and they really are very Bondian. Increasing their presence would have a really huge effect.
I can't remember exactly where I read that Arnold wanted an instrumental for the opening . . . but I know I saw it. He definitely cited "On Her Majesty's Secret Service," too.
You could be right. Arnold moved onto the score after finishing work on the song, perhaps a potential instrumental opening hadn't been recorded yet so the song was put over the titles for AICN's viewing. He did say that all of the soundtrack was tracked from previous films.
I like this song a lot. I think it is absolutely great, and I have hated this guy for a long time. Maybe I'm just so psyched for the movie at this point that anything would sound good, but I've had this song in my head for days now and it's great.
I think the melody at the "arm yourself" line is excellent; I don't find it to be searching at all, especially how it dips at "the odds will betray you." That's one of my favorite parts.
I was not happy with the intro at first, but it is growing on me a lot. I love the lyrics, too, most notably the three lines beginning "I've seen angels..."
The bottom line for me is: this will be great if it makes its way as an instrumental into the film's score or even over the opening titles...
Interesting idea, and it could work nicely. But the AICN reviewer discussed the song in a way that suggested it played over the titles.
I do hope the orchestra is amplified in the song over the titles, I listened again today whilst concentrating mainly on them, and they really are very Bondian. Increasing their presence would have a really huge effect.
I can't remember exactly where I read that Arnold wanted an instrumental for the opening . . . but I know I saw it. He definitely cited "On Her Majesty's Secret Service," too.
You could be right. Arnold moved onto the score after finishing work on the song, perhaps a potential instrumental opening hadn't been recorded yet so the song was put over the titles for AICN's viewing. He did say that all of the soundtrack was tracked from previous films.
Either way, I'd be fine with it, but I do think having it as an instrumental at the beginning and with the lyrics at the end is probably the best way to go.
Can I point out that the chorus section is infact written around the James Bond Theme.
"Arm yourself, -(Dur)
Because, No one else, -(Dur)
Here will save you." - (Dur)
Thats why it might sound like its searching around for the right pitch, because it is scaling upwards like the Bond Theme motif does.
I'm a layman when it comes to music, unlike SeanConnery007, who sounds like he knows what he's talking about. Whether it be true or not that its technicaly doing a 'Bond Theme type of 'progression' is besides the point. The point is that it doesn't really sound like it is, and if you have to disern it with a trained ear then its not a very good job!
However, i've listened to the track in the car quite a few times today and its really starting to grow on me - starting to take shape and have a form that is disernable to the layman and so, is becoming quite exhilerating with each play.
So i eat my words - i like it and with a clearer mix its the best theme since AVTAK.
finished it and well, I dont really like it alot. It isn't bondish and only has a small baseline leaving me a little empty...I dunno, but I don't think it is the worst bond song, but it is by no means good. It is adequate in my book.
I have to say I love this tune its different and I think that’s the whole point!! I agree that it doesn't sound like a bond tune but I think it will work with what they are trying to do with the movie. The whole idea of a bond film is being challenged and I applaud the direction they are taking, to be fair the song is a grower and I’ve been humming it all night!!
LoeffelholzThe United States, With LovePosts: 8,998Quartermasters
"...I've seen angels fall from blinding heights..."
Check out my Amazon author page!Mark Loeffelholz
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
So I've only listened to it twice so far, and I can't say I like it anymore the second time. I warmed to the idea mentioned before about their only being an instrumental version over the credits since I find the vocals (not necessarily the lyrics) as the WORST aspect of the song.
...and I'm not going to listen to a song I dislike over and over and over until eventually it grows on me. I've got better things to do with me ears.
...and I'm not going to listen to a song I dislike over and over and over until eventually it grows on me. I've got better things to do with me ears.
Fair enough, perhaps i've had too much time on my hands this weekend;)
I imagine what i see as a bad mix of the song may well be an attempt to make it feel rough around the edges, unfinnished - a work in progress; reflecting the rough, 'work-in-progress' nature of Bonds character in this film.
Conceptually its clever, but if this concept is at the price of people enjoying the tune i think they should reign it in a little more and make the mix somewhat less rough around the edges.
I hope they don't use an instrumental for the openning as the tune itself isn't that strong. But i believe this is just a rumer as its Cornell's voice that is the particually rough aspect of the song and as i said i belive this is their aim: to establish the new 'rough' Bond from the beginning. By the end of the film Bond's character is more-or-less formed into the Bond we know, so introducing the the rough, unformed voice at this point would be conceptually unsound, and would just feel wrong.
Would there not be a big clue to the voice's position at the start, or end of the film, be in whether the part of the lyrics that refer directly to this story are in 'past', or 'future tense'.
Comments
I'm a bit baffled by all this- I can appreciate some people not enjoying it, but I don't get why everyone finds him hard to understand. All seems as clear as day to me.
I'd agree (don't care for this 'Whisper of Love' title thing- I could take it or leave it)- this song is a bit too middle of the road. It's sort of like the whole film- I love that they've tried to go in a new direction, but they didn't quite manage to go the whole hog and got Martin Campbell in. I like that they've tried to get a new type of Bond song, but have ended up with a mix between TMWTGG and a Spider-Man soundtrack song, whereas if they wanted rock they should have got someone a bit fresher in. The oft-cited example of Muse would have been just the ticket and have shown some courage of conviction. But they sem to keep pulling out from going all the way at the last second, which is a bit of a shame.
I think it has a good chance compared to the rather uncomfortable DAD!
http://commanderbond.net/article/3624
Safe to say their 'editorial position' over there isn't exactly monolithic {[]
I'm really enjoying the song; still think they should mix the horns and strings louder---but I don't want them to lose the guitar, I rather like it...that kind of growl as the verse begins...
I understand the objections, and can't say they're invalid. It is what it is...and I'm listening to it right now. It makes me smile.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
That would be interesting and I think it would work quite well. The lyrics have a kind of retrospective feel to them, so--assuming the film includes Fleming's tragic ending--it might make sense to have the song follow the film rather than introduce it.
Interesting idea, and it could work nicely. But the AICN reviewer discussed the song in a way that suggested it played over the titles.
I do hope the orchestra is amplified in the song over the titles, I listened again today whilst concentrating mainly on them, and they really are very Bondian. Increasing their presence would have a really huge effect.
Chris Cornells voice isn't distinctive. The last male to sing a title song before him, Morten Harket, at least has a first rate and distinctive voice. "You know my name" started out fairly good, but fizzed out into a 80's power rock song.
I said thy should have hired U2! Sigh - why don't they ever listen to me?
If you take a life,
Do you know what you'll give,
_?_?_?_?_?_?_?_?_?_?_?_?_?_?_?,
When the storm arrives,
Would you be seen with me,
By the merciless eyes of deceit.
I've seen angels fall from blinding heights,
But you yourself are nothing so divine,
Just next in line.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
You Know My Name.
If you come inside,
Things will not be the same,
When you return tonight.
And if you think you've won,
You never saw me change,
The game that we have been playing.
I've seen diamonds cut through harder men,
Than you yourself, but if you must pretend,
You may meet your end.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
Try to hide your hand,
Forget how to feel,
Life is gone with just a spin of the wheel.
Arm yourself because no one else here will save you,
The odds will betray you,
And I will replace you.
You can't deny the prize, it may never fulfill you,
It longs to kill you,
Are you willing to die.
The coldest blood runs through my veins,
You Know My Name.
SPINAL TAP to record Bond 22 theme...
I'm gonna say 5 nice things about it and add 5 criticisms:
Pros:
1 - Love the keyboard lines; they capture a "Bond feel" and complement the song itself very nicely.
The keyboard is possibly the glue that holds this song together.
2 - Like how Cornell sounds more "intimate" vocally than he often does. Adds more melodicism than might otherwise have been there.
3 - Like the way the lyrics scan, almost giving a polyrhythmic feel in a couple of places.
4 - Good drumming.
5 - The key is "Bondish" - puts me in mind of "DAF" at first listen - and Cornell is smart enough to write to cater for his voice.
Cons:
1 - The middle section "arm yourself" seems to be searching for a melody that it never finds. Sounds bland by the 2nd time.
2 - The intro is NOT attention-grabbing at all. It doesn't smack you in the chin and say. "LOOK! THE NEW BOND MOVIE!!!!!!!!!!!!!!!!!"
3 - Vocal sounds "dry". Bond needs more reverb.
4 - Disaffected vocal delivery may be "cool", but it is not timeless. I'd like to hear more PASSION in the singing.
5 - True, the guitar sound is cheesy. Something better could have been done in that department. Plus the inversions are boring and there could have been so much more in that sense.
FIVE STAR are reforming.
I am in complete agreement. I don't like the song really. It is a complete wasted opportunity, especially when there are dozens of more famous male singers out there who would have cut their right arm off to do this.
Imagine if it had been Robbie Williams, or Noel Gallagher, or Bono, or even George Michael. At least it would have pushed the dreary song more into the limelight.
But no - instead some cheap rock singer who sounds like he is performing for a B-side record off an 80's Simpson/Bruckheimer movie (note I said B side - not good enough to make it onto the album itself).
Rant over....X-(
You could be right. Arnold moved onto the score after finishing work on the song, perhaps a potential instrumental opening hadn't been recorded yet so the song was put over the titles for AICN's viewing. He did say that all of the soundtrack was tracked from previous films.
I think the melody at the "arm yourself" line is excellent; I don't find it to be searching at all, especially how it dips at "the odds will betray you." That's one of my favorite parts.
I was not happy with the intro at first, but it is growing on me a lot. I love the lyrics, too, most notably the three lines beginning "I've seen angels..."
The bottom line for me is: this will be great if it makes its way as an instrumental into the film's score or even over the opening titles...
I'm a layman when it comes to music, unlike SeanConnery007, who sounds like he knows what he's talking about. Whether it be true or not that its technicaly doing a 'Bond Theme type of 'progression' is besides the point. The point is that it doesn't really sound like it is, and if you have to disern it with a trained ear then its not a very good job!
However, i've listened to the track in the car quite a few times today and its really starting to grow on me - starting to take shape and have a form that is disernable to the layman and so, is becoming quite exhilerating with each play.
So i eat my words - i like it and with a clearer mix its the best theme since AVTAK.
"I am not an entrant in the Shakespeare Stakes." - Ian Fleming
"Screw 'em." - Daniel Craig, The Best James Bond EverTM
...and I'm not going to listen to a song I dislike over and over and over until eventually it grows on me. I've got better things to do with me ears.
Fair enough, perhaps i've had too much time on my hands this weekend;)
I imagine what i see as a bad mix of the song may well be an attempt to make it feel rough around the edges, unfinnished - a work in progress; reflecting the rough, 'work-in-progress' nature of Bonds character in this film.
Conceptually its clever, but if this concept is at the price of people enjoying the tune i think they should reign it in a little more and make the mix somewhat less rough around the edges.
I hope they don't use an instrumental for the openning as the tune itself isn't that strong. But i believe this is just a rumer as its Cornell's voice that is the particually rough aspect of the song and as i said i belive this is their aim: to establish the new 'rough' Bond from the beginning. By the end of the film Bond's character is more-or-less formed into the Bond we know, so introducing the the rough, unformed voice at this point would be conceptually unsound, and would just feel wrong.
Would there not be a big clue to the voice's position at the start, or end of the film, be in whether the part of the lyrics that refer directly to this story are in 'past', or 'future tense'.