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Skyfall
 
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Skyfall

29 Oct 2012 | Format: MP3

7.49 (VAT included if applicable)
Buy the CD album for 7.39 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
1
5:14
2
2:22
3
2:32
4
1:18
5
1:50
6
1:26
7
3:22
8
0:56
9
1:04
10
1:31
11
4:58
12
2:29
13
3:20
14
4:46
15
1:13
16
1:58
17
1:32
18
1:29
19
2:32
20
2:14
21
2:49
22
2:02
23
2:32
24
2:22
25
3:21
26
3:53
27
2:39
28
5:11
29
1:48
30
2:21


Product details

  • Original Release Date: 19 Oct 2012
  • Release Date: 19 Oct 2012
  • Label: Sony Classical
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:04
  • Genres:
  • ASIN: B009T7WMLU
  • Average Customer Review: 3.6 out of 5 stars  See all reviews (73 customer reviews)
  • Amazon Bestsellers Rank: 11,754 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

3.6 out of 5 stars
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Most Helpful Customer Reviews

40 of 44 people found the following review helpful By Big Si on 29 Oct 2012
Format: Audio CD Verified Purchase
Bringing in a new composer to score a Bond film is invariably risky. Such was John Barry's indelible mark on the series that each new composer, from George Martin to David Arnold, has pretty much been in a 'no win' situation. Make it sound too much like Barry and you're not doing anything original, stray too far from Barry's style and you're not staying true to the musical heritage. My view - one I know won't be shared with everybody - is that the music should sound as close to John Barry as possible; the sound of Bond is as much part of the Bond formula as the pre-title sequence, the exotic locations and the fabulous sets.

So now we have Thomas Newman's score to 'Skyfall'. Firstly, the score DOES work in the context of the movie, in the sense that having seen the film, the score doesn't sound intrusive or out-of-place in the way Eric Serra's music from 'GoldenEye' was. Listening to this album, there are some tracks, invariably those from the Shanghai section of the movie, that are moody and atmospheric. Newman's theme for Severine is also really very Barryesque.

Unfortunately, Newman doesn't bring anything new to the table as regards his approach to the action music, which is pretty similar to David Arnold's method in my view. This is where John Barry tended to excel; just a quick look back at the soundtracks of his Bond scores and one can see track after track where Barry would write melodic and memorable action music: 'A Drop In The Ocean' from 'You Only Live Twice' and 'He's Dangerous' from 'A View To A Kill' are just two (of many) examples. Barry's approach was, in my opinion, much more thematic: one would hear themes repeated and built up over the course of the movie, so that they became memorable.
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25 of 29 people found the following review helpful By testedonpencils on 3 Nov 2012
Format: Audio CD Verified Purchase
I really enjoyed this score. It reflects shades of classic bond, but with a muscular modern quality. It embraces electronic elements while remaining organic, and draws deeply on classical music, more perhaps than I think previous Bond scores did.

Thomas Newman brings a mix of ambient, classical and eastern influences to the Skyfall soundtrack. Some of his string and horn arrangement are as lush as Barry's but his have a distinctive melancholy. His electronica is spare and ambient and he builds his tracks around guitar, filtered synths, delays and a low rapidly pulsing synthesised bass. At some points he is purely classical such as the lush melancholy string and harp arrangement on Severine. On tracks like Adrenaline and Grand Bazaar, Instanbul, an eastern sound makes itself heard. But all the way through the score there is a sense of tension and menace, with overtones that alternate between triumphant and melancholy.

The traditional leitmotif that usually accompanies a bond film has been truncated here. Newman cleverly references the original theme with stabs of trumpet, or snatches of flute and strings, usually only for a phrase before returning to his original composition. These references occur when Bond is doing something particularly resourceful, such as using a JCB to hold a speeding train together or when Bond's Aston Martin makes it's appearance. They build in intensity throughout the piece, at first just a few phrases or a gentle rendition on a flute or synth, building finally to a full orchestral blast on She's Mine. But even then the cue never leans to heavily on what has gone before. Newman chooses to use tonality and instrument choice to recall previous bond scores rather than simply reworking the themes.
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2 of 2 people found the following review helpful By KEV CARTER on 12 Oct 2013
Format: Audio CD Verified Purchase
It doesn't have the theme song on it, it doesn't really flow like a John Barry theme, it doesn't seem to tie together and sounds like a lot of different pieces put together with nothing in common, I do like some of Thomas Newman themes but this is not one of them.
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2 of 2 people found the following review helpful By cathw on 20 Mar 2013
Format: Audio CD Verified Purchase
Strangely this music was not nearly so effective when played apart from the film itself. It was all much of a muchness.
As a backing for the film however, it was very effective.
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1 of 1 people found the following review helpful By J. Patterson on 15 Jan 2014
Format: Audio CD Verified Purchase
Bought this as a requested gift for a family member, they love it and I am taking a great liking to it myself.
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1 of 1 people found the following review helpful By Turbinecol on 18 Dec 2013
Format: Audio CD Verified Purchase
I am giving this score a solid 3 stars.

It isn't as weak as some reviews have made out, nor is it breaking any new ground at all. For me, it is just a bit too generic in places. I don't think the lack of the Bond theme is an issue - some of Arnold's better work didn't need it, and we don't necessarily need it here either. But somehow the whole soundscape is just lacking a little sparkle.

It is suitably moody and atmospheric in the right places, so it doesn't jar with what is going on in a rather darker Bond film at times. Tennyson was getting a bit too melodramatic for my liking though. I suspect we will have more of the same for Bond24, since Newman is sure to be back if Mendes is directing again.
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1 of 1 people found the following review helpful By C J Laing on 14 Oct 2013
Format: Audio CD Verified Purchase
Wonderfully composed music by Thomas Newman.
Only downfall of the whole CD is that the songs aren't in order of them appearing in the film.
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By m i poynton on 5 July 2014
Format: Audio CD Verified Purchase
very good
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