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Skyfall
 
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Skyfall

29 Oct. 2012 | Format: MP3

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Song Title
Time
Popularity Prime  
30
1
5:14
30
2
2:22
30
3
2:32
30
4
1:18
30
5
1:50
30
6
1:26
30
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3:22
30
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0:56
30
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1:04
30
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1:31
30
11
4:58
30
12
2:29
30
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3:20
30
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4:46
30
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1:13
30
16
1:58
30
17
1:32
30
18
1:29
30
19
2:32
30
20
2:14
30
21
2:49
30
22
2:02
30
23
2:32
30
24
2:22
30
25
3:21
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26
3:53
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27
2:39
30
28
5:11
30
29
1:48
30
30
2:21
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Product details

  • Original Release Date: 19 Oct. 2012
  • Release Date: 29 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 94 customer reviews
  • Amazon Bestsellers Rank: 4,906 in Albums (See Top 100 in Albums)

Customer Reviews

Top Customer Reviews

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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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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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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Format: Audio CD Verified Purchase
The score for Skyfall is a long one, coming in at just under 80 minutes and boasting 30 tracks, which range from the minimalist and atmospheric to the action-packed. As some other reviewers have noted, it doesn't include Adele's title song, but it features a very high proportion of the other music used in the film, so I haven't allowed this to affect the star rating.

I had some doubts about buying this soundtrack after seeing the mixed reviews, and was unsure about it on my first play-through, but most of the tracks have grown on me considerably. As is common with Thomas Newman's soundtracks, there is a large array of different musical ideas that are used for a short while and then dropped, rather than frequent use of leitmotif (recurring use of an individual theme), which may put some off, but the James Bond theme is subtly integrated into many of the tracks and at least two tracks have subtle cues from Adele's title song.

The score combines elements of Thomas Newman's style with the Bond style, resulting in something that sounds a bit different, and that benefits from repeated listenings. The theme used in "Voluntary Retirement" and "Mother" is quite memorable, as is the sequence used in "New Digs" for example. It's worth having a sound system with a good "bass" to get the most out of some of the tracks, particularly regarding the frequent "action" tracks during the second half of the soundtrack.

I wouldn't quite place this soundtrack up there with John Barry's best efforts, but I find it the most enjoyable of the non-Barry Bond soundtracks, and I'd certainly be up for Thomas Newman being given another go for Bond 24.
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