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Skyfall

Skyfall

November 6, 2012

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Product Details

  • Original Release Date: October 22, 2012
  • Release Date: October 22, 2012
  • Label: Sony Classical
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:17:04
  • Genres:
  • ASIN: B009WJ2XT6
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (153 customer reviews)
  • Amazon Best Sellers Rank: #15,192 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

I Have the Soundtrack now and the Movie cams letter.
Roberto Cavallaro
Even though Barry experimented with it (especially in The Living Daylights), something was better about it then; maybe just because it was new and more of a novelty.
Dale Eldersen
He didn't check very carefully and it's actually hard to find that information, but we were very disappointed, that they didn't add this song to the CD.
Chronepsis

Most Helpful Customer Reviews

111 of 121 people found the following review helpful By Rob on November 16, 2012
Format: Audio CD
I really enjoyed the music in Skyfall, and was going to buy the soundtrack until I discovered that the theme song was not included. The theme song is part of the movie's soundtrack, and leaving it off the soundtrack CD is simply a ripoff. It's a great song, and I'll skip the soundtrack CD since it is not included.
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54 of 60 people found the following review helpful By Dale Eldersen on November 13, 2012
Format: Audio CD Verified Purchase
When Adele's title track was released for Skyfall, I loved it. I think it's the best title track in years. I had high hopes that the score would follow suit, and I was very curious to see what Thomas Newman would bring to the table for his first outing as a Bond soundtrack composer.

I can only say that the soundtrack in whole is good, but it is not excellent and not quite what I hoped for. I am very much a John Barry fan. Even though Barry could get repetitive in the use of the title track themes woven into his scores, it was just right and added the right poke of excitement to the movie. You knew that Bond was about to fight some bad guys when that theme cue came up. When David Arnold came aboard starting with Tomorrow Never Dies, he really hit the score out of the park. But subsequent Arnold scores seemed less and less appealing and I grew tired of the way that electronic percussion was used. Even though Barry experimented with it (especially in The Living Daylights), something was better about it then; maybe just because it was new and more of a novelty.

I measure soundtracks largely on the basis of my likelihood to repeatedly want to listen to them well after purchase. Such classics as The Living Daylights, A View to a Kill, and Tomorrow Never Dies all fall in this category. The last handful of David Arnold soundtracks, not so much, and I suspect Skyfall will also end up collecting dust.

This soundtrack continues the trend of heavy use of electronic percussion and drum loops. Sadly, the Skyfall theme is almost nowhere to be found. And there's just not enough of Monty Norman's classic Bond cues for my taste. It is too much of a generic action score and not enough of a Bond score.

The best tracks of the lot, in my opinion are:

1.
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51 of 59 people found the following review helpful By Suitsme on November 13, 2012
Format: Audio CD Verified Purchase
I like the music even though while driving to work it is somewhat anxiety producing. I was VERY disappointed that the soundtrack would not include the theme song. I should have read about this CD more carefully before purchasing.
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15 of 16 people found the following review helpful By grimmbro on February 3, 2013
Format: Audio CD Verified Purchase
This CD DOES NOT INCLUDE the theme song which is performed by Adele. I have to agree with several other posters about this being a huge letdown. How absurd is it to release a soundtrack and not include the song with which the film is identified ?
Marketing gimmick and a rip-off. I had read the names of the tracks on this CD, and saw that one of the tracks is titled Skyfall and mistakenly assumed that this was Adele's performance. Don't make the same mistake I did. Will be returning this.
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6 of 6 people found the following review helpful By R. Carr on November 16, 2012
Format: Audio CD
Newman missed it and the producers must have been sleeping. The film begged for music that would take the audience away and cast them into the world of James Bond. Apparently begging doesn't get it anymore. When I see a new Bond, I literally cross my fingers and hope to hear substantial and well placed variations of Monte Norman. But it rarely happens. The last great score was Arnolds "Tomorrow Never Dies", and in fact was included as an isolated soundtrack on the DVD. George Martin's "Live and Let Die" was another spine tickler for Bond variations, not including his protégé Paul McCartney's title nausea, (although chic at the time, Martin could have also toned back some of that silly slap bass). But Skyfall fell flat for the Bond genre. And incidentally, in the Fleming Novels there was never a home Bond resided at called Skyfall. Further, after the death of his parents, he went to live with an aunt, not an uncle. Regardless, developing the feel for 007, the music is the most important part. Without it, the Bond films would just be routine action movies. With that said, why don't these composers realize this?

There are three points to the Bond musical mystique. The simple melody, the eternal four note Bond signature progression and of course, the Norman crescendo. Without these, there is no Bond. More and more, I find the Bond movies are showcasing them less and less. In fact, Newman NEVER ONCE included the crescendo in any part of Skyfall. In Breadcrumbs, it was omitted (seriously, how could it be omitted while playing the Aston Martin sequence which is the banner for the Bond crown jewel, Goldfinger?) and in the closing credits the JB theme didn't introduce it in the gun barrel logo and then fell just short of where it would normally occur during the theme.
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4 of 4 people found the following review helpful By Jon Broxton on November 20, 2012
Format: Audio CD
Coming in to write the music for your first James Bond movie must be a massively daunting task. In composing the score for Skyfall, Thomas Newman - the multi-Oscar nominated composer of such seminal scores as American Beauty and The Shawshank Redemption - not only had to cope with 50 years of cinematic history after Ursula Andress first slinked out of the Caribbean sea in Dr. No in 1962, but legions of fans who treat the movie franchise as sacred property, and the legacy of the legendary music of John Barry and his heir-apparent, David Arnold. The `James Bond sound' is so iconic and so well-established that it presents a composer as unique as Newman with a dilemma: does he abandon his own sound in an attempt to fit in with the overall sound of the series, risking giving up the very thing that makes him him, or does he compose music in his own inimitable way, establishment be damned, risking the wrath of those who would then surely accuse him of not being `Bond' enough? It's a challenging tightrope, and one which Newman had to skillfully navigate.

Skyfall is the 23rd film based on Ian Fleming's legendary character James Bond, and the third starring Daniel Craig in the iconic title role, after Casino Royale and Quantum of Solace. The film is directed by Sam Mendes - who worked with Newman previously on the films American Beauty, Road to Perdition, Jarhead and Revolutionary Road - and sees Bond trotting across the globe from Britain to Turkey, Shanghai, Macau, and back again, on the trail of the megalomaniacal Raoul Silva (Javier Bardem), a brilliant cyber-terrorist who has a personal vendetta against "M" (Judi Dench), the head of Britain's elite secret spy agency, MI6.
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