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 Mary Carewe

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Kath
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PostSubject: Mary Carewe   Mary Carewe EmptyWed Jun 20, 2018 1:03 pm

Am I the only idiot who thinks that her record ("The Best of Bond" or something like that) differs largely from her concerts?
The concerts were so much better, so this is a real nuisance…

Does anyone know of another record? This one does not feature some of my favourites of her, either ("Another Way to Die" with a full-blown orchestra and her as a singer is just awesome and very different from the original). "Goldeneye" is missing, too! "Surrender" is available but my memory tells me that it was better when I heard it. The record features a rather classical interpretation and that is not what I had heard. (And I do not like the original because I dislike the voice of the original singer).

sad
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyWed Jun 20, 2018 10:57 pm

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Kath
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyThu Jun 21, 2018 9:01 am

That's the version she has done for one of her carbaret albums. My reaction was the same. But when you google further you can find her Bond concerts and I like them very much. The version of DAF I have heard was different.

Ok, that is much worse, agreed! They did "We Have All the Time in the World" as an instrumental version which I prefer anyway. Don't compare yourself to Louis Armstrong.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyThu Jun 21, 2018 1:51 pm

Her Another Way to Die was better than the original, but I think just about anything is. 

Still a horrid song. Sounds like a school-age orchestra band.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyThu Jun 21, 2018 9:21 pm

FieldsMan wrote:
Her Another Way to Die was better than the original, but I think just about anything is. 

Still a horrid song. Sounds like a school-age orchestra band.

Be happy that you have never heard my school band. The day I saw little children cover their ears with their hands I quit.
big laugh
(transverse flute. And we were a jazz band, not an orchestra. And yes, we did have a teacher, but we were horrible nevertheless. But, having learnt how to play an improvisation is priceless and a nice experience.)

I especially hate the piano person who hammers his or her way away. Still, the song has potential; I liked the orchestra version very much. That's why I wanted a record. The song has so much power and energy if you play it right.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptySat Jun 23, 2018 12:36 pm

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Last edited by Erica Ambler on Sat Jan 26, 2019 5:07 pm; edited 1 time in total
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PostSubject: Re: Mary Carewe   Mary Carewe EmptySat Jun 23, 2018 1:08 pm

That may shock you, but her sex appeal is lost on me. Not all of us like Bond GIRLS and WOMEN.

(Dalton has an irresistible smile but I kind of assume that is not part of your Bond ranking, either).

I prefer Mary Carewe's voice. I have to say that I like both songs in their respective original versions. But I needed to hear the instrumental version of "Writing's on the Wall" to love it. Now I love the original, too. That cascade when he sings "How do I live, how do I breathe, when you're not here I'm suffocating" is extremely beautiful. Takes some time to get used to his voice, but, well.

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PostSubject: Re: Mary Carewe   Mary Carewe EmptySun Jun 24, 2018 12:04 am

Not only is Kerry Schultz's version stronger vocally, it makes sense lyrically from female perspective.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptySun Jun 24, 2018 2:45 pm

FieldsMan wrote:
Not only is Kerry Schultz's version stronger vocally, it makes sense lyrically from female perspective.

Are you teaching me a about a female perspective? Or are we even, seriously, talking about ONE female perspective (because all women are the same anyway)? What have I missed?

laugh

And the lyrics of "Diamonds Are Forever" are not exactly praising men.

Mary Carewe has done many things, Abba, carbaret, musicals, film soundtracks, and then, somewhat down the list, comes Bond. I just want to say that she's a professional singer and sometimes I wonder if Bond was the right gap in the market. But when I see her performances I can at least believe that she actually likes the songs.
I just want to say that she's a professional singer who has done way more than Bond and it shows. It depends on your taste. I cannot really compare them because I have only heard one of them live, but from what I see I must say that I prefer Carewe. I have seen her in a theatre with a real classical orchestra. The night before they did "Cosi fan tutte" and the night after "Nabucco". That's the programme she was couched in.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyMon Jun 25, 2018 12:08 am

I meant that Writing's On The Wall, as sung by male vocalist Sam Smith, suggests that it's from Bond's perspective, when it works better from a Bond girl's perspective, especially Madeleine's, as they were trying to force a genuine relationship onto us.

Bond isn't sentimental to suffocate because he isn't with her.
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PostSubject: Re: Mary Carewe   Mary Carewe EmptyMon Jun 25, 2018 6:32 pm

I'm sorry. But I need more context in the future please.

The lyrics are a paradox because "I never shoot to miss" is Bond (and I always associate something entirely else with it, something that no member of the female sex can ever do; but that is probably only me).
I am not so sure who's suffocating here because that does not sound exactly like Madelaine either. But then whose number is given away in "Skyfall" and whose heart does burst again? "Skyfall" has extremely cryptic lyrics, at least when you try to connect them to the film. Whose loving embrace is giving security to whom? "Where you go I go". I have no idea how to interpret this in context of the film.
They are simply too strong to describe the short encounter between Bond and Sévérine (more or less, I write this from memory):

"Where you go I go
What you see I see
I know I'll never be me without the security
Of your loving arms
Keeping me from harm
Put your hand in my hand and we'll stand

Let the sky fall
When it crumbles
We will stand tall
Face it all together"

And "This is the end" is Bond's requiem, so we most likely have a shift of perspective within these lyrics. The refrain, however, befits the threat to the MI6 and London.
All in all and taken together, it doesn't make much sense, at least not to me. If one of you has an interpretation of "Skyfall" ready that makes sense I am happy to hear it.


Seems they have given Oscars to the songs that have absolutely no connection at all to their respective films. At least you have to give that to "Another Way to Die". It refers to "solace for the one who will never see the sun shine" and "someone you think you can trust is just another way to die" --> Vesper.
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