Top 3 Tracks: Thomas Newman's SPECTRE score

I was impressed by the film's soundtrack more than anything. It's a lot more interesting than Arnold's contributions to the Craig films. I think it's better than Newman's score for SF and BRIDE OF SPIES, too.



My top 3:

1. SPECTRE End Titles: Forget the bullshit action music at the beginning. This track is great because of Madeline's lush theme that starts to play at 2:29.


2. Crows Klinik: Contains another one of Newman's great themes for the film, which seems to play during scenes at CIS and through transitions.  


3. Secret Room: Contains the theme I mentioned above and the somber piano theme that plays through out the film. Possibly Mr. White's theme?

I took the cue used in "Secret Room" to be the love theme because of how it plays it later scenes between Bond and Madeline like when talking about leaving the service to be together and when he heads towards her at the end of the bridge. It feels like a call back to what "Vesper's Theme" was but where that was played as a tragedy by Arnold, Newman plays his as more of a temptation to finally settle down and be at peace.

I also enjoy "Silver Wraith" used when Bond and Madeline are being driven to Blofeld's base, and when they're given a tour. I think it really adds to that kind of DR. NO vibe Mendes was going for in those scenes as if Bond and Madeline had been transported into a sci-fi film with all the tech surrounding them.

Another cue I like is heard in "Vauxhall Bridge" and "L'Américain" when Bond is heading toward a location in the Thames River and when Bond and Madeline arrive in Tangier.

I hope that Newman comes back one more time so he can carry on some of those themes with Madeline and Bond, assuming she's still around for the next. I at least want Newman to help tie up Craig's run. I know many assume he's not going to come back because Mendes won't, but he personally asked to work on the Bond films when he first heard Mendes would be getting the gig, it wasn't a case of Mendes asking his composer to come along for the ride. I think of EON offered he would come back for at least one more. At least, I hope they ask him, and not Arnold. At least someone up with Mendes' level like Alberto Iglesias.

Makeshift Python wrote:

I know many assume he's not going to come back because Mendes won't, but he personally asked to work on the Bond films when he first heard Mendes would be getting the gig, it wasn't a case of Mendes asking his composer to come along for the ride. I think of EON offered he would come back for at least one more. At least, I hope they ask him, and not Arnold. At least someone up with Mendes' level like Alberto Iglesias.

Interesting. I didn't know that he asked for the gig. I always assumed that Mendes dragged him along.

It would be nice if he returned. Newman's a great composer and brought a lot of great, fresh music to the franchise. If he decides to move on, Alberto Iglesias would make a solid replacement. His scores for TINKER TAILOR and THE MONK were fantastic. Actually, as far as his music goes, I prefer him over Newman.

Backfire: An exciting action piece, and I'm glad that Grand Bazaar is reprised at the end of the track, because it was one of my favourite themes from Skyfall.
L'American: I love the way it accompanies Bond's arrival in Morocco and the Bond theme at the end is great.
Spectre (End Title): I chose this track because it includes both Madeleine's theme and the piano "cukoo" theme heard in "Safe House" and "Secret Room".

Special mention: Bond theme rendition in "Los Muertos Vivos Estan".

Makeshift Python wrote:

I took the cue used in "Secret Room" to be the love theme because of how it plays it later scenes between Bond and Madeline like when talking about leaving the service to be together and when he heads towards her at the end of the bridge. It feels like a call back to what "Vesper's Theme" was but where that was played as a tragedy by Arnold, Newman plays his as more of a temptation to finally settle down and be at peace.

I also enjoy "Silver Wraith" used when Bond and Madeline are being driven to Blofeld's base, and when they're given a tour. I think it really adds to that kind of DR. NO vibe Mendes was going for in those scenes as if Bond and Madeline had been transported into a sci-fi film with all the tech surrounding them.

Another cue I like is heard in "Vauxhall Bridge" and "L'Américain" when Bond is heading toward a location in the Thames River and when Bond and Madeline arrive in Tangier.

I hope that Newman comes back one more time so he can carry on some of those themes with Madeline and Bond, assuming she's still around for the next. I at least want Newman to help tie up Craig's run. I know many assume he's not going to come back because Mendes won't, but he personally asked to work on the Bond films when he first heard Mendes would be getting the gig, it wasn't a case of Mendes asking his composer to come along for the ride. I think of EON offered he would come back for at least one more. At least, I hope they ask him, and not Arnold. At least someone up with Mendes' level like Alberto Iglesias.

Didn't know he asked for the gig. So he wanted it and gave us some recycled cues from SF and uses the previous composer's arrangement of the Bond theme. I hope Babs has the balls (or Michael Wilson's) to get someone else (or Arnold back) for Bond 25.

FieldsMan wrote:

Didn't know he asked for the gig. So he wanted it and gave us some recycled cues from SF.

Because no other composer recycles cues in sequels like ever. Honestly, there's enough new material in the music for me not to be bothered by Newman reusing certain cues. I do get it though, the Bond films have been very unique in that John Barry rarely reused a cue from a previous movie outside the Bond theme and 007 theme, so I suppose we're spoiled over the idea that all music should be completely new in the next soundtrack, whereas outside of Bond films rerecording old cues is a very common thing. Even greats like John Williams were not above reusing old cues if it suited the scenes that played out.

As for using Arnold's arrangement, I figure Newman simply likes that arrangement enough that he wants to use that while adding his own touches to the piece. That and probably wanting to keep some consistency with the other two Craig films he didn't score. It's telling that each of the four films ended with that same arrangement, with QOS only being slightly different in tempo in order to match with that very fast MK12 gun barrel in the beginning of the end credits.

FieldsMan wrote:

Didn't know he asked for the gig. So he wanted it and gave us some recycled cues from SF.

The film's soundtrack seemed to emphasize the recycled cues from SKYFALL. When you listen to the score in full, however, you only recognize the recycled cues a few times.

I think the film's sound editor is to blame more than Newman.

MP wrote:

As for using Arnold's arrangement, I figure Newman simply likes that arrangement enough that he wants to use that while adding his own touches to the piece. That and probably wanting to keep some consistency with the other two Craig films he didn't score. It's telling that each of the four films ended with that same arrangement, with QOS only being slightly different in tempo in order to match with that very fast MK12 gun barrel in the beginning of the end credits.

Agreed. Newman reused SKYFALL's themes and Arnold's arrangement of the Bond theme in order to tie the films together. This instruction obviously came from the screenplay and the top of the production, too, as the EON team was obsessed with connecting SPECTRE to the past Craig films.

Thomas Newman isn't some amateur composer who threw this score together on the fly, as some critics seem to believe. I've read knuckle headed reviews that claim he didn't even bother to write complete melodies for the film, which is pure bullshit.

I think Bond fans are being too harsh on his music. His score for SPECTRE was lush and, frankly, deserved to be used in a better film.

I think Newman should have slightly hinted at Vesper's theme when Bond found her recording tape, and at Night at the Opera when Bond visited Mr. White.

Control wrote:

I think Bond fans are being too harsh on his music. His score for SPECTRE was lush and, frankly, deserved to be used in a better film.

Maybe I need to listen to it in isolation, but all I know is that I was humming to Tennyson and had Severine's theme stuck in my head after watching SF - for SP, I can't say anything sticks out. Then again, I've never been a fan of Newman's work outside of Bond anyway. Always seems sterile to me.

I grabbed the Spectre soundtrack over the weekend, I find it much more engaging and interesting than Skyfall's even where it reuses material (haven't listened enough to select three tracks in particular yet mind), it is enough enough to make me welcome the possibility that Newman might return for a third time. Although QOS was probably Arnold's best score for the franchise I think we're heard more than enough from him so if Newman isn't to return I'd like to hear from someone fresh.

Newman reminds me much of the one off composers. Guys like Bill Conti came in and brought in their own voice. They weren't trying to mimic what John Barry did, they would give a few nods to the Bond sound, but ultimately they were going by the drum of their own beat and that made the series richer.

Walecs wrote:

I think Newman should have slightly hinted at Vesper's theme when Bond found her recording tape, and at Night at the Opera when Bond visited Mr. White.

I think Newman does do that, but instead of actually using the Vesper theme he uses the piano tune that's heard in "Secret Room" that feels like an echo to Vesper without being on the nose about it. I think it works better that way.

"Night of the Opera" for Mr. White wouldn't have been the correct choice. If there had to be a callback it chould have been the theme Arnold used for Quantum. It's a very understated piece, some of the things I think Arnold at least got right. Here's the theme I'm speaking of:

The first 33 seconds before the action cue kicks up: https://www.youtube.com/watch?v=JKm8JiWI6sc

Later reprises in the scene between Greene and Camille: https://www.youtube.com/watch?v=qfqgg_f1yWs

Finally pops up around an action cue in the climax "Perla de las Dunas" around 3:16 https://youtu.be/offoerR7ck4?t=3m15s

You're right about the Quantum theme.

Just got the soundtrack for Christmas. I'm gunna say:

1. Los Muertos Vivo Estan
2. Donna Lucia
3. Vauxhall Bridge

What's up with the Day of the Dead track?

I think it was included because Tambuco made that specifically for the film as heard during the parade. Kind of like how Nina's "Do You Know How Christmas Trees Are Grown" was used in the background in OHMSS and got included in the soundtrack.

Makeshift Python wrote:

I think it was included because Tambuco made that specifically for the film as heard during the parade. Kind of like how Nina's "Do You Know How Christmas Trees Are Grown" was used in the background in OHMSS and got included in the soundtrack.

Speaking of "Do You Know How Christmas Trees Are Grown"; it was composed by John Barry, wasn't it? Infact, Barry even quotes it in the score, specifically in "Blofeld's plot".

Right, it kind of works as part of the score and as source music for the scene, much like how the hypnotizing music plays out immediately after.

Makeshift Python wrote:

I think it was included because Tambuco made that specifically for the film as heard during the parade. Kind of like how Nina's "Do You Know How Christmas Trees Are Grown" was used in the background in OHMSS and got included in the soundtrack.

Maybe, but I don't recall hearing it in the film, whereas Nina's track in OHMSS I can…

GAve the whole thing a good listen yesterday, and not sure the other tracks match up to the three I mentioned above. SOme interesting ideas, but they aren't fully realised IMO. Los Muertos…, Donna Lucia and Vauxhaul Bridge are the three I think are fantastic and worthy of something Barry/Arnold could have produced, but the rest not so much.

Still not listened to the score whereas Force Awakens I was in like Flint.

FieldsMan wrote:

Makeshift Python wrote:

I think it was included because Tambuco made that specifically for the film as heard during the parade. Kind of like how Nina's "Do You Know How Christmas Trees Are Grown" was used in the background in OHMSS and got included in the soundtrack.

Maybe, but I don't recall hearing it in the film, whereas Nina's track in OHMSS I can…

It's when Bond is chasing Marco Sciarra on the streets, right as the helicopter approaches.

Well muggings here plumps at the moment for (in no particular order)

Backfire
Madeline
Out of Bullets

these stand out to me, some bits don't and some might yet do. Backfire has that choir bit and the other two have their moments.

I do dig the choir bit in the car chase. I actually quite like 'Backfire' up until just after the choir bit.

The choir bit in Backfire seals the deal for my top#3 from the OST but the movie version is meant to be different apparently. As I've seen the film once and back in October, my memory's hazy on that.