The Living Daylights remix?

Anyone familiar with this? It does sound like a-ha...

It's this:

Wikipedia wrote:

A second version of the song, re-worked by A-ha in 1988, later appeared on their third album, Stay on These Roads. Not surprisingly, the band prefers their version of the song to Barry's.

Lazenby. wrote:

It's this:

Wikipedia wrote:

A second version of the song, re-worked by A-ha in 1988, later appeared on their third album, Stay on These Roads. Not surprisingly, the band prefers their version of the song to Barry's.

What a bunch of arrogant C***S. Everything Barry said about them was spot on.

That version Dog posted sounds bleeding awful. Overproduced, overly mannered pseudo-Bowie vocals, tinny synth hits, dated synth bass, no sense of drama etc.

Yep, the band can surely only prefer the above version of the track simply because they didn't get along with Barry, thus don't like hearing the man's contributions on the track. Because there's simply no contest. Barry makes it big and brings drama out of it, but the above version actually sounds like an unfinished prior version rather than a later version.

I found this on the tension that existed between the two...



PS Thanks for the Stay on these roads mention, I'll check it out tonight...

Mrs Aural Sects wrote:

I found this on the tension that existed between the two...

Yep, from UK Channel 4's James Bond's Greatest Hits programme from 2006, one of the most enjoyable Bond TV shows from recent years. You may well find the whole show on YouTube if you look around DB, it's well worth a watch.

Mrs Aural Sects wrote:

PS Thanks for the Stay on these roads mention, I'll check it out tonight...

The title track from that album was rather lovely. They were a good band back in the day. Shame about the whole fallout thing with Barry though.

Sharky wrote:

Lazenby. wrote:

It's this:

Wikipedia wrote:

A second version of the song, re-worked by A-ha in 1988, later appeared on their third album, Stay on These Roads. Not surprisingly, the band prefers their version of the song to Barry's.

What a bunch of arrogant C***S. Everything Barry said about them was spot on.

That version Dog posted sounds bleeding awful. Overproduced, overly mannered pseudo-Bowie vocals, tinny synth hits, dated synth bass, no sense of drama etc.

Agreed that the film version is preferable than A-ha's Stay On These Roads version, but I also think they were hired to do the song based on who they were at the time and their style at the time, and I'm not sure that their sound was necessarily a good fit for a Bond film (and that's coming from someone who is a huge fan of A-ha). Reminds me of Garbage's contribution to the series; in both instances the final product doesn't really sound like anything that the groups had done prior to being picked.

A-ha's sound and style would move away from synth-pop after their 1988 album, but it wouldn't matter; they never caught on in the U.S. after their first album.

I like the film version of THE LIVING DAYLIGHTS, but might have preferred a harder edge to it, which is why I like WHERE HAS EVERYBODY GONE the best of the lot. And TLD may not be A-ha's best song, but Barry was scarcely in a position to criticize: parts of his score for TLD were less than his usual standards, particularly the action edit as Bond is hanging onto the jeep at Gibraltar.

I also think there was a deliberate attempt to replicate the huge success of Duran Duran's song and video and it simply didn't work, and then it appeared EON gave up entirely trying to synchronize their film and music offerings. I can't imagine how hiring Gladys Knight and Patti Labelle just two years later was meant to sell a lot of records and cross-promote Bond.

Love that Stay on These Roads version and love its 80's sound. Hell, allow me to be blasphemous and say I may prefer it to the film version.

You don't remix Barry....

lachesis wrote:

You don't remix Barry....

Tell that to David Arnold.

Gravity's Silhouette wrote:

I can't imagine how hiring Gladys Knight and Patti Labelle just two years later was meant to sell a lot of records and cross-promote Bond.

Yeah, it's pretty baffling. Gladys Knight's a fine choice (even if she wasn't a record-seller), but I don't know why they had to give her a 'Goldfinger' ripoff to sing. Would've been better to go with Clapton and Kamen's song, whatever that may have been. (Or if it was no good, at least get Kamen to help write the main theme.)

From what I've heard, 'If You Asked Me To' was used because EON were obligated to pick from a list of songs given to them by a specific record company. And Patti Labelle's was the one they chose. (Source: MI6 user 'The Cat'... I think that was his name)

I like the photos of Barry with a-ha.

"Let's make this quick so I can get the fuck out of here..."

That was one of AoN's low points I'd say. Gary and JJ needed Anne to keep tracks on track - she was the only musician.

Some of the stiffest gated verb drum samples and Fairlight orchestra hits I've ever heard. Art of Noise up their own arse. I really just posted it for the fabulous video (3:18 onwards). .