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Posted: |
Aug 24, 2015 - 6:28 AM
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By: |
MikeP
(Member)
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A terrible song, bad bad bad . Even seeing the film in the theater, I was 12, it was like "what the HELL is up with this shit? "  Some Bond songs are great, some are meh, but this one even out-stinks the title songs from Madonna, Sheryl Crow and Garbage.
Lulu did what she could with what she has given, but as Bart Simpson said, “I didn't think it was physically possible, but this both sucks and blows.”
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Posted: |
Aug 24, 2015 - 6:56 AM
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By: |
Tall Guy
(Member)
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Bart Simpson said, “I didn't think it was physically possible, but this both sucks and blows.”
Not sure he said it about Lulu, though 
I think Lulu was hampered by a head cold at the time, if sertain reports are to be believed. I have a friend who considers her to be the spawn of the devil for some reason, but I'm no worse than mildly indifferent, which I suppose is a step up. And some of the lyrics left little to the imagination and much to be desired.
However, and I'd have to give it more thought to be certain of this, I think the melody of TMWTGG is required to do more service in the underscore than any other Bond theme. Tin Pan Alley version, Kung Fu fight backdrop, romantic interludes, wistful segue into the end titles - it crops up time and again. Probably a symptom of the lack of time John Barry was afforded, but I think it's a far more versatile, and therefore able,melody than it's often given credit for.
But you were talking about the song, and Lulu's performance, so I'l shut up now.
TG
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Posted: |
Aug 24, 2015 - 7:01 AM
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By: |
MikeP
(Member)
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Bart Simpson said, “I didn't think it was physically possible, but this both sucks and blows.”
Not sure he said it about Lulu, though
I think Lulu was hampered by a head cold at the time, if sertain reports are to be believed. I have a friend who considers her to be the spawn of the devil for some reason, but I'm no worse than mildly indifferent, which I suppose is a step up. And some of the lyrics left little to the imagination and much to be desired.
However, and I'd have to give it more thought to be certain of this, I think the melody of TMWTGG is required to do more service in the underscore than any other Bond theme. Tin Pan Alley version, Kung Fu fight backdrop, romantic interludes, wistful segue into the end titles - it crops up time and again. Probably a symptom of the lack of time John Barry was afforded, but I think it's a far more versatile, and therefore able,melody than it's often given credit for.
But you were talking about the song, and Lulu's performance, so I'l shut up now.
TG
No, Lulu was fine, the song is what came straight from hell 
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Posted: |
Aug 24, 2015 - 8:11 AM
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By: |
odelayy
(Member)
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I don't understand why most people don't like this song. Ok, her singing is a bit rough, but her energy, the way she performs it make a great listen. I especially like the end credit, with the theme played gently at the flute, in the most Barriesque way, and halfway through Lulu's voice arriving, singing solftly "Goodnight, goodnight..." and all of a sudden going back to the upbeat tempo we're familiar with.
That's one of the Bond scores I listen the most, and an expansion of it would be most welcome.
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I've always thought it sounded tacky. But it's all there before Lulu sings a note. The intro announces what it's going to be like.
With the recent passing of Cilla Black it occurred to me that she never got a Bond song. I would have chosen Cilla over her sixties stablemate, as some of her classics gives her the odd Bassey-like moment. But MWTGG wouldn't have been any better served. Lulu has had many better songs. MWTGG is so naff that I'd even place her Eurovision Song Contest entry, Boom Bang A Bang, higher!
Of the other two I think of in the same breath, Dusty Springfield of course had a hit with an 'alternative' Bond song, but maybe Sandy Shaw would have done a good job.
And Live and Let Die is fine. It certainly sounds different to what we were used to up to that point, but then that's in-line with a new era for the series, and the nearest we got to a Beatles Bond song. And it has some great percussion breaks that don't sound out of place. It just doesn't have the Barry sound. Almost, compared to some non-Barry songs, but not quite. And that, as always, is what's missing.
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This was my first full John Barry soundtrack - and I know this song by heart almost better than any other because of that! It's ridiculous, but so is the movie, so is much of the score (a slide whistle? - come on!) - and the song fits the movie like a glove. What other kind of song could this title have?
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Which, as Bond himself implies, shouldn't be listened to without earmuffs...
Um, he doesn't imply it, he just says it. Way to go after youth culture, Saltzman-Broccoli!
A wonderful early misunderstanding of Bond's place in the culture - which turns out to be dead center. As demonstrated years later with McCartney/Wings as the first of a bunch of pop artists turning out Bond songs that became hits, right to the present day. Some film score fans don't like it, but it shows how Bond belongs to the broader culture as much as our cul de sac.
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I like this song- Isn't this the very thing we expect from a JB Title song?
By Lulu's account, it was out of wheelhouse in terms of material and performance style.
Compare this to Goldfinger and I think you see where everyone was coming from on this one.
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