Much like NGAG, its medley was used for a great part of the score in TWINE much like Surrender in TND. It’s a fine ballad and the lyrics are Bond in somewhat reflective first person and echoes of Matt Munro on FRWL. Nice music, but they wanted something not quite so low key or mood for the credits IMO.
Dave Arnold’s ‘Shaken and Stirred’ album has some lovely versions of Nobody Does It Better, Moonraker and All Time High which show how beautiful these love songs can capture that side of the Bond experience. And its closing track We Have All the Time in the World kicks most of the songs they used for Brosnan’s films off the shelf. I think it was this specific vibe Smith was aiming for with his own song. Sadly, in comparison it doesn’t come close.
Maybe if they ever use “The Property of a Lady” as the title. One wonders if “Quantum of Solace” didn’t make them wary of titles longer than one or two words, though.
Thanks! Did an outside artist ever record that song for TWINE?
It’s on the album, but only appears in the film as an instrumental at the casino (though the chorus melody is Electra’s theme)
So I had to look this up since my memory seemed rather fluid about its chronology. In Jon Burlingame’s book “The Music of James Bond” he quotes an interview with David Arnold from 2011 tracing the origin and development of “No Good About Goodbye.” The melodic hook that appears in the score and the song was leftover from the Amy Winehouse tune they were originally developing. With her passing, that was scrapped though the six note phrase remained in the score. David Arnold, Shirley Bassey, lyricist Don Black and arranger-conductor NIcholas Dodd worked on the song for Shirley Bassey’s 2009 album “The Performance.” Arnold is quoted as saying he decided to write the song from those ideas months after QoS came out when he knew Bassey had an album coming out the next year. This team also collaborated on another tune, “Our Time Is Now” for her album.
So yes, it was started to be the title song, but no longer intended with Winehouse passing away. To say it wasn’t finished in time, while technically correct, bypasses the fact that they were no longer working on it. But it sounded like Arnold wanted to see the idea through to completion nonetheless once he got another chance.
That is much more complete and cogent explanation, and it deflates the notion that it was ready but rejected in favor of a bigger name.
Thanks for sharing! Greatly appreciated.
Yes, I tend to agree: there’s no reason to think Arnold wouldn’t admit it was for the film if indeed it was. As you say: it wouldn’t exactly be the first time (‘I Will Return’ from Die Another Day too) Don’t forget that his QOS score does also reference Another Way to Die at several points- it seems unlikely that he’d do that if he had a song of his own ready to go.
That’s very interesting: I had no idea it was connected to the Winehouse song. I guess the Solace motif is all that remained from the Winehouse song though?
As I’m going through my I-Tunes I’m leaning to early Maroon 5 or any era Muse as being good fits for Bond. That mix of emotion and scale seems very Bond.
Id like Muse, but they don’t seem very ‘Boyle’, if that makes sense!
Unless he has Adele foisted upon him I expect him to go for something a little more leftfield.
What do you all think, maybe David Foster write the song and pick the singer.
I’d be OK with it if he approached it like he did in the 80s and 90s and brought on board a gifted female vocalist. From what I understand, he’s been heavily in the Michael Buble business in recent years, so I’d rather see something more along the lines of his collaborations with Whitney Houston and Celine Dion than what he’s been doing recently.