We’re going to wrap up this live blog now - thanks so much for all your comments. This was my favourite.

As we end live reaction here, Sam Smith’s currently number one on iTunes, beating Justin Bieber. We’ll learn on Sunday if he’s beaten Adele to be the first Bond chart topper.

If Smith’s song doesn’t win the internet’s vote - what does?

There’s a survey out today, sponsored by online casino LeoVegas, which found respondents rate ‘Skyfall’ as the best ever Bond theme.

Proving nothing else other than the great British public have short memories, this is the top ten.

1. Skyfall - Adele (From Skyfall)

2. Goldfinger - Shirley Bassey (from Goldfinger)

3. Live And Let Die - Paul McCartney & Wings (from Live and Let Die)

4. Nobody Does It Better - Carly Simon (from The Spy who Loved Me)

5. Diamonds Are Forever - Shirley Bassey (from Diamonds are Forever)

The online negativity (and to be honest, what do you expect from Twitter?) doesn’t seem to have stopped Sam Smith staying firmly the odds-on favourite to top the charts.

Ladbrokes have already paid out on bets for ‘Writing’s on the Wall’ to be number one on Sunday, their spokesman said.

The odds of Smith winning the Oscar for Best Original Song have also been slashed by the bookmaker, to 10/1 from 25/1.

He seems chuffed, anyway.

Has Sam Smith made you hungry for more Bond? Or fancy rinsing your ears out with memories of the good old days?

You’re in luck - Spotify’s put together a playlist of the Bond themes through the ages.

I don’t think it’s intended to be a rundown of how the folks at the music streaming site comparatively rate the songs.

If it is, they’ve accidentally put Goldfinger 13 places too low...

The Telegraph’s Neil McCormick is the first newspaper reviewer to give his take on ‘Writing’s on the Wall’.

He calls Sam Smith’s song “a monster Bond ballad... paced more like an old Hitchcock film than the helter-skelter adrenaline rush of James Bond movies.”

He mentions the “surprising” contribution to the track by deep house duo Disclosure (Smith recently made a guest appearance on Disclosure’s latest album).

Surprisingly, because there is not a hint of a beat on this, and no attempt to bring Bond into the modern musical age.

But McCormick’s still a fan of the song overall.

This is a Bond who just wants to be loved. But Smith has to wrap those extraordinary vocal chords around something, and he delivers lyric and melody as if his life depended on it.

The result is both intimate and epic. Indeed, it may be the greatest vocal of Smith’s short career. I think it’s safe to say mission accomplished. Adele who?

OK, stop right where you are. This is the best take so far on the Sam Smith James Bond theme. Cut out the chorus, insert Michael Jackson’s Earth Song.

You won’t be able to unhear this.

In a promotional video for the song, Smith says Writing’s on the Wall was intended to work “with the project, with the film.”

The lyrics, he says, are “not about me, about my life, it’s the James Bond song and it’s the first time I’ve had to play a little bit of the character.”

Is that a clue we’ll be seeing a more sentimental Bond in the new film? The lyrics to the chorus are a love song, and perhaps are more typically Smith than 007.

“How do I live? How do I breathe?
When you’re not here I’m suffocating
I want to feel love, run through my blood
Tell me is this where I give it all up?
For you I have to risk it all
Cause the writing’s on the wall.”

Bond’s been the top trending topic in the UK on Twitter for a fair few hours now.

But Sam Smith’s name isn’t trending.

Another Bond legend is though...

The title of Smith’s song is ‘Writing’s On The Wall’. That was also the name of Destiny’s Child’s second album. Some might say Destiny’s Child circa 1999 would have killed Bond, but that would be a digression.

Anyway, it’s not called Spectre, but it appears it’s not an arbitrary title either.

In the Spectre trailer, released in July, Bond does see some writing on a wall. His own name, spray-painted on a cenotaph, “in memory of those who died in the service of their country.”

Here’s the full trailer, the clue appears around one minute and 25 seconds in.

Smith launched the song earlier this morning in an interview with Radio 1 presenter Nick Grimshaw, and said the secrecy had been stressing him out.

“I’m so relieved to actually talk about this, this has been top secret mission of my own,” he said.

“I got called into the office with [film producer] Barbara Broccoli and [director] Sam Mendes and they gave me the script... they said, ‘Have a go at the song’.”

“It’s the quickest I’ve ever written a song – it took 20 minutes – and they loved it!”

Writing the song in 20 minutes might be the problem, according to the Human League’s Martin Ware.

Forget the haters, Sam. This is clearly the only verdict that matters.

These are Twitter’s first takes on the theme tune.

Some positive...

But there’s a fair bit of criticism, much of it hingeing on the essential undefinable flaw that it doesn’t sound very *Bond*. Apart from the introduction. Which sounds very Bond.

The lyrics are coming in for a bit of a hiding too...

Sam Smith’s song is, controversially, not called ‘Spectre’.

True, it’s a tricky word to rhyme, but Adele valiantly made ‘skyfall’ rhyme with ‘crumble’ and arguably that’s more difficult.

It’s a shame Smith didn’t turn to twitter for help with writing his lyrics, because there are literally tens of suggestions of possible rhymes for Spectre.

Smith’s been doing the rounds on radio and in print today talking about the Bond gig,

He was on Capital FM Breakfast Show to launch the song: “I’m excited for people to hear it and I hope it just does the film and the legacy justice.”

He said he would love to win an Oscar for the song, but said: “It’s not even something I’m thinking about.”

Speaking to The Sun, Smith said:

With Bond songs you get to be as dramatic as you want. I got to get away with unbelievable string and brass sections - I got to be a drama queen.

With this song I don’t care about it charting and things like that. I just care about doing the legacy proud.

He said the song was a collaboration between himself and Bond director Sam Mendes, who tweaked so the spy didn’t seem too vulnerable.

We wouldn’t want that, would we?

“Sam had a say in some of the lyrics I was writing and made sure Bond didn’t sound weak, that he still sounded powerful,” Smith told the paper.