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I'm surprised this thread doesn't have more replies, given all the threads on Bond scores on this forum down the years... come on people, it's an EXPANDED BOND SCORE!
But it's NOT A VERY GOOD ONE!
You're right: it's not simply a VERY GOOD ONE. It's a VERY GREAT ONE!
Have you been listening to the expanded Die Another Day? The sly brass flares? The cool Bondian grooves? The giant, swaggering statements? The unusually (almost epically) heroic, blood-propulsing action writing?
Now, full disclosure: I do dig all four of Arnold's other Bonds more than this one. But I fail to see how any fan of the Bond sound could not take great pleasure in Die Another Day...unless you have a serious allergy to electronica. In which case, what are you doing watching 21st century action films? 
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Because it has TOO MANY of those things. The parts overwhelm the whole. It's bordering on pastiche. And yes, way too much electronica.
He was right to pull the whole thing back for the Craig films. It had gotten ridiculous.
I also maintain that Bond works best when it's treated like a thriller with action scenes than an all-out action movie. He is a SPY after all.
I might have agreed with you once upon a time on the "too much electronica," but after spending some time with the expanded Die Another Day, I rather think there is just the right amount of electronica.
And I never would have agreed that the music of Die Another Day borders on pastiche. The film itself is ridiculous, and the music accordingly goes bigger, more extravagant, more "L007K UP! L007K DOWN! L007K OUT!" Yet it retains a sense of gravity, of earnest, of true-to-life emotion that the film itself loses somewhere along the way.
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I thought the Vanish was well done. The point for me where my stomach officially churned was during the tidal wave kitesurfing.
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I bought this because it might get the other 'Bond-scores' released, but i'm starting to wonder if this was the 'right' first release. Because honestly, this isn't the best score.
I hope LaLaLand get positive reaction from Eon (they should, because the packaging is superb).
Maybe one day MV will tell us about it.
I really hope this sells well
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Or this was the perfect first release?
Given how derided DAD usually is, EON will better be able to gauge interest in the actual music of James Bond for future releases depending on how well this one sells—much better than say a release of the music of GoldenEye or Casino Royale or Skyfall.
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Hopefully if this sells well we.might get John Barry's rejected score for GOLDENEYE
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Hopefully if this sells well we.might get John Barry's rejected score for GOLDENEYE
And Thomas Newman's rescore of Goldfinger???
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Hopefully if this sells well we.might get John Barry's rejected score for GOLDENEYE
And Thomas Newman's rescore of Goldfinger???
And Beethoven's 5th was only Connery's third!
Spoiler alert: It's just select tracks from Skyfall rehashed
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What an amazing release, allowing this epic score to be explored as if it's brand new.
Can anyone explain where the final track on disc 2, "James Bond Will Return," comes from? Was it intended to be an end titles cue? Is it an alternate for some other sequence? It seems to have material from cues that are in the film, but I don't know the score well enough to know where from.
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What an amazing release, allowing this epic score to be explored as if it's brand new.
Can anyone explain where the final track on disc 2, "James Bond Will Return," comes from? Was it intended to be an end titles cue? Is it an alternate for some other sequence? It seems to have material from cues that are in the film, but I don't know the score well enough to know where from.
I have to imagine it was the original end credits music. TWINE similarly remixed action cues from earlier in the film into a techno-ish end credits suite.
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What an amazing release, allowing this epic score to be explored as if it's brand new.
Can anyone explain where the final track on disc 2, "James Bond Will Return," comes from? Was it intended to be an end titles cue? Is it an alternate for some other sequence? It seems to have material from cues that are in the film, but I don't know the score well enough to know where from.
I have to imagine it was the original end credits music. TWINE similarly remixed action cues from earlier in the film into a techno-ish end credits suite.
It's been years since I've seen DAD, what is used for the film version end credits? Is it the Madonna song again? The Oakenfold remix from the soundtrack album (is that even in the film)?
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It's a remix of the Madonna song. The Dirty Vegas Remix I believe.
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Where does the Title Song go? After D1Tr5?
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