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David Arnold's The World Is Not Enough (1999) - 2CD Expanded Edition from La-La Land Records (2018)

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3 hours ago, crocodile said:

Well, aside from QOS.

 

Karol

 

We're referring to the song being included on the score album, and that stopped with Casino Royale and never restarted. The QoS album doesn't contain the film's song.

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6 minutes ago, Richard Penna said:

 

We're referring to the song being included on the score album, and that stopped with Casino Royale and never restarted. The QoS album doesn't contain the film's song.

 

Yes, it does. It's the last track on the album.

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55 minutes ago, Richard Penna said:

 

We're referring to the song being included on the score album, and that stopped with Casino Royale and never restarted. The QoS album doesn't contain the film's song.

Well...it is on mine.

 

Ah you already know. :)

 

Karol

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Listening to this now. It's not as dramatic of an upgrade as Die Another Day last year. But that is because this score had a much better OST. Still, it's amazing what an inclusion of some few crucial tracks can do to your enjoyment. Snow Business is terrifc and it's great to have both the gun barrel and end credits. And I always liked the title song.

 

Karol

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Agreed. The OST was pretty good already. But having the additional music is no punishment in any way. Especially the extra version of Elektra's Theme, which is one of Arnold's best themes he's done.

 

He's got a very fine singing voice too!

 

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Guys I've fallen in love with this score! I never paid much attention to it in the past, but I just can't stop listening to it now.

 

As I was never super familiar with the OST, I basically listened to this the few first times as a pure album experience, just taking in the whole score as a whole, not thinking or even being aware of what's new vs what was released before, etc.

 

Looking back at the OST track list now, it's crazy to me that some essential ingredients to the score like the Gun Barrel and especially Snow Business weren't on there!  Wow!

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Oh I still strongly prefer Tomorrow Never Dies, but this score is a super worthy followup!

I think my disappointment back in '99 was that it was so different from TND, and I also remember thinking the electronics were too much after they were perfectly and seemlessly integrated into the orchestra in TND.  But listening to TWINE now, I don't think the electronics are too much at all.

 

Did Neil change the mix so the electronics are less loud, or is it just a case of the OST chose to mostly include electronics-heavy tracks, so when you hear the complete score they are more spread out?  Or maybe I am just over the "shock" of hearing electronics used differently than they were in TND, and he actually had a cool blend all along.

 

I feel like I'm still discovering more about this score every time I listen.  Right now I'm listening on headphones and hearing so much great detail

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13 minutes ago, Jay said:


I think my disappointment back in '99 was that it was so different from TND, and I also remember thinking the electronics were too much after they were perfectly and seemlessly integrated into the orchestra in TND.

 

Just for fun, this is quite similar to Clemmensen's verdict:

 

Quote

Overall, The World is Not Enough could easily have been a 4-star score if Arnold hadn't tried so hard to beef up the electronica elements to obnoxious levels. His other Bond scores prove that there is a happy balance to be had, but he misses it here. This score remains, however, superior to Die Another Day. 

 

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30 minutes ago, Jay said:

Did Neil change the mix so the electronics are less loud, or is it just a case of the OST chose to mostly include electronics-heavy tracks, so when you hear the complete score they are more spread out?  Or maybe I am just over the "shock" of hearing electronics used differently than they were in TND, and he actually had a cool blend all along.

 

No, I know the OST incredibly well, and the mix on the new release sounds pretty much the same. I guess it's just the way a new presentation can cause you to reevaluate a score.

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58 minutes ago, Jay said:

Did Neil change the mix so the electronics are less loud, or is it just a case of the OST chose to mostly include electronics-heavy tracks, so when you hear the complete score they are more spread out? 

No, I think it sounds pretty much exactly the same. It seems like both TWINE and DAD had the OST albums showcase electronics quite a lot, And while it's great for presenting what is stylistically unique about these scores I think it misrepresented them in some sense. TWINE expansion certainly now flows much better but it's not as drastic of an upgrade as DAD last year. The 2002 album was one of the most dreadful listens I've ever experienced. The electronics in that score are much more aggressive and that disc emphasised them greatly and it really put me off. It didn't help the dreadful Madonna song was on that album as well as well as that useless Paul Oakenfold remix track. Low and behold, the LLL album comes out in 2017 and it feels nothing like that. Sure, the electronic tracks are there but the remaining material is mostly quite traditional. In its full form the music feels meaty and full-bodied. The thematic material might not be as well pronounced but, still, the difference is immense.

 

Karol

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My next step has been to buy the DVD for a few ££s to familiarise myself with how bits of the score work in the film, which I haven't seen since not long after the film came out.

 

This is easily my favourite Bond score, and one of only two for which I have a full album (the other being Skyfall). I have a handful of tracks from CR, TND and Spectre but they rarely get air time.

 

1 hour ago, crocodile said:

The 2002 album was one of the most dreadful listens I've ever experienced. The electronics in that score are much more aggressive and that disc emphasised them greatly and it really put me off.

 

I won't be able to back this up with a source, but I'm fairly sure I read somewhere that the OST is the way it is because Arnold was asked by whoever put the album out to focus on the electronic cues, rather than all that orchestral nonsense.

 

I'm fine with the synths in TWINE, although a casual comparison hasn't yet revealed what the difference is between the two versions of Pipeline, for example. I particularly like the Bunker and Caviar Factory set pieces, and I'm sure parts of the submarine cues jumped out at me when I saw the film. I'm going to have to watch the film again to remind myself.

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I haven't picked this up yet. I'm hoping for TND next year and then I'll get all three Arnold/Brosnan scores in one go.

 

Hasn't Snow Business been available for ages, though? I believe it was up on Arnold's website as a (lossy) promo track for a while.

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Listening to this again this morning.

 

Just got to Snow Business, and, my god!  This cue is so good, I can't fathom what went through the minds of everyone involved with assembling the initial OST album to not include this cue there.  What were they thinking?

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Received the DVD today which unveiled an issue - the start of Body Double in the film is a tense bit for strings, then electronics come in gradually.

 

Unfortunately the LLL track has what was clearly the original mix for this cue, with the electronics right from the start. In my mind it totally changes the feel of the cue towards a more funky sound.

 

This release otherwise sounds fantastic - but this is one of my pet hates, when official releases ignore what is sometimes a superior film mix. Given that some of the alternates are barely discernible, it would've been nice to have a track like this with no electronics. They did it for Titanic...

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Ice Bandits playing now! There's some really awesome action music in this score. Arnold really gives the orchestra a work out. The more gentler stuff actually feel like a precursor to his Casino Royale score. Like Vespers, Elektra's Theme has an inherent minor mode sadness. 

 

Glad to see this, much ignored, score is finally getting some kudo's, @Jay ;)

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On 12/17/2018 at 3:45 PM, Jay said:

Listening to this again this morning.

 

Just got to Snow Business, and, my god!  This cue is so good, I can't fathom what went through the minds of everyone involved with assembling the initial OST album to not include this cue there.  What were they thinking?

 

Perhaps the cue wasn't completed in time for the OST.

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Ice Bandits is great. But I also heard it once played live in concert with the electronic stuff replaced by live percussion. That was even better. I remember it sounding very old school.

 

Karol

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Pipeline is definitely my favourite cue of the score.

 

From watching the submarine scene with just the music playing, it occurred to me that sections of the cue are an action version of the descending Renard motif. Although I'm not entirely a fan of the hyped up section just before Renard gets stomached by the rod.

 

Does anyone have any further ideas on where the film's End Credits insert comes from? It's not one I'm overly desperate to re-create - just curious really. It's got different instrumentation to Company Car and Soundhound tags some synth track from a Bond compilation.

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Neil said it was material from the TND score (obviously some cue or version of a cue that wasn't use or released before). I posted his quote earlier in the thread. 

 

On the topic of favorite action tracks in the score, mine's easily Come In 007, Your Time Is Up, AINEC. 

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Since getting the set, that track just keeps getting stuck in my head.  I've listened to this entire set I dunno, half a dozen or so times since I've gotten it, but I've listened to that track (pretty much always with Show Me The Money first, I actually wish they had been combined into one track on this edition) another half dozen or so times too

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It was fine on the OST, but I wish on this release they just put them in one track.  

 

The Chapter III version of TND had some bleedover between track changes too, something a future definitive edition hopefully doesn't replicate

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Same. I don't understand why anyone would separate them, particularly at that point.

 

Edit - I didn't realise you could rip a section of a CD and not break up its tracks... I'd been ripping the tracks then joining them before!

 

Anyway, my version of this section is uninterrupted from Show Me The Money all the way to The World Is Not Enough. Seemed no reason to cut this set piece up.

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Oh yea, any good CD ripping program can rip two tracks together into one file with no blip in between whatsoever, I'm only wondering why they thought it was the best idea to do what the OST did here on the expanded release.  In the end, not a big deal, just a curious one

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So happy I got this for Christmas this year! So nice to hear some of this without sound effects! Agree with Jay it's an awesome experience this way! 

 

Unlike the Die Another Day release from last year I don't think there's any reason this time around to need the OST as well. It's pretty much complete. 

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