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David Arnold's DIE ANOTHER DAY - NEW! 2CD Complete La-La Land Edition


Jay

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Not sure, it depends on the math re: taxes, import fees (if applicable), and shipping cost of 1 title vs. 2 on an order for La-La Land Records.

 

One would compare that total cost for both releases at normal place to the two separate orders, one with a base 30% discount before shipping and taxes applied.

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  • 7 months later...

Bit of a shame they didn't have access to more orchestra-only versions of cues, as the electronic elements in this score really are a bit overdone compared to Arnold's other 4 Bond scores. The Gustav Graves entrance cue is so much better in the film without all the electronics. Alas, hard to argue with composer intent (but I'm very glad he stripped it all back for Casino Royale).

 

I'm guessing orchestral versions weren't in the session leak? I can't find any information about its contents.

 

I also remember some ice party source music that used the theme from the DAD song, seemingly missing on this release. Guessing that wasn't composed by Arnold? Or just some licensing trickery because that source used the theme from Madonna's song?

 

 

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The only thing " missing" is the song which I like to play after the pre credits music.

Not a great song but it's BOND, dammitt! ( I do have it on a compilation)

On 3/22/2018 at 4:16 AM, crocodile said:

When you listen to the new complete album it really feels like a much better score. The 2002 album is an abomination.

 

Karol

Yes.

All the best music is from the first part of the film- the best part of the film is the first half also#

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I like Arnold's use of electronics - TND and TWINE have the right balance, but it's completely overdone in DAD.

 

The London parachute scene and the ice palace car chase sound SO much better in the film where the electronics have been removed.

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I agree while also thinking the overdone electronics in DAD are kind of daffy fun while also also being grateful it's the only score he did that way :lol:

 

I've never warmed to his two Craig scores, perhaps just because I've never liked the Craig films.

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8 minutes ago, Anthony said:

I like Arnold's use of electronics - TND and TWINE have the right balance, but it's completely overdone in DAD.

 

Yes

 

8 minutes ago, Anthony said:

The London parachute scene and the ice palace car chase sound SO much better in the film where the electronics have been removed.

 

Yes!!

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8 minutes ago, Disco Stu said:

I've never warmed to his two Craig scores, perhaps just because I've never liked the Craig films.

Meanwhile A Quantum of Solace is the ultimate modern Bond score to me. To me Arnold became better with each new Bond score. Too bad that he didn't continue.

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CR and QoS lack that melodramatic swagger that TND, TWINE and DAD had. I wouldn't have minded if it were only a little hiatus, but it's now been 18 years since we've had any of that.

 

Don't get me wrong, CR is still excellent and the most "intelligent" Bond score.

 

And while I really like Skyfall for being different, Spectre is generic paint-by-numbers music that could fit into any modern day action film.

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3 hours ago, Anthony said:

I like Arnold's use of electronics - TND and TWINE have the right balance, but it's completely overdone in DAD.

 

The London parachute scene and the ice palace car chase sound SO much better in the film where the electronics have been removed.

 

I disagree. 

Arnold saw Die Another Day exactly for what it was, a horribly over the top Bond pastiche. A dramatic approach like the predecessor TWINE would never have worked, so he went all out with the over the top cheekiness, the electronics, and the choir. This never was meant to be taken that serious. 

 

David Arnold doesn't get enough credit for changing the tone of the music for the change to Daniel Craig.

 

Thomas Newman's scoring was just spineless. He didn't have the balls to stand out like you need to in a Bond movie. 

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The impression I get from DAD is that Arnold probably wouldn't have go so overboard with the electronics if he had the choice. If you look at the schizophrenic editing of the film, I sense it was a forced attempt to "be cool", when it really just comes across at over the top (and already, extremely dated).

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13 hours ago, Anthony said:

The impression I get from DAD is that Arnold probably wouldn't have go so overboard with the electronics if he had the choice.

If so, why would there be more electronics on expanded album than in the actual film?

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According to Bulk, Arnold requested the electronic versions of those aforementioned cues be used, despite the film using orchestral-only versions.

 

I just don't understand why the orchestral versions weren't included as bonuses, when they were used in the film (and are so vastly superior). Bulk said the studio offered him 24-track tapes for the score, so it was very possible to get those two orchestral cues from the multi-tracks (while the rest of the score was sourced from Arnold's stereo masters). Such a shame :(

 

It's really my only disappointment with this release. I loved LLL TWINE from start to finish, but listening to DAD in chronology is borderline headache-inducing; the constant electronics are incredibly fatiguing. The score would really breathe if the film assembly had those orchestra-only tracks, with the electronic/disco versions relegated as bonuses.

 

I'm just relieved Arnold bounced back with Casino Royale, one of the best Bond scores of all time, and an absolute joy in chrono form. I hope LLL can licence that someday, after TND.

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15 hours ago, Anthony said:

The impression I get from DAD is that Arnold probably wouldn't have go so overboard with the electronics if he had the choice. If you look at the schizophrenic editing of the film, I sense it was a forced attempt to "be cool", when it really just comes across at over the top (and already, extremely dated).

 

Nah. 

Arnold included electronics everywhere where there was no zoom zoom editing. Laser Fight, Hovercraft Chase, for example, and Gustav Graves Gravitational Grand Entrance didn't have such editing either. 

Plus, Arnold gave an interview around the time the film came out, and said how tiring it was to write like that, because you're essentially writing one piece multiple times. 

He wouldn't have done that, if he truly believed he'd be better without. 

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2021 and people still bellyach about synth.

Imagine the year 1835, France.

Liszt gives a pianoforte recital.

The critics write " That damn pianoforte makes such a racket.

Why can't he play a spinnet or, even better, a harpsichord!"

 

 

 

 

 

 

Screenshot_2020-12-23-11-13-45.png

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People listen to the song?! :blink:

 

20 hours ago, crumbs said:

According to Bulk, Arnold requested the electronic versions of those aforementioned cues be used, despite the film using orchestral-only versions.

 

I asked Neil about this a few years ago and the answer was that (surprisingly), the orchestra-only versions no longer exist.

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31 minutes ago, Anthony said:

I asked Neil about this a few years ago and the answer was that (surprisingly), the orchestra-only versions no longer exist.

 

Hard to comprehend. The studio offered him 24-tracks of the recording sessions; surely those elements would be pre-electronic tampering? After all, the SFX team had to get the orchestral-only versions from somewhere along the chain to use them in the film.

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Wow! I never realized the film versions lack synths.

TBH the action cues, especially in the last part of the film, were pretty pedestrian.

His work in the first half of the film is what's really worth listening to- up thru the fencing match.

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Yes, the first half of the score works very well, but the second half devolves into relentlessly fatiguing noise.

 

And I say that as a huge Arnold fan. But it's really hard to hold someone's attention when every cue has such overzealous use of electronics.

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  • 5 months later...
On 12/24/2020 at 1:43 AM, crumbs said:

Yes, the first half of the score works very well, but the second half devolves into relentlessly fatiguing noise.

 

And I say that as a huge Arnold fan. But it's really hard to hold someone's attention when every cue has such overzealous use of electronics.

The same can be said for the film - relentless. ridiculous action sequences.

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On 12/22/2020 at 4:04 AM, crumbs said:

Bit of a shame they didn't have access to more orchestra-only versions of cues, as the electronic elements in this score really are a bit overdone compared to Arnold's other 4 Bond scores. The Gustav Graves entrance cue is so much better in the film without all the electronics. Alas, hard to argue with composer intent (but I'm very glad he stripped it all back for Casino Royale).

 

I'm guessing orchestral versions weren't in the session leak? I can't find any information about its contents.

 

I also remember some ice party source music that used the theme from the DAD song, seemingly missing on this release. Guessing that wasn't composed by Arnold? Or just some licensing trickery because that source used the theme from Madonna's song?

 

 

That's a late answer, but this is just some shitty remix of Madonna's Die Another Day.

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  • 2 years later...
12 minutes ago, Jay said:

How cool would it be if Neil gets to do Casino Royale and Quantum of Solace too?

 

Yes!

 

Whatever issues were involved with TND clearly got ironed out (presumably related to the Amazon purchase, not EON) but I guess Sony Music becomes a factor with CR and QOS? Would buy both expansions in a heartbeat though.

 

And here's hoping Arnold gets another crack at the series in the near future...

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Oh dip you're right.  CR & QOS are Sony/Sony.

 

TND & TWINE were MGM/UMG, and DAD was MGM/WMG

 

 

Year Title Composer Film Music Expansion
1962 Dr. No Monty Norman MGM/UA UMG  
1963 From Russia With Love John Barry MGM/UA UMG  
1964 Goldfinger John Barry MGM/UA UMG 2003 EMI
1965 Thunderball John Barry MGM/UA UMG 2003 EMI
1967 You Only Live Twice John Barry MGM/UA UMG 2003 EMI
1969 On Her Majesty's Secret Service John Barry MGM/UA UMG 2003 EMI
1971 Diamonds Are Forever John Barry MGM/UA UMG 2003 EMI
1973 Live and Let Die George Martin MGM/UA UMG 2003 EMI
1974 The Man With The Golden Gun John Barry MGM/UA UMG  
1977 The Spy Who Loved Me Marvin Hamlisch MGM/UA UMG  
1979 Moonraker John Barry MGM/UA UMG  
1981 For Your Eyes Only Bill Conti MGM/UA UMG 2003 EMI
1983 Octopussy John Barry MGM/UA UMG  
1985 A View To A Kill John Barry MGM/UA UMG  
1987 The Living Daylights John Barry MGM/UA WMG 1998 Rykodisc
1989 License To Kill Michael Kamen MGM/UA UMG  
1995 GoldenEye Éric Serra MGM/UA WMG  
1997 Tomorrow Never Dies David Arnold MGM/UA UMG 2022 La-La Land
1999 The World Is Not Enough David Arnold MGM/UA UMG 2018 La-La Land
2002 Die Another Day David Arnold MGM/UA WMG 2017 La-La Land
2006 Casino Royale David Arnold Sony SME 2006 Sony
2008 Quantum of Solace David Arnold Sony SME  
2012 Skyfall Thomas Newman Sony SME  
2015 Spectre Thomas Newman Sony UMG  
2021 No Time To Die Hans Zimmer MGM/UA UMG  
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Based on that breakdown of labels, I suspect LLL turned their attention back to the other two titles that got frozen alongside TND.

 

Probably easier to keep that train moving forward than switching tracks to deal with Sony.

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I’d rather have Moonraker, so it’ll probably be Licence to Kill. I wish they’d just throw together a big Barry box set and be done with it!

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42 minutes ago, DangerMotif said:

They did make a deal with Sony for Spider-Man

 

Oh yes but what I was thinking was, look at how many Sony titles the specialty labels do per year these days, compared to how many they do from Paramount or Universal:

 

https://www.jwfan.com/forums/index.php?/topic/35148-film-score-releases-licensed-from-film-studios

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On 23/12/2020 at 12:30 PM, crumbs said:

I'm just relieved Arnold bounced back with Casino Royale, one of the best Bond scores of all time, and an absolute joy in chrono form. I hope LLL can licence that someday, after TND.

 

I disagree.

This is somewhat of a hot take, but I find Casino Royale (the score) in larger parts very aimless and generic.

It already starts with African Rundown, which just pales compared to earlier Arnold openings. The action chase in Venice is just as anonymous and underwhelming as a finale.

I'd be hard pressed to name a chase cue similar to the ones in TND , TWINE or DAD. These moments are short lived, and if such a scene presents itself, Arnold puts percussion and brass stabs to their deaths.

This is one score where the full presentation is grating, and would have benefitted from a Barry like album.

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He had to change his style because the movies required a different approach.

 

In the movie, it's really excellent, perfectly carries the tone IMO. I'm less fond of the discs, but they are played regularly nonetheless. It took me a while to enjoy Quantum of Solace, mostly because of the movie, but also because it's very subtle and discreetly moving the thematic content forward. Really neat score, I love the main theme (and its unofficial song :D).

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On 9/8/2023 at 12:41 AM, Naïve Old Fart said:

QOS is Arnold's best Bond score.

It's probably my second favourite Arnold score.

 

I don't think I'd call QOS "Arnold's best" Bond score, but I do really love it.

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  • 4 months later...

OUR NEW REMASTERED AND EXPANDED 2-CD JAMES BOND TITLES (LIVE AND LET DIE & OCTOPUSSY) ARE SELLING FAST!!!

 

PLACE YOUR PRE-ORDER NOW at www.lalalandrecords.com before the first batch of inventory are sold out! Shipping is scheduled to start on JAN 16.

 

AND… this is your last chance to get our DIE ANOTHER DAY 2-CD SET as the batch we have arriving in stock is the final one. Once it’s gone, this title is out of print!

 

http://secure.campaigner.com/csb/Public/show/4our-2rxda6--15p0mc-ag4f6q5

 

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  • 1 month later...

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