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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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