David Arnold's TOMORROW NEVER DIES (1997) - NEW! 2-CD Expanded Edition from La-La Land Records (2022)

[NL197 368]

15 hours ago, Tallguy said:

I ripped the isolated score of Company Car and found it really unsatisfying. Very scene driven (hitting all the punch lines) and not very melodic. Is the extended version of Company Car the film version or is it a third thing?

 

(Kind of like when I ripped the film version of the From Russia with Love titles and found there was a reason the album version was the album version.)

The film version and album version are basically two different edits of the same cue. The album version cuts out those punch lines, while the film version  (as heard on the isolated score) uses them and cuts out other sections. 

So in the end, the extended version of this cue in the main program of this new release is everything in one go, punch lines, melodies and all. The album version on the OST is in the bonuses. The edited film version is not here. 

[Tallguy 3,383]

2 hours ago, NL197 said:

The edited film version is not here. 

 

God bless us, every one!

[A. A. Ron 1,742]

I can live with that.

[Jay 37,346]

Does anybody else have any commentary on this new release?

 

I can't believe my dumb luck that it comes out while I'm away on vacation, and now I'm back and sick with something that's clogged my ears so I can't enjoy music properly. Bah!

[Faleel 5,345]

Haven't been able to sit down with it in full yet. checked out a few cues though.

[Luke Skywalker 1,794]

I listened to it today in the car. Excellent sound.

 

i love how arnold treated this score as it should be when a composer steps in the franchise created by another composer. He uses the james bond theme as if it where his own, he changes it, deconstructs it, uses its rythms, melds it with his own themes, play full renditions…. Not with the usual, “im afraid to step into the shoes of this composer so i subtly hint the original themes or use note by note transcriptions when i want to put the  ONLY full rendition of the theme in the film”….

 

and the love theme and surrender song could have been in a barry film

[mstrox 6,651]

I have it but I gave my spouse all four of my Black Friday purchases (everything but The Burbs) to put under the tree this year.  I’m still listening to Christmas stuff all month anyway.

[MrJosh 892]

1 hour ago, Jay said:

Does anybody else have any commentary on this new release?

 

I'll have more organized thoughts after I give the whole thing a second listen, but my initial thoughts:

 

I love it! It's a phenomenal release of my most wanted non-Williams holy grail. 

 

Sound quality is excellent. So cool to have Backseat Pilot sound perfect (was always hard for me to undo the volume dips on the DVD iso), and with a clean ending. 

 

The full company car is great, the film version of Backseat Driver which has the extra Bond theme insert in there, super cool unheard bits at the start of Printing Press Fight. 

 

It's really cool to have the original versions of White Knight and Backseat Pilot, and so cool to know that these were Arnold's demos. White Knight didn't change much from original to the revised cue, but Backseat Pilot is quite different and also very awesome! Oh and the original version of The Sinking of the Devonshire is pretty different and also really cool. 

 

The Simon Greenway source cues are also really fun. 

 

It's my favorite of Arnold's Bond scores, I think of the 3 Brosnan ones he did, it has the most perfect balance of orchestral to electronic (one foot in the 60s and one foot in the 90s, as Arnold says) in my opinion. I like the other two, but at times the electronic elements get a little "too much" for me and I wish I could turn up the orchestra a bit more. But this one has a perfect balance in my opinion. 

 

So glad to have this one, and I really didn't expect it to happen this year. Great surprise!

[Kusi 16]

Well, I had no time to comment to this release since I received it. I listen to the set regurarly. The "Surrender (alternate)" track is amazing - I love the quiet intro to the song. Also the track "White Knight" is still amazing after all these years. The final tracks "Ha Long Bay", "Boarding The Stealth", "Grenade", "A Tricky Spot For 007", "Stealth Shoot Out", "Carver Gets It", "All In A Day's Work" are amazingly wall to wall scoring with big and entertainy orchestra music..... if I'd continue writing about this score the word "amazing" would appear several more times. I love the classic David Arnold/Nicholas Todd sound. 

[Luke Skywalker 1,794]

Its a shame they stopped hiring him for bond

[Kusi 16]

5 minutes ago, Luke Skywalker said:

Its a shame they stopped hiring him for bond

 

oh yeah. I really hoped for a new endless "Barry"-era. He really did such a good job on composing and feeling the Bond-sound. 

[Tallguy 3,383]

Did they "stop hiring him" or was it just that they hired a director who only worked with one composer? And then they were able to get the current generation's equivalent to John Williams. (As opposed to when Arnold was replaced with actual John Williams.)

 

Obviously it would have been awesome for Arnold to finish the Craig era that he started.

[Jay 37,346]

17 hours ago, MrJosh said:

I'll have more organized thoughts after I give the whole thing a second listen, but my initial thoughts:

 

Thank you for this!

 

I cannot wait to be able to properly enjoy this.  My ears have been clogged for 3 days now

[MrJosh 892]

3 hours ago, Jay said:

 

Thank you for this!

 

I cannot wait to be able to properly enjoy this.  My ears have been clogged for 3 days now

That's not fun at all, I wish you a faster recovery and hope your ears are back to normal in the next couple days!

[Jay 37,346]

I'm sure it's just a cold but it sucks not being able to enjoy new music. If I have something on I've heard a million times while I'm doing something else it's no big deal. But I tried to check out the new Willow album and had to give up and wait

 

I have a new appreciation for people with tinnitus... 

[WampaRat 1,105]

Yea the mixing in this is fantastic. For as loud as this score can get you can pick out every instrumental detail. A tribute to Nicholas Dodds orchestrations.

 

sooo…what are they odds they’ll bring back Arnold to reboot the new bond? Or will they get someone more popular like Goransson? (I could see the later that being a pretty likely scenario)

[Jay 37,346]

Just got diagnosed: it's an ear infection. No wonder I can't hear right! 

[mxsch 115]

On 17/12/2022 at 11:04 PM, Jay said:

Just got diagbised: it's an ear infection. No wonder I can't hear right! 

God, just how you've got it? I hope you will recover as soon as possible. I wish you all the best and it's sad that you've got it when there are so many cool releases around

[IheartMelissaBenoist 34]

On 17/12/2022 at 7:35 AM, Tallguy said:

Did they "stop hiring him" or was it just that they hired a director who only worked with one composer?

 

That was my impression at the time (Sam Mendes = Thomas Newman, apart from 2 films so far). Haven't heard different. 

 

On the flip side, it's also probably unlikely they'd "force" an incoming director to use Arnold. 

On 17/12/2022 at 2:04 PM, Jay said:

Just got diagnosed: it's an ear infection. No wonder I can't hear right! 

 

Oh no! I hate ear infections! I've had several, and will probably have more.  Good luck to you, best wishes for a quick recovery. And that you never get another one.

 

(The question is, however, can you hear left?)

[Jay 37,346]

[Jay 37,346]

If anybody wants to use Arnold's original cue titles, the GEMA database has them all (except the one cue that didn't appear in the final cut)

 

Not 1, not 2, not 3, but FOUR "Gets It" cues!

 

Original	Album
Terrorist Base	White Knight
Mod Squad	White Knight
Missile Launch	White Knight
Blowing Up The Base	White Knight
Dog Fight	Backseat Pilot
Sinking Of The Devonshire	The Sinking Of The Devonshire
Headlines / Eye	The Sinking Of The Devonshire
Encoder	The Sinking Of The Devonshire
Bond To MI6	MI6
Launch The Fleet	Launch The Fleet
Hamburg / Q / Car	Company Car
	You Have A Phone Call, Mr. Bond
Studio Fight	Station Break
Carver And Paris	Carver And Paris
Too Close For Comfort	Paris And Bond
An Appointment With The Doctor	The Last Goodbye
Laboratory Break In	Hamburg Break In
Atrium Chase	Hamburg Break Out
Printing Press Fight	Printing Press Fight
Newspaper / Escape To Hotel	Escape To Hotel
Dr. Kaufman	Doctor Kaufman
Kaufman Gets It	*-3-Send
Backseat Driver	Backseat Driver
Bond In Okinawa	Okinawa
Bond HALO Jump	HALO Jump
Underwater Discovery	Underwater Discovery
Helicopter / Vietnam	Vietnam
Banner Escape	Banner Escape
Bike Chase	Bike Chase
Bike Shop Fight	Bike Shop Fight
Ha Long Bay	Ha Long Bay
Stealth / Capture	Boarding The Stealth
Jam Jar Grenade	Grenade
Gupta Gets It	A Tricky Spot For 007
Stealth Shoot Out	Stealth Shoot Out
Carver Gets It	Carver Gets It
Stamper Gets It / Bond Triumphs	All In A Day’s Work

 

 

"Encoder" is the short cue added to the LLL "Sinking of the Devonshire" track, it's not in the OST/Chapter III track

[KittBash 282]

This has finally arrived! Can't wait to crack into it! 

[OneBuckFilms 319]

I'm revisiting this score today, and it is fantastic. David Arnold's approach to Bond is just sooo good.

 

The perfect evolution of John Barry's style with a feel all of his own.

 

The tension, the swagger, the fantastic themes, and amazing action scoring.

[JNHFan2000 2,957]

Agree. And how cool would it be if Arnold came back for the next Bond film!?!

Just the thought makes me very very happy.

[A. A. Ron 1,742]

I love what Arnold did with this series, but I'm ok with it if he's done. He had a great run. I'd love to hear John Powell's take on it.

[Faleel 5,345]

7 minutes ago, A. A. Ron said:

I love what Arnold did with this series, but I'm ok with it if he's done. He had a great run. I'd love to hear John Powell's take on it.

Powell probably wouldn’t be too keen on the violence.

[Tom Guernsey 2,282]

7 hours ago, A. A. Ron said:

I love what Arnold did with this series, but I'm ok with it if he's done. He had a great run. I'd love to hear John Powell's take on it.

Ditto… but…

 

7 hours ago, Clockwork Angel said:

Powell probably wouldn’t be too keen on the violence.

…probably true.

 

I still vote for Murray Gold but chances are slim.

[Tallguy 3,383]

12 hours ago, A. A. Ron said:

I love what Arnold did with this series, but I'm ok with it if he's done. He had a great run. I'd love to hear John Powell's take on it.

 

Go listen to Bolt.

[Anthony 572]

6 minutes ago, Tallguy said:

 

Go listen to Bolt.

 

Paycheck!

[A. A. Ron 1,742]

Those are both great but the closest he's come to Bond is obviously Agent Cody Banks. Doesn't stop me from dreaming of the real thing though.

[TolkienSS 407]

20 hours ago, Clockwork Angel said:

Powell probably wouldn’t be too keen on the violence.

 

Why? He scored the Bournes too.

[Edmilson 7,432]

Yeah, I never understood this whole "Powell doesn't score violent movies" stuff. He did four Bourne movies, plus United 93, Green Zone, Mr and Mrs Smith... Even his most recent movie Don't Worry Darling is made for adults (specially young adult women who lust for Harry Styles). 

[Anthony 572]

Put this together... if only!

 

 

[Faleel 5,345]

3 hours ago, Edmilson said:

Yeah, I never understood this whole "Powell doesn't score violent movies" stuff. He did four Bourne movies, plus United 93, Green Zone, Mr and Mrs Smith... Even his most recent movie Don't Worry Darling is made for adults (specially young adult women who lust for Harry Styles). 

Just repeating what I believe Powell has said himself: that recently he prefers to avoid scoring films where the protagonist solves all their problems with violence.

 

Note the most recent Bourne was credited to Buckley and Powell instead of Powell only

 

Anyway, got my copy today

[HunterTech 989]

Apparently, Jason Bourne originally was just going to be Buckley only before JP got involved fairly late (which would explain why it doesn't feel particularly inspired).

 

In any case, it's either been speculated or confirmed that the passing of his wife might've been what contributed to him making the shift he did. I guess one can question if he's had a recent change with that, as DWD definitely tackles the more damaging aspects of relationships, but I suppose he saw it more in a psychological sense than specifically being about the violence. Either way, he probably won't be touching any big productions that aren't animation anytime soon, unless he states his intentions to go back to how he was pre the mid-2010s.

[Edmilson 7,432]

55 minutes ago, Clockwork Angel said:

Just repeating what I believe Powell has said himself: that recently he prefers to avoid scoring films where the protagonist solves all their problems with violence.

 

Note the most recent Bourne was credited to Buckley and Powell instead of Powell only

 

Anyway, got my copy today

 

8 minutes ago, HunterTech said:

Apparently, Jason Bourne originally was just going to be Buckley only before JP got involved fairly late (which would explain why it doesn't feel particularly inspired).

 

In any case, it's either been speculated or confirmed that the passing of his wife might've been what contributed to him making the shift he did. I guess one can question if he's had a recent change with that, as DWD definitely tackles the more damaging aspects of relationships, but I suppose he saw it more in a psychological sense than specifically being about the violence. Either way, he probably won't be touching any big productions that aren't animation anytime soon, unless he states his intentions to go back to how he was pre the mid-2010s.

 

This is a little disappointing for me, since I'd love him scoring a major action movie, whether is a Marvel/DC tentpole or another Bond flick. But if that doesn't happen, I'd be happy with him returning to animation (the last one he did came out almost 4 years ago).

[Tallguy 3,383]

Well now I want John Powell to score an animated James Bond movie.

[Jay 37,346]

Producer Neil S. Bulk has answered some questions about this release in the FSM thread

 

1 - Obviously “White Knight” is an album track made for the original score album that combined 4 individual cues - “Terrorist Base”, “Mod Squad”, “Missile Launch”, and “Blowing Up The Base” - together. Your liner notes only mention that “most of” what we hear in “White Knight (Original Version)” was retained for the final film; My ears tell me that only “Terrorist Base” was completely re-recorded, while the other 3 cues are identical between the two tracks, with the exception of 2 extra seconds heard just before the 8 minute mark of the “Original Version” that are not present in the original album track. Is this a tiny edit made for the original score album that you did not not want to restore for the main program (which would have necessitated an “Extended Version” moniker)? Or was there some kind of Insert recorded and edited into the album track at that spot?

That was en edit done for the album. Since "White Knight" is so beloved, I didn't want to alter it even with this tiny addition which isn't in the movie, anyway.

 

2 - Did all the same musicians play on the pre-title demos that also played on the eventual rest of the sessions?

I never saw a musician list.

 

3 - What are the recording dates of this score? The booklet omits this information.

I don't know. I only had DATs and it wasn't clear if those were scoring dates or mixing dates on them, so I didn't want to say anything either way.

 

4 - Why is the bonus track version of “The Sinking Of The Devonshire” labeled “Original Version” instead of “Alternate”? The liner notes only indicate that he demoed the pre-title sequence. Did he have to demo the Devonshire sequence too?

5 - Within this “Original Version” track, only the “Sinking of the Devonshire” cue is different, right? The “Headlines / Eye” cue is identical between the two tracks?

It was not a demo, but it was done so much earlier than the revised it didn't feel like an alternate. Does that make sense? And yes, the ending of this version was used in the film and album.

 

6 - Do you know why different takes of “Paris and Bond” and “Bike Shop Fight” ended up on the OST album and Chapter III album respectively than the takes that went into the film? Was there something specific about the performances in those takes that Arnold liked better, or were both just accidental oversights?

Sometimes different takes are preferred for the album. I don't think it was a mistake. I recall the opening to "Bike Shop Fight" was vocal slated "Album opening."

 

7 - What can you tell us about “The Last Goodbye (Alternate)”? Was it recorded before the version used in the film/album, or after?

Same time. It was something I heard and I thought, "That's different enough to include."

 

8 - What can you tell us about the two different mixes of “Banner Escape”, and why the one labeled “Film Mix” is in the bonus tracks instead of the main program? Is it because the main program version is Arnold’s preferred mix, and the final film used a mix he did not like as much?

I didn't think the film mix was appropriate for the main program. With the violins cutting through everything, they stood out from the rest of the album. Thankfully there was an album mix which was a better blend with the surrounding music.

 

9 - What can you tell us about the never-before-heard alternate opening of “Surrender”? The booklet only mentions that the first take of the orchestral backing is what they eventually used, rejecting later recordings because they lacked the energy that the first take had. But, is this opening here how the song was originally conceived, meaning the opening that we’ve been familiar with for 25 years is a pick-up take that came later? Or, is this alternate opening a later idea which they ultimately scrapped, sticking with their original opening?

I don't know what the plan was for the alternate opening. I heard it and was thrilled we were able to close the album with it.

 

Neil

 

https://filmscoremonthly.com/board/posts.cfm?threadID=149825&forumID=1&archive=0

[Anthony 572]

After finally getting to listen to this, here are my observations - some of which Neil elaborated on above, but I'd written this before I saw that!

 

White Knight (Original Version)

Fascinating if slightly underwhelming. It’s only the first minute or so that’s different. I was hoping for a full 8 minutes, but oh well! And there’s a tiny addition of about half a second toward the end (but this sounds more like something that as deliberately trimmed from the final version). This first minute though - it very much sounds like Arnold is warming up. It’s not quite as polished or slick as the final version. Like it could almost be from a Bond parody cue.
 

Backseat Pilot

The first of many cues that have only been heard in the isolated score track. Given how generally seamless they are, I’m surprised how many little edits to cues there were in the film. It’s going to take some getting used to hearing them in their unedited versions - when these little moments occur, I’m thinking “hey, that isn’t right!”, but of course, it is.

 

Backseat Pilot (Original Version)

Oh boy! This is my favourite new track on the album. It’s what I was hoping for from the original White Knight - a completely different version. This is absolutely top-tier Arnold action music. It’s a little rough around the edges, but I kind of like that. The cue is quite a bit longer than the final version - I wonder what else the original version of the scene contained. And the brass is absolutely wild. This cue has all the swagger and coolness of Bond that Arnold did so well - and no one else has done since. I like this even more than the final version.

 

Surrender (Alternate Version)

Wow - a completely unexpected intro. Downbeat, sorrowful…I assume this would have been a version for the titles. The lead-in seems more fitting here. It reminds me of From Russia With Love. Or the quiet intro to NTTD. And what a song Surrender is! In my opinion this is the best Bond song there’s ever been. The only thing it lacks is a proper ending - it just fades out. If this really was intended as a title song, I assume an ending was written? I've always imagined it may have had a similar ending to TWINE. I've heard Surrender once in a concert, but I can't remember what they did there!

 

The Sinking Of The Devonshire (Extended Version)

The “extended” element is the inclusion of the “Encoder” cue at the end, which is probably the most insignificant cue of the score. I’ll likely keep the original album version of this track to omit this.

 

The Sinking Of The Devonshire (Original Version)

So about 80% of it is different. I'm guessing the bits at the end are actually different cues that weren't revised. It’s not quite as polished as the final version, but I quite like it - similar to the early version of Backseat Pilot, it’s a little wild!

 

MI6 / Launch The Fleet

I’m not normally a fan of cues being joined together like this, but this is done well and I’ll likely keep it like this. Interesting that the drum kit was dialled out of Launch The Fleet in the film. Something else to get used to!

 

Company Car (Extended Version)

The album edit makes total sense, but once I’m used to this longer version, I know I’ll prefer it.

 

Shaken But Not Stirred / It Had To Be You / Adrift

Cool to hear full versions of these cues, although unlikely I’ll give them many listens. Nice bonus to include.

 

You Have A Phone Call, Mr. Bond

Well, well. A completely unheard new cue! In the film, this was replaced with a tracked version of Carver And Paris.

 

Paris And Bond (both versions)

The album version is a bit more in your face, especially with the cymbals. I think I prefer it over the film version.

 

The Last Goodbye (both versions)

Reprises of the Carver theme and the Paris theme. This track feels a little unnecessary given the two previous ones contained bigger and better statements of both. I’ll likely leave this cue off my playlist as I just want to get on with the printing press cues. It’s the only track that I feel really slows the pace.

 

Hamburg Break Out / Printing Press Fight

I honestly forgot that Printing Press Fight was previously unreleased given that in the film these are both shortened and stitched together. I wonder what the scene originally looked like. The gap between the two cues feels a little odd, but it’s something I’ll get used to. There’s some pretty aggressive sounding synth effect toward the end of Printing Press Fight I don’t recall hearing in the film mix.

 

Escape To Hotel

Maybe it’s because I’m so used to how it is in the film, but first two out of three micro edits make more musical sense to me than the “full” version of the cue here. I’ll likely make the edits again so they don't feel jarring.

 

Backseat Driver (Film Version)

My biggest disappointment in all the new material. It’s kind of a mess. It sounds unfinished - like they had to quickly edit it into the film and not enough time was left to mix it properly. I didn’t realise this would be so noticeably different from the album version.

 

The only differences I was expecting was the part where some of the synths briefly drop out (when Bond releases the tyre spikes) and the extra bit of the Bond theme toward the end. But the mix is significantly different.

 

The synths sound “dirtier” and their volume is inconsistent (noticibly quieter after the bazooka moment), there are a bunch of annoying synth “effects” throughout, the orchestra sounds too prominent in the second half, and there’s a bunch of extra reverb in the keyboard and guitar parts which makes them sound rather muddy and lost in the background. It’s so different to the album version that trying to seamlessly combine the two into a best-of-both is extremely difficult. So frustrating. I’ll likely stick the album version in the main program instead.

 

Okinawa / HALO Jump

Two more cues joined together but where it actually sounds like they should be. Okinawa has a longer intro than we were previously aware of. I thought I'd leave these cues out of my own program, but the way they are presented here saves them!

 

Banner Escape (both versions)

Like Pipeline from TWINE and Hovercraft Chase from DAD, I’d be grasping at straws to tell you what’s audibly different between the film and album mixes, so I’ll stick with the album mix! It must have been done for reasons!

 

Bike Shop Fight (both versions)

The difference is in the quieter first third. The film version hurries along to the action a little quicker. In my opinion, the album version is the better of the two.

 

Ha Long Bay

Finally - the correct cue title! The Chapter III release only went and picked a location in the wrong country!

 

Boarding The Stealth

The ambient, sound-designy ending here is a little different and longer than what's on the Chapter III release. Neither are particularly attention grabbing so I’ll just stick with the La La Land version.

 

Stealth Shoot Out

Cool to hear the full mix of this. In the film, the orchestra gets dialled out for part of it and replaced with drum loops.

 

Carver Gets It

And more never-before-heard music here. I always assumed there was some music for Carver’s death, and here it finally is! 

 

My ripped version that I'll keep on my phone will likely end up something like this:

 

01. White Knight
02. Backseat Pilot (Original Version)
03. Surrender (Alternate Version)
04. The Sinking Of The Devonshire (OST/Chapter III version)
05. MI6 / Launch The Fleet
06. Company Car (Extended Version)
08. You Have A Phone Call, Mr. Bond
09. Station Break
10. Paris And Bond (Album Version)
11. Hamburg Break In
12. Hamburg Break Out
13. Printing Press Fight
14. Escape To Hotel
15. Doctor Kaufman
16. *-3-Send
17. Backseat Driver (Album Version)
18. Okinawa / HALO Jump
19. Underwater Discovery
20. Vietnam
21. Banner Escape
22. Bike Chase
23. Bike Shop Fight (Album Version)
24. Ha Long Bay
25. Boarding The Stealth
26. Grenade
27. A Tricky Spot For 007
28. Stealth Shoot Out
29. Carver Gets It
30. All In A Day’s Work
31. Surrender (Album Version)
32. Backseat Pilot (Film Version)
33. Backseat Driver (Film Version)

 

Other than my own expectations being out of kilter with what the film version of Backseat Driver actually was, this is exactly what I hoped this release would be. And the original version of Backseat Pilot is a dream!

 

Was there ever a definitive answer on why we got the Brosnan Arnold scores expanded in reverse order?

[Jay 37,346]

Yes, I love all these little differences in the cues that we had only ever been able to hear before via the isolated score track.  It really shows how a score being lucky enough to get an isolated score track on its DVD or blu is not a reason for a specialty label not to work on it!

 

Banner Escape seems to only really be different in the last 30 seconds or so and I definitely prefer the album mix as well.  I wonder why the filmmakers wanted those violins to be heard better in the final film?

 

I also like the opening of Bike Shop Fight recorded for the album better, too.  I wonder if it was recorded wild (with a purposely slower tempo), while the film take was strict about sync points

[Anthony 572]

Given I had such a reaction to the original version of Backseat Pilot (positive) and the film version of Backseat Driver (negative), what do others think about these versions?

[Jay 37,346]

For Backseat Driver, I think I prefer the film version but my right ear is still so clogged I can't really be a good judge of anything here yet

 

For Backseat Pilot (Dog Fight), oh boy, both are awesome in different ways.  It's not like one is better than the other, they're both great!  I can't wait to hear it properly!

[harryfrishberg 37]

Hey @Jay -- while your ears are still unclogging, I'll throw in my own 2¢ regarding one of the questions you posed to Neil on FSM. And I'm speaking strictly in a theoretical sense, since there's very little information to draw from on this. 

Regarding the alternate opening to Surrender, I believe that it's highly likely this alternate was made once Arnold knew his song would be used as an End Titles piece rather than during the Main Titles. It was perhaps meant to be a more somber and fluid transition from "Bond Triumphs" into the End Credits, specifically over the "In Memory of Albert R. Broccoli" card. I actually mocked this up with video at one point and it flows rather nicely. But in the end, it was jettisoned in favor of the big brassy opening we all know and love. Kind of like the ending of OHMSS -- taking a moment of sad reflection and crashing into that "James Bond" wah-wah trumpet sound... 

Again, this is just my speculation...

So glad you're enjoying the release!! 

[Jay 37,346]

That makes sense

 

So the normal film/album version was recorded on the same day they recorded the pre-title demos and they stuck with it, and an alternate opening was recorded at some point later, but went unused.

 

That makes perfect sense that the initial version was the opening he'd want were it to be the main title song, and the new ending was a response to knowing it'd only be heard in the end credits, and that the credits opened with an in memorium card. 

 

Thanks for this! 

Since K.D. Lang's vocals are different in each opening, I wonder if she came in and did both versions on the same day, or if the new vocals were also recorded later... 

[Valentinice 20]

11 minutes ago, Jay said:

That makes sense

 

So the normal film/album version was recorded on the same day they recorded the pre-title demos and they stuck with it, and an alternate opening was recorded at some point later, but went unused.

Since K.D. Lang's vocals are different in each opening, I wonder if she came in and did both versions on the same day

That makes sense

[Tallguy 3,383]

The Alternate Surrender sounds like You Only Live Twice with a smidgen of Diamonds are Forever. 

[TolkienSS 407]

Tomorrow Never Dies is nothing but a miracle. In all aspects. After the Goldeneye miscalculation, nobody had any right to expect this all time great entry.

I would and will go so far and say that Tomorrow Never Dies the film is on equal grounds with the best of the Bonds, it's the perfect Bond formula placed in a recent timeframe, with a perfect balance of all elements.

David Arnold's score is a godsend. When I heard the opening of the alternate Surrender, I shed a tear, being transported back 40 years in time. I wish Arnold had kept it more orchestral in the rest of the song, because that opening with that voice is legit GOAT.

[thestat 348]

Arnold's score is totally brilliant - White Knight is an amazing kickstarter. His goofy personality (met him at one of the awesome FoFM sessions) is so different from his sheer professionalism and outright excellence in his orchestral work - see anything by him in the 1990s. He was totally at the top of his profession but it is my understanding that descaling his work is a very conscious decision based on industry realities.

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He's said on several occasions that he only wants to work with people he likes and can spend genuinely good time with. 

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Wonder if LLL will pursue Casino Royale and Quantum of Solace expansions next, seeing as both scores still have unreleased cues, possibly alternates, and the previous "expansions" (bonus tracks relegated to the end of a digital release) weren't exactly curated as an album.

 

It's so satisfying completing the Brosnan/Arnold trilogy, but having the quintet of Arnold scores remastered by NSB at LLL would be icing on the cake.

 

I suppose they'd prioritise earlier scores like Moonraker and Licence to Kill, mentioned as being "off the table" a few years back (but judging by TND things have changed!)