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

[Naïve Old Fart 9,489]

11 minutes ago, WampaRat said:

Just snagged this and Amistad as a  Christmas present for myself!

Kudos, dude.

This year, the best I can manage, is a tin of Quality Street 

[MrJosh 892]

Really trying not to listen to samples and just bask in the glory once I get mine in the mail......

[KittBash 282]

WOW listening to those samples makes the iso score from the DVD sound like it was playing underwater all of these years... CANNOT WAIT to dig into this one! 

[Anthony 572]

Plus it's now clearly obvious that in "Carver Gets It", they left a sound effect in the iso score track by accident. I always assumed that was the case, but it was so well timed that part of me was like "...perhaps it's part of the score?".

[KittBash 282]

28 minutes ago, Anthony said:

Plus it's now clearly obvious that in "Carver Gets It", they left a sound effect in the iso score track by accident. I always assumed that was the case, but it was so well timed that part of me was like "...perhaps it's part of the score?".

 

I know it's going to take me years not to hear that "screach" sound in my head! 

[Anthony 572]

It's one of the shells from the naval guns if I recall correctly.

[Bryant Burnette 654]

12 hours ago, Richard Penna said:

I've got Fatal Weakness, Dish Out Of Water and Run, Shoot, And Jump.

 

The rest of the score.... eh, it's fine. Those who insist Bond should have a Barry/Arnold sound 'or else' should just go listen to their many scores instead and stop whining.

 

No.

[Cameron007 43]

On 29/11/2022 at 3:06 PM, Anthony said:

Plus it's now clearly obvious that in "Carver Gets It", they left a sound effect in the iso score track by accident. I always assumed that was the case, but it was so well timed that part of me was like "...perhaps it's part of the score?".

 

And it sounds like there's some unused music after Carver gets the jump on Bond.

 

Also, it's not a David Arnold score unless somebody or something "gets it" by the end.

[Docteur Qui 1,544]

Bought this without hesitation, which is saying something as my last physical music purchase was probably the Harry Potter set. What an absolute treat! 

[MrJosh 892]

25 minutes ago, Cameron007 said:

 

And it sounds like there's some unused music after Carver gets the jump on Bond.

 

Also, it's not a David Arnold score unless somebody or something "gets it" by the end.

Haven't listened to the clips, but I do recall thinking it sounded like there were some cuts or something odd in the iso score of that cue, so I was guessing there might be some unreleased/ unused music there. Cool!

[Anthony 572]

52 minutes ago, Cameron007 said:

Also, it's not a David Arnold score unless somebody or something "gets it" by the end.

 

But it's also been 20 years since anybody or anything has gotten it. 

 

Carver Gets It

 

Tanker Gets It

The Boat Gets It

The Garden Gets It

 

Sub Gets It

 

Peoples Gets It

Walter Gets It

 

Antonov Gets It

Moneypenny Gets It

[scallenger 481]

I don't gets it.

[MrJosh 892]

4 hours ago, Anthony said:

 

But it's also been 20 years since anybody or anything has gotten it. 

 

Carver Gets It

 

Tanker Gets It

The Boat Gets It

The Garden Gets It

 

Sub Gets It

 

Peoples Gets It

Walter Gets It

 

Antonov Gets It

Moneypenny Gets It

I'm surprised there weren't any 'gets it' in ID4....there's a plethora of opportunity:

 

Satellite Gets It

The Wrong Field Gets It

AWAC Gets It

Welcome Wagon Gets It

New York/D.C./LA Gets It

Jimmy Gets It

El Toro Gets It

Slimey Gets It

The First Lady Gets It

Mothership Gets It

 

 

[Anthony 572]

 

"The Bitch Got It"

[OneBuckFilms 319]

We’ll I got it today in the mail.

 

Im curious to know whether it is the same mix as the movie for the two songs.

 

They sound great regardless.

[Naïve Old Fart 9,489]

On 01/12/2022 at 8:45 AM, Anthony said:

 

"The Bitch Got It"

More than any other scene in CASINO ROYALE, this one sends me apoplectic.

Keep your arms straight, move your hands down about two inches, and when you go to give her breaths, open... the fucking... airway!!!

[WampaRat 1,105]

56 minutes ago, Naïve Old Fart said:

More than any other scene in CASINO ROYALE, this one sends me apoplectic.

Keep your arms straight, move your hands down about two inches, and when you go to give her breaths, open... the fucking... airway!!!

It’s true. With all the special and practical effects at their disposal, I have yet to see a convincing CPR scene in a Hollywood movie. 
(They often devolve into just slapping or beating the crap out of an unconscious person for dramatic effect🙄)

[Tallguy 3,359]

3 hours ago, WampaRat said:

It’s true. With all the special and practical effects at their disposal, I have yet to see a convincing CPR scene in a Hollywood movie. 
(They often devolve into just slapping or beating the crap out of an unconscious person for dramatic effect🙄)

 

But... The Abyss!

 

Sorry, I couldn't hold a straight face.

[Tom Guernsey 2,277]

5 hours ago, WampaRat said:

It’s true. With all the special and practical effects at their disposal, I have yet to see a convincing CPR scene in a Hollywood movie. 
(They often devolve into just slapping or beating the crap out of an unconscious person for dramatic effect🙄)

Isn’t a key issue that properly done CPR is actually quite brutal and beaks ribs so would therefore be difficult to by accurately simulated by actors? However I agree that adding some level of realism wouldn’t be difficult especially given that movie sets have, you know, emergency medical personnel on hand.

[WampaRat 1,105]

Oh yeah. They have to crack ribs for it to be effective. But I’m sure there’s some visual trick they could use to make it look a bit more realistic. They could always go the “full prosthetic chest” route ala Iron Man. I’m sure that would be cost effective 😉

 

 

 

[crocodile 7,978]

Just imagine that. Sounds of cracking bones in Atmos.

 

Karol

[Brundlefly 2,385]

On 04/12/2022 at 3:05 PM, Naïve Old Fart said:

More than any other scene in CASINO ROYALE, this one sends me apoplectic.

Keep your arms straight, move your hands down about two inches, and when you go to give her breaths, open... the fucking... airway!!!

It's never accurate - if it was, the actors would risk to get their rips broken. I cannot unsee it anymore.

[WampaRat 1,105]

My copy of TND arrived today. I swapped the Sheryl Crowe song for the Alternate version of “Surrender” to play after “White Knight” and “Backseat Pilot” and its *chefs kiss*. Such a great way to announce Arnold’s main theme in full after being teased with it in “white knight”. You’re really able to identify all its iterations throughout the rest of the score’s narrative. And then close the main program with the film version of “Surrender”. Nice big ole’ reprisal that sends the whole adventure off with a bang!

[Tallguy 3,359]

I think the prominent statements of Surrender (e.g. White Knight, Backseat Driver, Kowloon Bay) are the most thrilling statements of a Bond theme in the whole series.

[Richard Penna 3,665]

Does anyone know to what extent the DVD's isolated score was carried across to the Blu-ray? I see it listed on some review sites but wondered if anyone in the UK has it.

 

I'd rather like to revisit film and be able to focus on the music - could tempt me into enjoying enough of the score to buy this.

[Alan 689]

2 minutes ago, Richard Penna said:

Does anyone know to what extent the DVD's isolated score was carried across to the Blu-ray? I see it listed on some review sites but wondered if anyone in the UK has it.

 

I'd rather like to revisit film and be able to focus on the music - could tempt me into enjoying enough of the score to buy this.

 

It's definitely included on the 50th anniversary Blu-ray boxset. Think it's listed under the languages option rather than extras though

[NL197 368]

4 hours ago, Alan said:

 

It's definitely included on the 50th anniversary Blu-ray boxset. Think it's listed under the languages option rather than extras though

 

The odd thing is the DVD isolated score is 5.1 on the UK release of the film, but stereo on the US version. I don't know what mix appeared on the Blu-ray in the UK, but the same stereo (but 'upgraded' to 224kbps Dolby Digital over the DVD's 192kbps) was included on the US Blu-ray. 

[WampaRat 1,105]

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 

I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 

Toss out those old boots and iso score rips. Nobody does it better than Lala Land

 

(Now onto Amistad. Talk about a tonal shift 😁)

[blondheim 1,157]

8 minutes ago, WampaRat said:

Just finished my first complete listen to this new set. I’d only ever listened to the Chapter III release and while I feel that edition is still a great summation of the score, this release knocks it out of the park. What a tremendous love letter to the Bond scores of the past mixed with the expectations of 90s blockbuster scoring. Arnold really attacked this as if he’d never score another Bond film again. The Monty Norman theme is flashed all over the place yet never becomes tiresome due to Arnold’s skillful adaptations and iterations. 
 

I mentioned earlier my preference for including the alternate version of “Surrender” instead of the Sheryl Crowe song. Still the best way to go in my opinion. Sometimes I find beefy action scores like this can outstay their welcome after 70mins.  But this one knows just when to lay into the bombast and when to pull it back and have a breather. (The Okinawa/Halo cue is the perfect connecting tissue between “Backseat Driver” and “Underwater Discovery”. A tonal jump I always found jarring on the Chapter 3 release) There’s always something interesting occurring with the orchestration that keeps you hooked. Percussion, gorgeous woodwind solos. Even the 20 minute action packed climax beginning with “Boarding The Stealth” all the way to “All in a Days Work” is sprinkled with appropriate moments of rest before it boils over into another whirlwind of Bond Bravado. 
 

Toss out those old boots and iso score rips. Nobody does it better than Lala Land

 

(Now onto Amistad. Talk about a tonal shift 😁)

My jealousy knows no boundaries.

 

I resent and hate you in this moment.

[WampaRat 1,105]

[Kusi 16]

48 minutes ago, blondheim said:

My jealousy knows no boundaries.

 

I resent and hate you in this moment.

 

 same here... besides of ID4 Tomorrow Never Dies is my favorite score by David Arnold. Loved it!!!!! Can't wait till the delivery arrives in Switzerland  

[LSH 968]

Mine's arriving next week. Cannot wait.

[mxsch 115]

There is so much leitmotifs it's bonkers.

Main theme, From Russia With Love, Surrender, love theme for Paris, Kaufman, Goldeneye-like motif in the White Knight which reappears in the Grenade, NATO, Vietnam, all ship things have it's own motif including sinking (The Sinking of the Devonshire is heavily connected with the all final stuff), villain motif which reappears in the TWINE, Harpoon missile almost exploding/ship self-destructing ostinato in the White Knight/Carver Gets It, three-note "Danger" ostinato which featured in all Arnold-scored movies except Quantum, damn

[A. A. Ron 1,736]

I rather dig the Simon Greenaway source pieces.

[Faleel 5,326]

22 hours ago, WampaRat said:

My copy of TND arrived today. I swapped the Sheryl Crowe song for the Alternate version of “Surrender” to play after “White Knight” and “Backseat Pilot” and its *chefs kiss*. Such a great way to announce Arnold’s main theme in full after being teased with it in “white knight”. You’re really able to identify all its iterations throughout the rest of the score’s narrative. And then close the main program with the film version of “Surrender”.

I personally feel it would be better to have them the other way around, Surrender alternate at the end, the other version at the beginning.

[mstrox 6,637]

Seems like I’m the only person in the world who likes the film song much better than Surrender.  It fits much more with the tradition of the Bassey songs before it, but not with the modern style of the Brosnan Bonds.  Sounds like a throwback track.

[Faleel 5,326]

Crow song sucks tho. Vocal is kinda weak, verses and chorus have no sauce, only intro is of interest.

[WampaRat 1,105]

1 hour ago, Clockwork Angel said:

I personally feel it would be better to have them the other way around, Surrender alternate at the end, the other version at the beginning.

For me, after the bombast of the two opening tracks, it’s a nice little tonal break to have the more quiet opening of the alternate that later explodes with the brass. Just my preference.  Both are amazing though. I’m starting to like it a tad more than The World Is Not Enough by Garbage. I liked that one a lot!

[blondheim 1,157]

Bond sounded more authentic with Barry, surely, but he never sounded cooler than when he was with David Arnold.

[MedigoScan 324]

5 hours ago, mstrox said:

Seems like I’m the only person in the world who likes the film song much better than Surrender.  It fits much more with the tradition of the Bassey songs before it, but not with the modern style of the Brosnan Bonds.  Sounds like a throwback track.

Hey I voiced a similar sentiment just a week ago!

[Bryant Burnette 654]

6 hours ago, mstrox said:

Seems like I’m the only person in the world who likes the film song much better than Surrender.  It fits much more with the tradition of the Bassey songs before it, but not with the modern style of the Brosnan Bonds.  Sounds like a throwback track.

 

Sounds like an attempt at a throwback track.  "Surrender" sounds like the real deal.  I like the former; I love the latter.

[Tallguy 3,359]

1 hour ago, MedigoScan said:

Hey I voiced a similar sentiment just a week ago!

 

Now there are TWO of them!

 

5 minutes ago, Bryant Burnette said:

 

Sounds like an attempt at a throwback track.  "Surrender" sounds like the real deal.  I like the former; I love the latter.

 

TND sounds like Perry Mason.

[GerateWohl 4,321]

Anyway, it is great that the songs are included. I actually hate it, when bast... people like Chris Cornell or Adel prevent the songs from being published with the soundtrack album. Especially for Casino Royale where the song is all over the place in the score.

[mstrox 6,637]

I suspect it’s not the artists themselves but their record companies and their multi-million dollar contracts.  Adele was a Columbia artist during Skyfall and the OST was released by Sony Classical.  The two labels probably couldn’t come to terms with each other regarding profit share from the album, and as a result the album was only Sony Classical and the single was released by XL/Columbia.

 

Similarly, “You Know My Name” was released by Interscope as was “No Time To Die” with not a penny to Sony.  Ditto Sam Smith on Capitol Records.
 

On the other side, Jack White was releasing music on his own label at the time and Alicia Keys was already a Sony artist on J Records, so I’m sure the negotiations were fairly easy for Quantum of Solace.

 

[GerateWohl 4,321]

But I remember an interview with Chris Cornell where he explicitly said, he didn't want the song to be published on the soundtrack album, but He wanted to "keep it to himself" how he put it.

[A. A. Ron 1,736]

Damn, the film take of Backseat Driver is great!

[Richard Penna 3,665]

21 minutes ago, GerateWohl said:

But I remember an interview with Chris Cornell where he explicitly said, he didn't want the song to be published on the soundtrack album, but He wanted to "keep it to himself" how he put it.

 

You'd think most artists would be grateful for the chance of exposure - I'd sure as hell never heard of him apart from Bond. Keeping your song off the official album is - in my humble opinion, a really dumb way of responding to the opportunity.

 

1 hour ago, mstrox said:

I suspect it’s not the artists themselves but their record companies and their multi-million dollar contracts.  Adele was a Columbia artist during Skyfall and the OST was released by Sony Classical.  The two labels probably couldn’t come to terms with each other regarding profit share from the album, and as a result the album was only Sony Classical and the single was released by XL/Columbia.

 

The problem with that is that consumers don't give a monkey's which label some artist is signed to or which studio happens to be in charge of a franchise this week. All they (and we) notice is... where the hell's the song?

 

Didn't the Spidey deal a while back end up with Marvel having the rights for free, because the IP owners decided that having Spidey in their movie was enough promotion?

 

I've bought entire albums and even become a fan of artists just from hearing one single song included on some album. Strikes me that these companies think far too much about raw $$ and not enough about sheer exposure of their artist. (diplomatic way of saying their marketing people are idiots)

[OneBuckFilms 319]

I would hope in this case that including the song in the score would served to cement "You Know My Name" in it's rightful place in the James Bond musical canon.

[Disco Stu 15,495]

28 minutes ago, Richard Penna said:

I'd sure as hell never heard of him apart from Bond.

 

To be fair, I think this might say more about your music tastes than his relative fame.  Between Soundgarden and Audioslave, Cornell was very very popular and well-known by the mid 2000s.

 

(this doesn't mean I don't agree it was dumb to keep the song off the OST, which it was)

[Tallguy 3,359]

Yeah, in my last lingering moments of knowing current music I was pretty excited that Garbage was going to do TWINE. But I had some older friends who were saying "What the hell is this Garbage? Haw haw haw."

 

But yeah. Some things that people should just "know". If you do a Bond song put it on the record. If you're going to be Doctor Who show up for the anniversaries. I'm sure there's another one, but those are my big two.

 

Back to Bond: If you do a Bond song let the composer write it or at least collaborate on it so it will be in the rest of the score. What was the first song not in the score? License to Kill?