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Die Another Day Enhanced, Soundtrack, Import

3 customer reviews

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Frequently Bought Together

Die Another Day + The World is Not Enough + Tomorrow Never Dies: Original Soundtrack [SOUNDTRACK]
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Product details

  • Audio CD (12 Nov. 2002)
  • Number of Discs: 1
  • Format: Enhanced, Soundtrack, Import
  • Label: Wea
  • ASIN: B00006NSFX
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 99,435 in Music (See Top 100 in Music)

1. Die Another Day - Madonna
2. James Bond Theme (Bond Vs. Oakenfold) - Paul Oakenfold
3. On The Beach
4. Hovercraft Chase
5. Some Kind Of Hero?
6. Welcome To Cuba
7. Jinx Jordan
8. Jinx & James
9. A Touch Of Frost
10. Icarus
11. Laser Fight
12. Whiteout
13. Iced Inc.
14. Antonov
15. Going Down Together

Product Description

MADONNA CD-EAN 093624834823

Customer Reviews

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Most Helpful Customer Reviews

8 of 9 people found the following review helpful By "dunphboy007" on 15 Nov. 2002
Format: Audio CD
What can I say? Superb soundtrack, Arnold really has come into his own in this, his third Bond soundtrack. And his new Drum n' Bass sound is killer!
But don't let that put you off, the brass is still dirty, the strings still as piercingly urgent as ever and as mellow as needed, especially during the romance cues. The album opens with Madonna's controversial new theme, not a bad Bond theme admittedly, but the lack of any Bond referencing and strange lyrics add to its negative qualities, even if they are quite endearing. It's a song that will stand out in the Bond Legacy, if maybe not for the right reasons...
Now onto Paul Oakenfold's Bond remix. We had Moby's unrelenting disco hit Re-version back in '97, which gave a new slant to the theme. Does Oakenfold's extend on this?
One word: No. Unfortunately, although the man himself has left his electronic stamp on the theme, it is obviously a basic reworking of Arnold's end credits theme heard in The World Is Enough and has all the punch of a 007 computer game soundtrack. He gives nothing to the theme, essentially, just adds electronics.
Then comes Arnold's shamefully short score (40 minutes out of 100 heard in the film) this is so, Arnold admits, because of the incredibly tight post-production schedule on the film, and he has expressed his interest in releasing a second volume (as seen with Tomorrow Never Dies, a film dogged with the same short post-production time).
The Gunbarrel Theme is easily the best in the series so far, and I say that with all the gravity it deserves. He finally starts with the Bond fanfare, and it suddenly morphs into thumping electronics reminiscent of Serra's GoldenEye Gunbarrel, but the strings and the twangy guitar are still prevalent.
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Format: Audio CD Verified Purchase
The music from this film matches that of John Barry.s early Bond movies and Madonna's theme is memorable. Good value for money,recommennded
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By barry s walden on 18 July 2014
Format: Audio CD Verified Purchase
very good
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 55 reviews
10 of 11 people found the following review helpful
David Arnold Does It Again! 19 Nov. 2002
By Tom - Published on Amazon.com
Format: Audio CD
When Arnold was hired to score 1997's Tomorrow Never Dies, after the abysmal euro-pop score from Eric Serra for GoldenEye, he created a new Bond sound that harkened back to the glory days of John Barry, whilst updating the sound and giving it his own trademark. For Tomorrow Never Dies he created an orchestra heavy score that featured only brief moments of techo, almost solely in the collaboration with the Propellerheads in "Backseat Driver", used in the BMW chase.
Arnold was called back to score the 19th Bond, "The World Is Not Enough". Once again he employed a full "Bond" orchestra, and used a number of more unusual oriental instruments to connect the score to the relevant spot on the world culturally. For The World Is Not Enough, Arnold began to experiment more with electronic techno and advanced spatial mixing. If you have the TWINE album, "Come In 007, You're Time Is Up" and "Submarine" are very good examples of this.
With "Die Another Day", Arnold updates this sound increasingly, and has created a very contempary, if slightly controversial Bond score. The increased use of drum loops, techno and digital sample work very well here, and the Bond sound crashes into the 21st century with style.
The album is headed up by Madonna's single "Die Another Day". Think of this what you will, but it is undeniable that it brings the "Bond ballad" into the new millennium, and is a very catchy tune even as a non-Bond theme.
Second on the disc is Paul Oakenfold's new remix of the James Bond Theme. Oakenfold, who recently scored Sworfish (starring Halle Berry) with composer Christopher Young gives the Bond theme a welcome new "zing". Unlike Moby's 1997 rendition, this tune keeps the Bond theme in its entirety, and is a far more groovy tune, fantastically mixed by Oakenfold.
We are then taken to the score. The first track "On The Beach" will be a joy to hear more Bond fans, as this features the Gunbarrel music often missing from soundtrack albums. It is certainly different, and is very guitar "wah, wah" heavy, like Lalo Schrifrin's Dirty Harry scores. After two minutes of scene setting by this track, we are taken to:
"Hovercraft Chase", which is and immensely exciting piece of Bond score. Undercut by an orchestra going mad, a brilliant techo section, and some very impressive mixing effects, this track pretty much sets the scene for the rest of the album.
"Some Kind Of Hero" is a very echo heavy atmospheric track, and fits the grittier tone of this film well. Once again, the orchestra is ably backed up by the techo section, but fortunately, it is used well and never begins to sound like noise.
"Welcome To Cuba" made my jaw hit the floor when I first heard it. It may seem quite possibly the most un-Bond piece of music ever written, but if you imagine the setting in Cuba, I can imagine it fitting very well. It does sound a little like the "Sex And The City" theme, which can't be bad really.
"Jinx Jordan" and "Jinx & James" are both more mellow pieces, that bring the romantic element of the film together. The themes are a brief welcome break from techno-heaven, and show how talented Arnold is as a composer.
"A Touch Of Frost" is a very good piece. Starting out as what seems like a romantic cue quickly transforms into a heartbeat - like slow techno track, that sounds like it comes from a section where Bond is spying and trying not to get caught.
"Icarus" is a spine-chillingly fantastic track. Arnold employs the use of a choir for the first time in a Bond score since Moonraker (1979). The track is brief but highly evocative, and the choir give it a kind of "Omen-esque" quality that is fantastically chilling.
"Laser Fight" is another expertly crafted track. A non techno section builds up suspense for a minute or so, and then explodes into a synth of techno batteries and orchestral swells. The pace is kept constantly till the track ends at 4:35.
"Whiteout" is yet another great techno track. The sample kicks up from the outset, and the horn and bass section of the orchestra really flexes its muscles. The piece harkens back to "Hovercraft Chase", and I can imagine it sounding fanstastic in the film. The track also brings back the choir to amazing effect against the techno loops.
"Iced Inc." is a more drum 'n bass orientated track. The horn section of the orchestra once again is out in full force, as some very bassy techno sample handles the pace of the track. Listen for similarities from the horn section to "Tomorrow Never Dies" track "White Knight".
Finally, after this excitement, we are taken to the penultimate track, "Antonov". At almost 12 minutes in length, it covers almost the entire ending. The effective four barred piano sample from "Pipeline" in The World Is Not Enough is used again, and despite many reviews have cited this as Arnold ripping himself off, it brings back musical continuity and works very well against the more subdued techo section. The track flips alternatively between techno and orchestra, and then combines the two, in a great pattern that slightly mimics "Submarine" in The World Is Not Enough.
For the obvious 'Bond getting the girl at the end' scene, Arnold uses Jinx's theme from earlier to create a fun and soft track that closes the film nicely. Once again, there are thematic hints from The World Is Not Enough's final track "Christmas In Turkey" ... all good stuff!
Arnold has proved himself a very capable composer, and has given the Bond franchise new life musically, and perhaps you will find this score too techno heavy, but Bond must change with the times, as must the score.
One minor complaint is Warner Bros release. Including only about 45 minutes score from the reported 106 minutes that Arnold wrote for Die Another Day, it seems a slight shame WB coulnd't have discarded the "added bonus material - which belongs on the DVD really" on the disc and given us more score. Surely the purpose of a soundtrack is just that, the music from the film. Chapter III records released the updated Tomorrow Never Dies score in 1999, and hopefully a similar effort will be made with the remaining score from the film as soon as possible!
Well done David Arnold, look forward to Bond 21!
10 of 13 people found the following review helpful
Musically definitely a new Bond! 12 Nov. 2002
By G. Kroener - Published on Amazon.com
Format: Audio CD Verified Purchase
Finally here it is! First of all, if you didn't like TWINE, then you'll probably hate this one. It's much more electronical than previous Bond scores and also contains techno rythms. It's also one of the few Bond scores that has a very dramatic chorus, which works brilliantly with all the action tracks.
The score definitely DOES contain the James Bond Theme. And not only that: when I listened to this for the first time, I instantly recognized tributes to From Russia With Love, Thunderball, You Only Live Twice, Moonraker, Tomorrow Never Dies and The World Is Not Enough. Some people may say that it's just a rip- off, but it's definitely not! It's so brilliantly mixed that you barely notice! The best track and probably one of the best chase music ever written without a doubt is Hovercraft Chase. Fast music combined with an excellent interpretation of the James Bond Theme.
The gunbarrel music goes back to the Barry- style gunbarrel mixed with a drum loop. Also, the score contains much more cues of the Bond theme than what's labelled on the cover.
A weak point of this soundtrack is that there's no real theme on it, there are only cues. With Madonna's title song obviously unsuitable for adapting into a score, composer David Arnold had to try something different and it works out brilliant at the end.
Now that I finally have this excellent score, I really wish MGM had dropped some of the nice, but useless bonus material in favour of more music. This album gives us only about 40 out of 100 minutes pure score.
Nevertheless, this soundtrack is absolutely brilliant!
10 of 13 people found the following review helpful
With this CD, you'll need to BUY Another Day 13 Nov. 2002
By Mr. Thomas R. Stroud - Published on Amazon.com
Format: Audio CD
This review is for about the CD content rather than David Arnold's score. The score definitely moves more electronic than TWINE, but it still sounds great and Track 3, which features the gunbarrel music, blew me away on the first listening. You'll want to play many tracks loud. As of this writing, I have not seen the film, but the music stands up on its own. Well done, Mr. Arnold.
The CD itself, alas, is lacking. Oh, its fine if you're a Madonna fan and buy a CD soundtrack for enhanced features that CD-Rom technology offers, but isn't the soundtrack supposed to be just that? The CD itself is an even 55 minutes. David Arnold wrote 100 minutes of score for the film, of which 45 minutes are captured on this CD. The title song runs 4+ minutes and then the 4+ minute Paul Oakenfield remix. Sounds great, but to my knowledge is not in the film so why use the space. The CD-Rom extras are the space hogs here. Bond and soundtrack aficianados would have much preferred an 80 minute CD with 1 song and more score. I know I would have.
Anyone have a release date on Volume 2?
2 of 2 people found the following review helpful
Shaken not stirred... 26 Nov. 2002
By Chris Busch - Published on Amazon.com
Format: Audio CD
Die Another Day does show that David Arnold is more than apt to deliver good Bond scores, although, I was a bit disheartened of the predominately electronic sounds which seem to be overtaking the majority of action films. The new soundtrack is more of an electronic tribute to Bond composer John Barry, with subtle cues from previous films past & present. The fact that this is the 20th Bond film, in addition to the 40th anniversary, makes this not only neccesary, but obligatory. It's not completely original, but refreshing to hear snippets of "From Russia w/ Love" or "Tomorrow Never Dies" interlaced with a good drum loop. The album packs punch, but does have a very Shaken...not Stirred approach. At times, tracks like Iced, Inc. are rivetting, but almost a conundrum of electric pops and whizzes. Overall, not Arnold's best work, but worth checking out to Bond fans out there. My only valid complaint, is the inclusion of Paul Oakenfold's Bond theme remix. I felt this was a sort of ham-fisted approach to spice the soundtrack up, but only falls short. Particularly, when everyone with AcidPro and a mixing board are doing the same thing. Personally, I was more impressed with Moby's Bond remix from "Tomorrow Never Dies." Or, if you're truly loyal, try to track down Parodi Fair's Goldeneye Bond theme remix from the 1995 movie trailer (you'll probably have to scour the internet). Thanks to David Arnold, and to "the man" John Barry for their great interpretations.
2 of 2 people found the following review helpful
Good, but not best 27 Dec. 2002
By "capt_hawkeye_pierce" - Published on Amazon.com
Format: Audio CD
Firstly, Madonna's theme to the movie is a travesty. It leaves David Arnold with no melodic theme to work around whatsoever. That being so, what Arnold has done with the score it excellent, but does not surpass his work on Tomorrow Never Dies.
Die Another Die (DAD) is more heavily infused with Drum n Bass beats that were first seen in The World Is Not Enough, and it gives incredible pace to the movie. It also makes for great driving music. DAD subtlely alludes to past bond themes; The long chromatic notes in 'Whiteout' reminiscent of OHMSS are enough to bring a tear to any bond fan's eye. DAD also sees a return of Arnold's choir that was strangely absent in TWINE.
However, the soundtrack is too short and Oakenfold's "remix" is nothing more than the Bond theme with a drum beat stuck in the background - and not a particularly imaginative one at that. I would have liked to have seen The Clash's 'London Calling' included. Admittedly it would have been out of place, but no more so than Scott Walker's 'Only myself to blame' in TWINE.
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