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4.4 out of 5 stars18
4.4 out of 5 stars
Format: Audio CD|Change
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on 29 November 1999
Most Bond fans eagerly await the film's soundtrack as much as they do the movie itself. And David Arnold's latest contribution does little to disappoint. I've had the soundtrack in my hands ever since attending the movie's Hollywood premiere - and celebrity party - earlier in the month, and I've had to beat friends off with a stick wanting to borrow it. Garbage have easily eclipsed the limp Sheryl Crowe effort from Tomorrow Never Dies last time around. It may not be the best Bond theme tune of all time, but there's some awful tough competition from years past. Arnold has paid tuneful homage to John Barry's previous contributions to the Bond franchaise in some beautiful orchestral arrangements, such as 'Elektra's Theme', 'Christmas in Turkey' and the jazzy 'Casino'. But its his high-octane tracks that really get the pulse racing, in the best Bond traditon. Without a shaddow of a doubt, 'Come in 007, Your Time is Up', and the 'Caviar Factory'are the best on the album. As stand alone arrangements they more than satisfy, but matched with the movie, they excel. Some purists may bemoan the 'techno' drum beats, but if Bond is to be taken into the 21st century, then this is the way to do it - and we could have no one better at the helm than Arnold. At times he can even sound like John Williams, particularly in the penultimate 'Submarine', which pounds away relentlessly. All in all, it's a great soundtrack that is more than enough for us as well as 007.
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on 25 January 2016
Excellent service and product.
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on 29 September 2015
This CD is very good
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on 16 March 2014
Another Bond goody!
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on 31 January 2016
Not really mybthing
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on 27 February 2000
David Arnold's excellent score to "Tomorrow Never Dies" proved he indeed does have the talent to succeed John Barry in the proper John Barry style of James Bond scoring. However, predictably, he falls short by not using the Barry/Bond formula on this one. While "The World Is Not Enough" is a fine song and a Bondish one at that-- especially with the wise decision to use Don Black's lyrics-- the rest of the score is mostly just noise. Barry was noted for MELODIES. Sorry, Arnold, loud noises are just NOT enough. (and weak singers don't help either) He would do well to go back to following Barry's style in scoring these films. Innovate, yes (Barry was at his best at innovative orchestrations). But remember the BONDISH melodies. Make it suspenseful, haunting, exciting... Otherwise the music of John Barry will continue to be sorely missed.
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on 17 September 2014
Great
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on 15 December 2015
good
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