22 replies to this topic

[gkgyver]

Well, with the underwhelming Soundtrack release of DAD and no second volume in sight, it's maybe time to talk a bit about future Bond Soundtracks. Concerning the music as well as the content.

For me, Bonus material is OK unless it doesn't eat up a great deal of possible music.
Also, I would patiently be awaiting a later release of the Soundtrack, if more score would be possible then. Seriously, I'd rather wait some more weeks than getting another Soundtrack as awful as the first edition of Tomorrow Never Dies.
Then the music itself: bring back the really talented boys and girls for the next title song. I think a farely unknown Band or singer would pay more attention to it, unlike more popular stars who, IMO, look at a Bond song just as another trophy on their shelves.
Then the score: Mr Arnold, you're efforts for the last three 007 adventures reach from good to brilliant, but please tune the techno-things down a little bit. Either this or spread them sparingly over the entire score instead of having huge "style-gaps" between various pieces (Iced Inc.).

Well, that's all I have to say; now it's your turn!

[Turn]

Good question. As far as the releases go, the rereleased soundtracks with the bonus material sets the bar pretty high, but considering they released DAD with only part of its score makes it strange. I agree I would wait longer if I could get the best cut of the score available. I don't want extras at the expense of score that include videos or making-of videos or Bond retrospectives of any type. I'm already quite familiar with the history of the series, thank you.

I also agree with the points on David Arnold. Although I think his scores vary in quality, he's the best possible choice for the series. I just wish some of his scores were more memorable than they are. I've been listening to DAD for weeks now and can hardly recall any of them, while I can conjur up a Barry song at will. It worries me when the guy says he gave his all with TND. But I still think he can come up with something equal or better to it with future entries.

[Harmsway]

I gotta agree. The soundtrack releases as of late suck.

And on Arnold himself, he needs to tone down the techno. It destroyed "Laser Fight" and made a mess out of "Iced Inc". Just for future reference, Mr. Arnold, keep it mostly orchestra!

[Blox]

...to answer to your question -- a lot more than they've been delivering lately. The techno thing is tired. For all that it attempts to provide in style, it fails to make up for the lack of melodic substance. As I mentioned in a John Barry thread, there is a cue heard at the end of DAD -- the aerial view of the hut. The arrangement evokes the style of Barry -- but where is the memorable Barry-esque melody to go with it? The Bonds always had memorable thematic cues -- so memorable that its hard to imagine the films without them. The composer for 21 needs to recover the Barry sensibility -- not just as an arranger -- but as a composer. And after all of the moany-groany main titles we've gotten lately, it would be nice if he also recovered some of the sensuality, elegance and sophistication Barry used to engineer into his cues.

B l o x

[Rich Douglas]

I agree with the rest of you.... the techno needs to be toned down.... alot. I want to hear a score like TND, a score that utulizes electronics when and only when the music calls for them. As far as the release itself... I say that the bond fans are actually catered to for once rather than the general public. Forget about all of the "extras" that most of us already own on DVD featurettes or will own when the films DVD is released. I want a full 80 minute score release, no remixes, no videos of the lead singer, just score.. regaurdless of who the composer is. Thats my 2 cents.

Rich

[Dunph]

Well, if Bond fans can be treated to 2-disc deluxe editions of DVDs, then I see no reason why the release of the soundtracks should be any less a much heralded event. I say release as much of the score as is possible, include some really juicy info, (perhaps an insight into how Arnold approaches the score, perhaps even a behind the scenes look into the making of the score on the second disc?).

The publishers need to cater for us Bond music buffs who KNOW our Bond music. Surely they must realise the people who buy Bond soundtracks are collectors? Thus they should cater for collectors.

As to Arnold's style. I say he should become as independent as possible. I don't agree with all this Barry emulating, I'd like him to return to a funk/jazz/swing style for his next outing, with a smaller orchestra perhaps. As he has commented that he has "gone as far as he can" with the current style.

[M_Balje]

The moost of the (internet streaming) futures of the dad score don't work any more on the pc.
Next time there must put al the music what is in the movie on the cd to.
As it is 80 minutes,there must put 80 minutes.

Sign for an dad 2 score..

http://www.petitiono...2/petition.html

[gkgyver]

Maybe it's just me, but I think that no Soundtracks have got more tradition and demand than the 007 ones. So, I really don't understand why they don't pay more attention to them.

If they release such a horrible Soundtrack like TND or DAD, then I want at least an official statement that explains the lack of...well...everything.

And I hope Arnold reduces the techno because I don't want a second M:I 2.

[solitaire]

I expect any Bond soundtrack produced by David (no talent) Arnold to be devoid of any musical innovation,and he never fails to dissapoint me. I would rather hear a toilet flush than listen to any one of his compositions.

[Rich Douglas]

Everyone is definately entitled to his or her opinion I suppose. But after listening in extreme detail to Arnolds music from DAD while recreating some of the unreleased music, I can safely say that his must is alot more in depth than the casual listener will notice. If you drown out the techno and listen carefully to the progression of each section of the orchestra, it's mindblowing. His action music is very well done and even his more low key cues like the previously unreleased "VR training" cue have alot of depth with the orchestra. Arnold really knows counterpoint, and uses it extremely well, he constantly has one section of the orchestra doing something, and another section doing something else, Barry never really did this. Now dont get me wrong, I LOVE Barry's bond scores, but they definately dont have as much going on musically. Barry's style usually consists of alot of Legato or Mercato string work with no other sections doing anything save for the occasional timpini drum and flute section. Then you have Barry scores like Thunderball, which have INCREDIBLE usage of trumpets and french horns. Arnold definately needs to tone the electronics down so that his orchestral work isnt overpowered, but if you listen carefully, you'll hear what I mean, it's amazing whats buried under the wall of techno.

Rich

[gkgyver]

"I would rather hear a toilet flush than listen to any one of his compositions."

That's my thought on the title song, you know. Oh, wait...no, I guess it's not because you can't call DAD a "composition".


"it's amazing whats buried under the wall of techno."

You're so right. Another good example is the Laser Fight. It's a pity that the orchestra gets toned down in favour of the techno beats.
I also think that the Hovercraft Chase piece in the movie suffers from the same problem like the boat chase in TWINE: it's mixed too silently.
That's my only complaint about this cue; David Arnold should have recognised this and replace the electric guitar with a more "twangy" one, since when you're sitting in the theatre, you absolutely can't hear any note of the Bond Theme and that is really, really bad.

[Sick Sense]

Im really hoping to hear Hans Zimmer's work in an upcoming bond film. His music is incredible.......black hawk down, the rock, the peacemaker........and many more. Or Trevor Rabin.....the only work of his that I know is from Enemy of the State.......great soundtrack.

[JackChase007]

I think it was Harry Gregson-Williams (SPY GAME, METAL GEAR SOLID 2: SONS OF LIBERTY) who did the music for ENEMY OF THE STATE...

As for Zimmer, I would have to say no. A lot of people seem to complain about the over-use of techno for the DAD score, and Zimmer seems to love his synthesized sounds. I remember hearing the score to GLADIATOR, and thinking "Gee, that sounds a lot like the music from THE ROCK..." He carries over the same melodies from movie to movie, and that's not the kind of composer we need.

If we really needed to bring in new blood (God forbid - Arnold's doing a fantastic job as it is), bring in newbie Brian Tyler. The man's a real genius - check out his score for CHILDREN OF DUNE.

[Rich Douglas]

Actually it was Gregson - Williams and Rabinwho scored enemy of the state. Trevor Rabin can be a talented composer, but it is Zimmer who came up with the sampling style that he uses. Zimmer could do a great job.. he's really come a long way since scores like Black Rain and Broken Arrow. As far as Brian Tyler... I too think he's a talented composer, but is DEFINATELY NOT Bond material. Then again.. might be interesting to see what he comes up with.

Rich

[JackChase007]

Well, yeah, I think we'd need to see him do more of an action/adventure score.

[Sick Sense]

I love the Metal gear solid themes, all great stuff. and as for zimmer, yes his work so far isn't Bond related, but compare blackhawk down and the rock, very different. He really knows how to make his music work with the films.

[JackChase007]

It's really a shame that Jerry Goldsmith was never given a shot. The man's a genius - it would've been incredible to hear him produce a rendition of the James Bond theme.

[Turn]

Originally posted by JackChase007
It's really a shame that Jerry Goldsmith was never given a shot.  The man's a genius - it would've been incredible to hear him produce a rendition of the James Bond theme.

I totally agree. Besides and probably moreso than Barry, the most versatile and inventive film composer of all time. I particularly like his Planet of the Apes score from '68. I caught the beginning of that film just last night to hear his theme song.

[JackChase007]

I haven't heard that, or seen the movie, but I've been in a big Goldsmith kick lately - been listening to his scores for RAMBO: FIRST BLOOD PART II, TOTAL RECALL, and EXECUTIVE DECISION. I also really love his music from THE 13TH WARRIOR, THE MUMMY, and THE SHADOW.

[Sick Sense]

Id like to hear actual instruments sometime soon, intead of a mixer.......I play an intrument,ad I find it hard to appreciate anything without an actual instrument.....which explains my undying hate for rap/hiphop. hip......hip hop.............hiphopatotamous.

[gkgyver]

Agreed, Sick Sense. I also don't like all these dum-dum-dum pieces. You hear one, you've heard them all. I especially dislike those Heavy Metal pieces where you can't make out a tune at all and just hear undefinable noises and screams.

[Rich Douglas]

Goldsmith's Total Recall and Rambo First Blood Part 2 are definately THE best action scores ever written IMO. He could do a heck of a job on a bond film. I agree with you both gk and sick... but I dont so much have a problem with electronics, as long as they are mixed with a meaningfull instrument or section of an orchestra.

Rich

[JackChase007]

Yes - BACKSEAT DRIVER is the definative Orchestral/Techno mix. It's such a shame too - Arnold is very good at composing fantastic action scenes minus the techno, a la WHITE KNIGHT, which features some of the best action music in the series IMO.