Last Bond Soundtrack You Listened To

LTK until July. TWINE from July to Sept, then OHMSS from Oct to Dec.

Excellent. Perhaps I should've started a dedicated thread when I did my LTK review.

"1989-2019: Thirty years of Watching the Birdie, you Bastard"...

Feel free to repost. I'll get mine together at some stage.

I'll get on it soon.

Giving TOMORROW NEVER DIES a listen. I've got some version that's shall we say been added to. Coming after Goldeneye this is a vibrant score. From the very off it's all go in the shape of White Knight. Indeed, it's down the line more or less -if you like action scores -White Knight, Backseat Driver, Tricky Spot for 007, etc or quieter, sometimes romantic tracks- Paris and Bond, The Last Goodbye, Kowloon Bay and so on.

The Bond theme is liberally sprinkled throughout and at times it's quite glorious right down to the more 'traditional' Bond sound when Bond leaps onto the trolley at the newspaper factory.

I think between this and DAD are Arnold's strongest efforts. It's consistent and as I say after GE somewhat on the nose. I do like the brassy sound of Surrender here and there and as I said in my film review, White Knight has it all- accompanying some of the best moments in that PTS (Bond spraying bullets from the jet cockpit, M's snapping at Roebuck...). All the way down to All in a Day's Work which I used to knacker when writing my FF on the old forum. Suitable amount of action then it all comes together when Bond drops to kiss Wai Linn and hell pops off over head.

Seriously gearing up to buy the DAD expanded. Might just be within my price range now.

Hilly KCMG wrote:

I'll get on it soon.

Giving TOMORROW NEVER DIES a listen. I've got some version that's shall we say been added to. Coming after Goldeneye this is a vibrant score. From the very off it's all go in the shape of White Knight. Indeed, it's down the line more or less -if you like action scores -White Knight, Backseat Driver, Tricky Spot for 007, etc or quieter, sometimes romantic tracks- Paris and Bond, The Last Goodbye, Kowloon Bay and so on.

The Bond theme is liberally sprinkled throughout and at times it's quite glorious right down to the more 'traditional' Bond sound when Bond leaps onto the trolley at the newspaper factory.

I think between this and DAD are Arnold's strongest efforts. It's consistent and as I say after GE somewhat on the nose. I do like the brassy sound of Surrender here and there and as I said in my film review, White Knight has it all- accompanying some of the best moments in that PTS (Bond spraying bullets from the jet cockpit, M's snapping at Roebuck...). All the way down to All in a Day's Work which I used to knacker when writing my FF on the old forum. Suitable amount of action then it all comes together when Bond drops to kiss Wai Linn and hell pops off over head.

Seriously gearing up to buy the DAD expanded. Might just be within my price range now.

This post makes me smile. Any love for TND and its score...

I'd love an official release where we get the additional cues such as Bond's trolley escape from Carver's factory (as well as all the party music, Bond's fight with the "backseat driver" in the PTS, etc.) Such a great rendition of the Bond theme. And yes, Surrender is worked in very well throughout.

I'd probably rank Arnold's efforts accordingly:

1. TND
2. TWINE
3. DAD
4. QOS
5. CR.

TWINE outranks DAD for the more romantically classical sound and less emphasis on techno elements, but I do love DAD's score too. I'd aim to get the DAD expanded edition sooner rather than later. I believe there was a limited amount of copies made.

I'd personally have DAD above TWINE but TWINE has its moments. For me DAD has bits like when Bond is about to be shot in the PTS (the way it ramps up), the Ice Palace Car Chase, Whiteout. Can only imagine a fifth Brosnan what it's score would've been like saying Arnold redressed it back for CR and QOS -the whole he's not quite Bond yet but Bond.

For A Brosnan CR, I'd imagine a TWINE-esque score with jazzy tunes akin to "Casino" and tragic undercurrents to the romance like "Torture Queen".





From 1min18secs onwards, this could capture the beautiful tragedy of Vesper more acutely than the sanitised theme of the 06 film, in my opinion.

You reference great moments in DAD. I particularly like A Touch of Frost, Kiss of Life and that little communist cue that pops up throughout.

I dare say those are good choices. Another case of what might have been. The sound of Kiss of Life is one exception of the techno stuff having its moments whereas in certain tracks it seems too much. I find I can tune it out and focus on the orchestral.

Yes, and even better that the Dr No gunbarrel makes an appearance in Kiss of Life, too!

I do quite like this track, which I imagine was intended for Bond's return to London and then Graves' jump. The Bond theme rendition is great and though the techno cutaway in the second half of the track can be jarring, I still rather like it.

I always forget about the Dr No gunbarrel bit. The '20th' track is not bad. The cutaway is jarring but there's enough in it.

Though a so-called unused 'end credits' is basically the Hovercraft Chase track.

There are quite a few unused end credits, actually. One I heard was a jazz-fusion techno track (that might have been for TND, though...)

And then this unused Wheelchair Access cue, which I love.



Sent you a pm, Hilly!

that is a good track...as is, my favourite in a way, Whiteout

"Time to draw the line"



3.25 to 3.45

the bit that told me in 2002, idiot that I was, now Bond was *really* in trouble.

I love the opening of that track. Actually, you commented in another thread about Arnold quoting OHMSS in DAD's score. You can hear it at the beginning of the cue you just posted.

I like the Bond theme rendition at the end. Seeing the timing of the cue made me realise that the most referenced scene in the film lasts about 40 seconds.

40 flipping seconds in a movie that is 120+ minutes long!

Not the biggest crime in Bond cinema. And with Bond using his wits to get out of a sticky situation which really isn't something you get much of these days.

It is shocking, 40secs in a film that long but that's the trouble with life. The miniscule gets blown out of proportion. I always like how Bond has time to set up the trap for the skimobile. Image of him running back and forth getting it right ha

Been musing on Arnold. I think TWINE is the best overall score he did, but TND has the most bombastic cues and is more active where DAD is like a bit of both.

I've had the street shower/looking for Wai Lin cue stuck in my head for days.

I managed to get parts of Hovercraft Chase stuck in my head. This being said, decided to give Skyfall a quick spin tonight. Not all of it -chronologically- from Grand Bazaar through to Komodo Dragon then skipped to Tennyson/Enquiry. Just something about Tennyson and then Enquiry has it all kicking off (Bond theme).

To strive, to seek, and not to yield.

RE: the hovercraft chase, I do too. It's not even my favourite Arnold track but always manages to get caught in my mind.

That's pretty much what I do with the Skyfall soundtrack. Too much of the same between the stand out tracks.

HGTB wrote:

I've had the street shower/looking for Wai Lin cue stuck in my head for days.

Such a great cue. I have to ensure I don't think about it too much to not lessen its impact.

What annoys me about DAD is the techno. It's almost like white noise when I listen. I am not massively irritated but like Ice Palace Car Chase, you have this great bit going and when you focus on the 'background' this techno bit that suddenly stops when Bond's Vanquish goes sailing through the air after he rescues Jinx. Or Hovercraft Chase where it and the Bond Theme compete against SFX. On one hand I guess he's trying to keep it current but on the other, TND didn't need it constantly and yet DAD does for some reason. Wish there were orchestral only tracks available.

Skyfall has some good tracks beside Tennyson -Chimera, Severine, Komodo Dragon and Skyfall (track after Breadcrumbs).

There are some orchestral versions of the cues on the LaLa release on the DAD soundtrack from memory. I similarly wish there was less techno but the fact there are interesting motifs intertwined ensures it still sounds like good-old Bondian music.

I'd add Shanghai Drive to the good tracks of Skyfall list.

Although I admittedly do like the likes of Moby's re-do of the Bond theme and Backseat Driver, overall am not a fan of 'dance' music influences creeping into the soundtracks. It's not a genre I'm overly fond of, and indeed at times out-and-out loathe.

How about Come in 007... from TWINE? Or Caviar Factory?

It can work in spurts but I agree Arnold went a bit overboard and thus his cues get waaay to busy in places. Some of the film mixes tone it down or you notice it less in DAD for example because of the action sequences.

I think there's some good ides in both TWINE and DAD that got buried a bit under the busy technoisms.

Mr. Kiss Kiss Bang Bang wrote:

There are some orchestral versions of the cues on the LaLa release on the DAD soundtrack from memory. I similarly wish there was less techno but the fact there are interesting motifs intertwined ensures it still sounds like good-old Bondian music.

I'd add Shanghai Drive to the good tracks of Skyfall list.

in that case I must get that blasted CD!

As you can probably tell, I had a blast watching A View to a Kill this time round. More than usual. I've boiled it down to two aspects, though certainly not the only enjoyable elements of the film: Stacey, and the music (all encompassing score and theme song). I've had Duran Duran's A View to a Kill stuck in my head for days, and have had to give in at times to popping in the CD and pump it through the car speakers or surround sound. Similarly, Bond Meets Stacey/Wine with Stacey loops in my mind and since I'm listening to the theme song, I may as well give that a listen to. And the action cues. The brassy riff behind the electric guitar soloing in the various action theme renditions (i.e. Snow Job) is some of Barry's most invigorating, yet strangely seductive work. Creatively bankrupt, one may argue in AVTAK (however wrong they'd be), but certainly not maestro Barry.

Nodded in agreement through this Fields, though let's be honest - not-maestro Barry was as good as anyone else at their best. The real crime is that there are parts unreleased that should be by now. Bond and Tibbett to Zorin's manor (similar to a track from Robin & Marian), the shower scene, horse chase, Mayday and Bond in bed and one of my favourites, the fight at Stacey's house (the way the Bond theme sounds towards the end reminiscent of the first half of Thunderball's "Chateau Flight")

as below: fight at Stacey's (two versions of it)





or Stacey kidnapped/Bond hanging by a thread



'Cleaning up'



horse chase



now I've linked these watch them get taken down. I reckon I jinx videos when I do this you know.