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<blockquote data-quote="Mel O&amp;#039;Drama" data-source="post: 313266" data-attributes="member: 23">This is a score I don&#039;t own, and I just had a listen to refresh myself.At risk of doing a &quot;he didn&#039;t have the range&quot; of my own, this is hands down my least-favourite Bond score. It&#039;s just too dance remix sounding for my taste, and I find it fatiguing. Most importantly it also doesn&#039;t have the class I&#039;d associate with Bond. To me there&#039;s a kind of synthetic artifice to many of the tracks.That said, it&#039;s pretty bold and also very of its time which has a certain charm.&nbsp; I can understand why people who like this one might really like it.I suppose the powers that be were minded to update the sound of the Bond scores around this time, which is why David Arnold&#039;s Shaken And Stirred project was so timely, since he got the next film off the back of that.
[MEDIA=youtube]SKTser9R_9s[/MEDIA]This might sound contradictory considering my aversion to Eric Serra&#039;s GoldenEye music, but I actually love David Arnold as a Bond composer/arranger. I think he did a great job of updating the sound and introducing a new dynamic energy while still keeping it feeling perfectly Bond (a minor spoiler: Tomorrow Never Dies is one of my favourite Bond scores and also yielded what I view as the greatest title song injustice in Bond history).I think it&#039;s the same for me, but it has a comfortable familiarity and to me it&#039;s still unmistakably a Bond song so whatever Bono and The Edge did was pretty blooming clever.</blockquote>

[QUOTE="Mel O'Drama, post: 313266, member: 23"] This is a score I don't own, and I just had a listen to refresh myself. At risk of doing a "he didn't have the range" of my own, this is hands down my least-favourite Bond score. It's just too dance remix sounding for my taste, and I find it fatiguing. Most importantly it also doesn't have the class I'd associate with Bond. To me there's a kind of synthetic artifice to many of the tracks. That said, it's pretty bold and also very of its time which has a certain charm. I can understand why people who like this one might [U][I]really[/I][/U] like it. I suppose the powers that be were minded to update the sound of the Bond scores around this time, which is why David Arnold's [I]Shaken And Stirred[/I] project was so timely, since he got the next film off the back of that. [CENTER] [MEDIA=youtube]SKTser9R_9s[/MEDIA][/CENTER] This might sound contradictory considering my aversion to Eric Serra's [I]GoldenEye[/I] music, but I actually love David Arnold as a Bond composer/arranger. I think he did a great job of updating the sound and introducing a new dynamic energy while still keeping it feeling perfectly Bond (a minor spoiler: [I]Tomorrow Never Dies [/I]is one of my favourite Bond scores and also yielded what I view as the greatest title song injustice in Bond history). I [I]think[/I] it's the same for me, but it has a comfortable familiarity and to me it's still unmistakably a Bond song so whatever Bono and The Edge did was pretty blooming clever. [/QUOTE]

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