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Comments about the soundtrack for Die Another Day (David Arnold)

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Bond is upgrading and so is the music..were my expectations too low?
• Posted by: greg   <Send E-Mail>
• Date: Tuesday, June 24, 2003, at 4:32 p.m.
• IP Address:

If you think that members of the younger generation are just uncultured and tasteless by nature (I am only 17) then you'll find what I have to say quite horrid.

I may not have a great value of the "traditional" bond, but I've watched and enjoyed many of them, especially the Roger Moore series, and even indulged in a few of Ian Fleming's darker novels. So what do I think of the music? Well as of this point in my life, I can honestly say that I NEVER listen to anything but soundtracks, so the Bond songs, are always interesting experiences for me. I can say that I loved Goldeneye's catchy tune and the lyrics are pretty good as well. All in all, a very dark score with some good moments (Like FATAL WEAKNESS and OVERTURE) and with the song it was at least a (**) score. I LOVE David Arnold's TND, and the Sheryl Crowe song wasn't bad.

I don't discriminate against Madonna (never heard her music before), and I'm sure that MUCH of the Die Another Day bashing has come from simply that-- discrimination. So about 7 months after the score came out, and having read the reviews, I picked up the score, mostly because even ** Arnold music should have some brash kick-ass stuff.

I was surprised by Madonna's song. Tuneless, you say? How can you say that. The first 15 seconds are great, and the theme stays throughout the track. Madonna's voice is nothing to complain about, and the electronic muting doesn't destroy any "flow" (not in the score either). The lyrics are a little, well, unsophisticated to say the least, but for someone who never listens to music with words anyway, I didn't mind too much.

I ask to keep in mind that while score and songs do not represent traditional Bond, neither do the films they accompany. And the chief concern of the composer and musicians is to support the film. Even Goldeneye was only Serra's admirable efforts to support Campbells incredibly dark, toned down film. Can you honestly say that Madonna's song, whatever you think about it on its own, doesn't support the torture sequence onscreen?

And Arnold's score has a lot to compete with, especially in Tamahori's film, as far as noise. I don't think his electronic work is overrused or detremental to the overall feel of the score.
Feel free to respond through e-mail, call me a brutish, hormonal teenager or uncultured head-banger (remember I only listen to scores) if you want, but I want facts to support you claims. Or at least be really really witty

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