It wasn't until Austin Powers in Goldmember in 2002 that Clinton began to parody David Arnold's resurgent style of robust Bond music that would make for a more satisfying action-oriented listening experience (along the same lines as Edward Shearmur's Johnny English not long after). The consistent and blatant references to Bacharach, Jones, and Mancini for the lighter side of the first two films and, more pervasively, Barry for the villain's and action material are adept but often difficult to tolerate. The light piano love themes for the side-kicks (Vanessa and Felicity) are early 70's soft listening at its most stereotypical. The "Danger March" from the first film is almost ridiculously trite in its British mannerisms. The monumental burst of electric base, banging chimes, and choir in "Heroic Austin" is a bit generic despite being pleasing in its tone. But the majority of both scores owes to Barry, especially in the application of that composer's villain's themes. Clinton recreates Barry's bloated, snare-tapping, deep brass pulsating style of addressing larger-than-life scenarios perfectly, even making sure to repeat each phrase twice (the Barry trademark). Woodwind accents, all the way up to shrieking piccolos, are a resurrection of Barry's suspense material, best heard in "Norad." In the second score, "Evil Island" is an easy rip of the harp and string-laden theme from You Only Live Twice. There are original themes that Clinton utilizes across these scores, but they are ultimately so rooted in the style of other composers that the actual progressions aren't really memorable. In the end, it's the Hammond organ, small band percussion, and solo woodwinds that will stick in mind, and unless you want to hear a far lighter shade of what David Holmes was producing for more mainstream comedies at the time, then beware of the corniness factor. Interestingly, Clinton spends so much time imitating others' style in these scores that it's hard to get a sense for his own musical voice. A burst of Scottish tones for "Fat Bastard" is among the few hints at the unique humor that he would explore far better in The Big Bounce after the conclusion of this franchise. These scores are good for a few chuckles, but the most enduring identity for Myers' character is ironically Quincy Jones' "Soul Bossa Nova," arranged very memorably by Clinton. The representation of this theme on the 2000 album comes from the second score, and this piece remains the highlight. On the whole, if you're looking for a more consistent vintage spy parody listening experience, Shearmur's Johnny English is easily superior, but Clinton certainly succeeded in harpooning the right targets for his Austin Powers assignments. The result is groovy, but tiresome.  ***   @Amazon.com: CD or Download