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EDIT: Also compared to La La Land's Die Another Day expansion, their work for TWINE is far superior. It manages to include both film and album versions of tracks in the film while their expansion for DAD mainly only had album versions of tracks. Both are great to have but their work on TWINE far exceeds what they did last year. Here's to more successful Bond expansions in the future.
That's how I went into it. It was a delight.
Too cool!
- I enjoyed hearing more renditions of TWINE throughout the score. In the liner notes (which are terrific, by the way), David Arnold says John Barry advised him to always "play the theme, play the theme, play the theme", and he followed his advice. So TWINE is indeed heard in several cues, though it must be said while Barry would've played the entire piece from beginning to end, Arnold uses it as a leitmotif that often segues into different material, or acts as the first part of a recurring musical phrase. The part he uses most prominently is of course the first three notes of the theme (also heard in the chorus).
- It just dawned on me that much of Arnold's romantic, softer material is reminiscent of Christopher Young's work. Anybody else hear the resemblance? Elektra's theme is a good example.
- During this listen of the score, I enjoyed the ethnic touches more than usual. They are quite colorful and add charm to the score.
- Casino Jazz is terrific. The sax melody is enchanting, as are the playful vibraphone, piano and drums. The four-note idea played on vibraphone that appears toward the end is also great.
- Great to have the separate elements of the gunbarrel music. I enjoyed listening to that cool synth bass by itself.
- The Orbis Non Sufficit piece is quite different from the film version. The latter is not just an edit of the former; it has some exclusive material. The film version has a better structure, I feel, though I greatly enjoy the album version all the same.
- I presume the formerly absent Bond theme statements which have been added to Going Down - The Bunker and Caviar Factory were recorded separately from the main cues and added afterwards to underline the respective moments in the film. Anyway, it's good to hear them.
- Interestingly and on a related note, over at the Film Score Monthly forums, Neil S. Bulk, who produced the new release, says tracks 2 and 3 (Show Me the Money and Come in 007, Your Time Is Up) originally were two separate pieces that were crossfaded together for the film. That explains their being separate tracks in the original album.
Looking forward to, hopefully, a new release of TND, and other scores down the line. I was under the impression the TWINE masters had been provided by David Arnold himself (like it was the case with DAD IIRC), but actually they came from MGM, which is good.
I'm in the same boat, but mostly due to lack of space. I've been throwing away the jewel cases for most of my CD collection recently – putting the CD's into plastic sleeves that fits the album artwork and booklets. I do have room for a few more vinyl releases though, and the TWINE expanded score would be a great one to own on vinyl and/or digital download.
Easy enough to get the CD and rip it to digital.
That's a good point. I do have a few limited releases that were available on CD, vinyl and digital download – although the latter was only included within the CD and vinyl releases as a download link, and not a standalone purchase.
That would be a great purchase option for this release as well.
Mine arrived last week, too. I have been enjoying it a lot. The missing pieces of music aren't earth-shattering, but they're nice to have and make the album a nice full experience. I always imagine a much more intense, visceral finale when listening to the Submarine tracks. Far better music than the respective scenes deserved.
https://www.royalalberthall.com/tickets/events/2019/settling-the-score/
Still hoping for Newman again though #fingerscrossed #highlyunlikely
Two great choices.
From a comment made by La La Land Records at the FSM boards on July 23rd (link: https://www.filmscoremonthly.com/board/posts.cfm?pageID=440&forumID=1&threadID=67395&archive=0)
Shame, though at least the possibility of further releases appears to be good enough.
(Posted here for those of us who hoping for TND later this year!)
I made a video where I showcased all the instances of You Know My Name and Another Way to Die being woven into the score of Quantum of Solace. May @MakeshiftPython enjoy that! :D
I must admit I was wrong about Inside Man referencing YKNM, as I actually got confused with Dead Don't Care About Vengeance, since the latter does indeed reprise the melody of Inside Man.
SF was controversial, while the title song may have started out with strong emotion to make DC cry, the song was not sung well in its lackluster live performance at the awards ceremony that DC didn't even attend, despite rumors that the song was was done in one take. It wasn't included on the SF soundtrack, plus the song was under-lyric-ed.
Any word as to whether DA will be back for Bond 25 yet?
You must not have been following the news, friend. :) Dan Romer, who scored Beasts of No Nation for Fukunaga, is going to score B25. DA seems nowhere near the Bond series these days.
I used to love Arnold when I was in my early teens. His loud and "spectacular" scores for Stargate, ID4 and Godzilla entertained the hell out of me. I was naturally very pleased when DA was hired to compose TND. Then I started appreciating more subtle film music, and Arnold fell off my boat. Starting with TWINE, I turned very critical of Arnold, finding his music messy, often too "shouty" and not "smooth" enough. Whilst I enjoyed several parts of the TWINE and DAD scores, they had large sections that I found less than good. But things got better. I discovered other stuff done by Arnold, like 2000's Shaft, a score I enjoyed right away. And when CR came out, I was quite frankly impressed by Arnold's mature approach. QOS, in fact, though perhaps his most minimalistic Bond score, is also my favourite of his. And with those wonderful "complete score" releases of recent times, TND, TWINE and DAD have now gone through a phase of reappraisal in this house. So I guess I went from adoration to mixed feelings to appreciation, but I never experienced the absolute loathing that I know some did when Arnold was still with the Bonds. Those of you who weren't around in those days may not know this, but there was a lot--and I mean A LOT--of hatred for Arnold on our forum a good dozen years ago.
I really like Arnold's Bond scores, but was hoping for some fresh blood around Skyfall. HIs scores can get a bit samey. There's a particular musical cue that turns up in TWINE, DAD and CR and may even have been the same piece used in the last series of Sherlock.
Composers tend to have a certain sound to most of their work. You can always spot a John Barry score or an Ennio Morricone one or a Hans Zimmer one. So they often reuse a certain cue which is their trademark.
Hmmm, a lot of those examples for AWTD may be stretching it. That said, for a long time I thought "Field Trip" was the only nod, but I can definitely hear it in "Greene and Camille" where you highlighted.
On a similar subject, I always thought I heard Adele's song during the PTS, specifically at 2:30.
Film audio:
Original recording:
(Concerto For Piano And Orchestra Nr. 5 In E-Flat Major, Op. 73, "Emperor" - Adagio un poco mosso · Ludwig van Beethoven · Anton Dikov · Sofia Philharmonic Orchestra · Emil Tabakov)
It's the same, isn't it? I only found out because I recently did a trailer for TND that used the piece, and a few days later, some YouTube algorithm identified the music and added the information at the bottom of the description. I actually had assumed incorrectly that the music had been re-recorded for the film.
Of course, in other Bond films, non-original music has been re-recorded for the films, or at least adapted in some way. For MR, the Magnificent Seven theme was re-arranged and re-recorded. However, the Strauss polka and Romeo and Juliet might have been tracked music. In TSWLM, the Chopin music that plays when Bond meets Stromberg seems to have a unique orchestral arrangement. Another classical piece earlier in the film begins with a synth flourish. The Lawrence of Arabia music was also re-recorded. Marvin Hamlisch had already worked in reusing Scott Joplin rags for The Sting, so in my opinion, it's likely, though not certain, that he re-recorded all these pieces again.