Tomorrow Never Dies Original Soundtrack

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Record and Artist Details

Label: A&M Records

Magazine Review Date: 1/1998

Media Format: CD or Download

Media Runtime: 56

Catalogue Number: 540 830-2

Composer or Director: John Barry, George Martin, Marvin Hamlisch, Monty Norman

Label: East West Records

Magazine Review Date: 1/1998

Media Format: CD or Download

Media Runtime: 53

Mastering:

DDD

Catalogue Number: 3984-20738-2

Tracks:

Composition	Artist Credit
Diamonds Are Forever	John Barry, Composer (Anonymous) Orchestra David Arnold, Percussion David Arnold, Guitar David Arnold, Synthesizer David McAlmont, Singer John Barry, Composer Nicholas Dodd, Conductor
(The) Spy Who Loved Me	Marvin Hamlisch, Composer (Anonymous) Orchestra Aimee Mann, Singer David Arnold, Percussion David Arnold, Guitar David Arnold, Synthesizer Marvin Hamlisch, Composer Nicholas Dodd, Conductor
You Only Live Twice, Movement: Space March	John Barry, Composer John Barry, Composer Leftfield
Octopussy, Movement: Title Song: All Time High (Wds Rice)	John Barry, Composer (Anonymous) Orchestra David Arnold, Guitar David Arnold, Synthesizer David Arnold, Percussion John Barry, Composer Nicholas Dodd, Conductor Pulp
Moonraker, Movement: Title Song (wds David)	John Barry, Composer (Anonymous) Orchestra David Arnold, Synthesizer David Arnold, Percussion David Arnold, Guitar John Barry, Composer Nicholas Dodd, Conductor Shara Nelson, Singer
Doctor No	Monty Norman, Composer LTJ Bukem Monty Norman, Composer
Live and Let Die	George Martin, Composer (Anonymous) Orchestra Chrissie Hynde, Singer David Arnold, Guitar David Arnold, Synthesizer David Arnold, Percussion George Martin, Composer Nicholas Dodd, Conductor
Thunderball	John Barry, Composer (Anonymous) Orchestra David Arnold, Guitar David Arnold, Percussion David Arnold, Synthesizer John Barry, Composer Martin Fry, Singer Nicholas Dodd, Conductor
From Russia With Love, Movement: Title Song (Bart, arr Barry)	John Barry, Composer (Anonymous) Orchestra David Arnold, Synthesizer David Arnold, Guitar David Arnold, Percussion John Barry, Composer Natacha Atlas, Singer Nicholas Dodd, Conductor
On Her Majesty's Secret Service, Movement: Theme	John Barry, Composer John Barry, Composer Propellerheads
On Her Majesty's Secret Service, Movement: We Have All the Time in the World (Wds David)	John Barry, Composer (Anonymous) Orchestra David Arnold, Percussion David Arnold, Guitar David Arnold, Synthesizer Iggy Pop, Singer John Barry, Composer Nicholas Dodd, Conductor

Author:

At last, the producers of the James Bond series have found a composer who understands the relationship between the films and the music that is so important to their success. It may only be, in John Barry’s words, “million-dollar Mickey Mouse music” but, like all good film music, it has to be right otherwise it is not going to work. Goldeneye proved that.
David Arnold’s score for the new Bond epic is, happily, very, very right. He has conjured up an exciting, rousing action score full of sly Barry-isms, lots of judicious quotes from “The James Bond Theme” and provides a new theme that is every bit as sassy and brassy as Barry’s Goldfinger (1964) – the quintessential larger-than-life Bond theme. The actual title-song, written and performed by Sheryl Crow, is weak when compared to kd lang’s strongly seductive performance of Arnold’s own “Surrender”. This is an absolute knock-out of a song that deserves to be a huge hit. Additional pleasures come with Arnold’s collaboration with dance group Propellerheads for one track, “Backseat driver”, an exhilarating blend of orchestral score overlaid with propulsive dance rhythms. This is probably the best Bond album since On Her Majesty’s Secret Service (1969).
Arnold’s affection for the genre has also resulted in “Shaken and Stirred”, a demonstration of just how timeless many of these pieces are. Title songs from Diamonds Are Forever (1971) and Moonraker (1979) particularly benefit from sensuous new vocal interpretations, and Iggy Pop’s world-weary rendition of “We have all the time in the world”, although no substitute for the Louis Armstrong original, does have a touching poignancy none the less. Adding dance elements to the “Space march” from You Only Live Twice (1967) makes it quite hypnotic, while On Her Majesty’s Secret Service, already a fast-moving piece, is transformed into a powerfully aggressive track by Propellerheads. There is much fun to be had listening to all this and, while purists may object, they are all treated with such obvious reverence for the originals that the validity of the project is not in doubt.
DS