The Bond track, "You Know My Name," came as a surprise to fans -- and to Cornell himself. "I just got a call," he recalls, "and at first I thought there must be some kind of mistake." But after seeing the script and studying up on the new Bond actor, Daniel Craig, Cornell decided "I'm actually the right guy for the job. Everybody I met with said the same thing -- 'This isn't anything like any other James Bond film, so we don't really want that song, either. So go do whatever you want.'"

Cornell co-wrote "You Know My Name" with longtime Bond composer David Arnold and describes it as "more uptempo and a little more aggressive than any other Bond theme has been, maybe since Paul McCartney 'Live and Let Die'. It has an orchestra, but it also has some angry sounding guitar, and it's got feedback."

Personally I hope it will be more like his tommorow never dies work.

Would you also happen to know when this CD comes out for release?

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Originally posted by Rommel:
Would you happen to know whether or not Arnold is going to take a more of an electronic stance to his score like he did in the world is not enough and die another day?

Personally I hope it will be more like his tommorow never dies work.

Would you also happen to know when this CD comes out for release?

Thanks

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Apparently, since Daniel Craig is the new Bond and this is a different Bond film than what we're used to, Arnold wants to take a whole new approach to scoring 007, to give the film and character a new sound. Whatever that means I don't know, but I hope it's better than the lame electro-pop sound he used on the last two films. Tomorrow Never Dies is still his strongest and best effort.

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Originally posted by sean:
...a whole new approach to scoring 007, to give the film and character a new sound.

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I think that would make it another repeat of the Eric Sierra case. It would probaly be straight rythm and action music. I believe Hanz Zimmer's would turn out to be a lot like his usual action music(with synthesizers). Ya know... a bit of the Rock, a bit of Crimson Tide. Listen to what he did with Pirates of the Caribbean II; now that is becoming outdated!!!

If Arnold could lower his use of electronics a bit it would be perfect.

I realize it may not be a style you enjoy, but to say that Arnold isn't skilled at the technique is flat out false. I think it produces a thrilling sound. And Rommel, you say Arnold is a "has-been"? What would that make John Barry, a useless dinosaur?

Casino Royale is the score I look forward to most of all this fall. Arnold has been involved with the film from the very beginning: from the first screen tests of the new Bond actor candidates to co-writing the main title song. This score should be nothing but fantastic.

-Brendan

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Originally posted by PeterK:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by sean:
[b]...a whole new approach to scoring 007, to give the film and character a new sound.<HR size=1></BLOCKQUOTE>

Hiring Hans Zimmer could do the trick. Arnold is now a has-been when it comes to 007![/B]

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All that said, I'm sure the score will be fine, I'm glad he wants he take a different approach this time around, it's great that he's passionate about the Bond films, and so I too look forward to owning his music for Casino Royale.

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Originally posted by Brendan Anderson:
Arnold's Bond scores have the best techno-orchestral integration of any film composer period. His synth rhythms are constructed uniquely, sound by sound and integrate all throughout orchetral phrases and rhythms. Not only that, but you can clearly hear the orchestral intracacies through the sound of the synths which is where most other composers run into trouble.

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Umm, to me your description is best suited to Craig Armstrong. Insofar as Arnold's skill, I've only ever heard the basic drum 'n bass rhythms with the occasional sprinkling of electronica effect here and there. Nothing wrong with it... I like it... but it's not the most accomplished to my earholes.

As for who has hit big accomplishment in orchestral/electronic score mixes, Craig Armstrong has shown skill I've not heard topped. He's got some average showings too, but his Plunkett and MacLeane should easily take out Arnold's best effort in less than three rounds.

Even KPAX gives Arnold's stuff the one-two punch, but I'm not sure Ed Shearmur was responsible for that soundscape all on his own.

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Originally posted by PeterK:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by sean:
[b]...a whole new approach to scoring 007, to give the film and character a new sound.<HR size=1></BLOCKQUOTE>

Hiring Hans Zimmer could do the trick. Arnold is now a has-been when it comes to 007![/B]

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Zimmer on Bond? HA! It'd be more like a group of Zimmer clones on Bond.

**** that idea!

I'd rather hear Michael Nyman with a kazoo orchestra than any crap Zimmer would do for Bond.

And before anyone gets on my ass for Zimmer bashing, all I ever hear is Arnold/Bond bashing so step off.

James

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Originally posted by Bond1965:
Zimmer on Bond? HA! It'd be more like a group of Zimmer clones on Bond.

**** that idea!

I'd rather hear Michael Nyman with a kazoo orchestra than any crap Zimmer would do for Bond.

And before anyone gets on my ass for Zimmer bashing, all I ever hear is Arnold/Bond bashing so step off.

James

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Originally posted by Bond1965 (regarding Zimmer on Bond):
**** that idea!

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That's the spirit! How come it took you guys so long to get here!!?

I own P&M and I think it's great: by the way, I never dissed P&M; all I did was point out another good effort with KOD... I just didn't feel it to be required to only point out P&M and so I brought up KOD (and it's better with the electronics than anything Arnold has done; I don't know if you're into electronica at all, I'm guessing not [who knows], but Arnold's stuff wouldn't be considered all that good in that genre of music compared to what Craig Armstrong has done).

To answer your question: my ears are obviously tuned to where yours are, since we both have the same opinion of P&M. Just, I don't know, take it down a notch before you rant about nothing and about what I may/may not think.

While we're at it: The Quiet American has a fantastic synth/orchestral score by Armstrong; one of my favourites!

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Originally posted by sean:
While we're at it: The Quiet American has a fantastic synth/orchestral score by Armstrong; one of my favourites!

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The Clearing, however, does not. Bullsh!t score that is.

But in the interest of debate, is it wise to use the best example you can to knock down the opponent? YES. KOD is a 7-10 split. P&M is a 10 pin strike!

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Originally posted by sean:
he should take some hints from others who've done it better like Propellerheads, Juno Reactor, Moby... even Hans Zimmer.
[/B]

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Zimmer? Riiiiiight.

Propellerheads, Juno and Moby all have their niche, but none come close to the orchestral writing that goes on top of Arnold's techno-style rhythm. As for Zimmer, yes, he adds some "orchestra" on top of whatever synth drum-loop-of-the-month he happens to load into his hard drive at the time, but again the integration of phrasing and orchestral parts pales next to a piece like the finale Ice Palace chase (not on the official Die Another Day album unfortunately) or the opening boat chase from TWINE. Perhaps if you named a Zimmer cue you're thinking of I might get a better idea of what you're thinking of...

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Originally posted by PeterK:
Insofar as Arnold's skill, I've only ever heard the basic drum 'n bass rhythms with the occasional sprinkling of electronica effect here and there. Nothing wrong with it... I like it... but it's not the most accomplished to my earholes.

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Define "basic" drum 'n bass rhythm. I can see how that applies to Backseat Driver (though to be fair that one was co-created by the Propellerheads) or Hamburg Break-out in Tomorrow Never Dies, but the electronic rhythm and effects become far more complex and integrated in TWINE and DAD.

Take 'Come in 007 Your Time is Up' from The World is Not Enough. A steady driving synth beat takes us through a couple statements of one of the film's main theme followed by an interlude in which the drum and bass beats are doubled (and well-balanced) with synchopated string and brass statements before you get a screechy synth fall and then you're off and running again with steady beats and more themes etc. etc. etc. The point is, the synth elements are far more than "basic drum 'n bass" as they displace the beat, shift meter and become essentially another voice in the orchestra orchestrated and integrated as much as the woodwinds or brass are.

By contrast, let's look at Plunkett and MacLeane's most famous cue: Escape. In this cue, the drum rhythm is constant and unchanging and completely non-dynamic until the final chorus crescendo is over and it all just kind of bumps on out.

Also, look at the numbers of synth elements going on: In Escape from P&M, only 4 or 5 separate elements are happening (electronic bass drum, a couple different snare sounds, a snare drum drag and a kind of electronic thunder sheet in the background with a recurring synth riff in each measure). In just the first small part of Come in 007 from TWINE you've got at least 7 (electronic bass drum, snare, hi-hat, shaker, record scratches, low electronic bass punctuations, electronic bass riff on beats 1 and 2 of each measure) and that's just the constant recurring rhythm and doesn't include the other synth elements used for fills between phrases and phrase transitions. Then look at the orchestral parts: Escape has a choir and orchestra moving chordally in rhythmic unison. Come in 007 has orchestral melody accompanied by brass punctuations, occasional counter-melody and bass lines integrated with the synth rhythm.

Anyway, I've ranted too long which always happens with me when it comes to Arnold but the point is that all the musical evidence points to your statements being not so accurate. I understand if you enjoy Armstrong's more stright-forward approach better, but to first say Arnold's techniques are "basic" and then point to Plunkett and MacLaene as a model is a little....fishy.

Wasn't David Arnold involved in the Propellerheads Bond stuff?

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Originally posted by Jeron:
Very interesting, Mark. Just now seeing this. Hearing Arnold do OHMSS is much more interesting to me than Giacchino doing it (ie. The Incredibles). Sounds like he's trying to take a departure from his previous scores... which is cool. You won't find me complaining about the borrow-from OHMSS - Barry-Bond reigns supreme, and Arnold knows it.

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Did you see this part of the story?

Arnold revealed a tidbit regarding OHMSS in an interview with Hotdog magazine about his five favourite 007 soundtracks. OHMSS ranked top.

"To clear up confusion about the misquote, Arold said that the "Casino Royale" soundtrack is similiar to OHMSS in the sense that it does not rely on the Bond theme, and has its own themes throughout, managing to create a Bond sound without the famous notes. OHMSS will not feature in the score."

Looks good, perhaps they've given too much away though.

The music is quite interesting. I wonder if it is Arnold or someone else. Not sure how I like the Bond theme with a choir though. Choirs are becoming too cliche'.

Chris Cornell sings "You Know My Name"

The Pipeline from TWINE starts off slowly, but works itself into a frenzy. Gives me chills everytime.

Like some of the others, I don't care too much for sampled loops and odd scratching sounds. It seems so "forced".

I've followed this thread for a while and now own Plunkett and Maclean. Interesting hybrid for sure. Any other titles along that line? Debney's Scorpion King immediately comes to mind, combining the traditional orchestral sounds with modern-day guitars and similar instuments.

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Originally posted by Alwin:
I've followed this thread for a while and now own Plunkett and Maclean. Interesting hybrid for sure. Any other titles along that line? Debney's Scorpion King immediately comes to mind, combining the traditional orchestral sounds with modern-day guitars and similar instuments.

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Brian Tyler's F&F3: Tokyo Drift is a great listen, as is Steve Jablonsky's The Island, Elliot Goldenthal's SWAT, John Powell's Bourne series, Harry Gregson-Williams' Man on Fire, and Don Davis' and Juno Reactor's team-up on a few cues from The Matrix Reloaded and Revolutions.

There are all very recent scores and should be easy to find.

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Originally posted by nuts_score:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Alwin:
[b]I've followed this thread for a while and now own Plunkett and Maclean. Interesting hybrid for sure. Any other titles along that line? Debney's Scorpion King immediately comes to mind, combining the traditional orchestral sounds with modern-day guitars and similar instuments.

<HR size=1></BLOCKQUOTE>

Brian Tyler's F&F3: Tokyo Drift is a great listen, as is Steve Jablonsky's The Island, Elliot Goldenthal's SWAT, John Powell's Bourne series, Harry Gregson-Williams' Man on Fire, and Don Davis' and Juno Reactor's team-up on a few cues from The Matrix Reloaded and Revolutions.

There are all very recent scores and should be easy to find.

[/B]

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Originally posted by tjguitar:
I suggest Joel Goldsmith's Kull: The Conqueror!

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Definitely! I could only think of recent scores but Kull is such a great time.

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Originally posted by nuts_score:
[B]I'm split on the song. On one hand, I'm very happy to have a male returning to sing the title music, but this song doesn't exactly grab me as others have before (I really liked Garbage's "The World is Not Enough" but Tina Turner's "Goldeneye" was the last to really feel like a Bond song).

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I'm surprised at you: The best new Bond song is from Tomorrow Never Dies by David Arnold and k.d. Lang (with lyrics by Don Black for god's sake!!!), "Surrender." It was the original title song to that film, but, as I understand it, the producers rejected it and opted for a new, inferior, and stupid song by Sheryl Crow (probably because of her marketability), which Arnold was not involved with.

"Surrender" and the song by Garbage are pretty impressive, IMO. This new song: I'll have to hear the whole thang before I can pass judgement; like, you know, I had to go see The Black Dhalia before I could prattle off some words about it, unlike a*s*s-face.

quote:

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Originally posted by sean:
I'm surprised at you: The best new Bond song is from Tomorrow Never Dies by David Arnold and k.d. Lang (with lyrics by Don Black for god's sake!!!), "Surrender." It was the original title song to that film, but, as I understand it, the producers rejected it and opted for a new, inferior, and stupid song by Sheryl Crow (probably because of her marketability), which Arnold was not involved with.

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