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The Best Of David Arnold

HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
edited October 2011 in Bond Movies Posts: 4,399
it's pretty safe to say, that his is a tenure composing Bond films - that is, less memorable than Barry (spoiled we were though).. but while Arnold hasn't really hit the nail on the head in terms of creating an enthralling score, that could stand on it's own outside of the Bond films themselves - he does have the ability to create some wonderful pieces inside of those scores...

so.. in all seriousness.. if you were to organize your own 'Best of David Arnold' soundtrack from his work on the Bond films - what pieces would select? - list can also include the 4 themes/songs he worked on too - (those being 'Surrender' 'The World Is Not Enough', 'Only Myself To Blame', and 'You Know My Name')..... since this is my thread - i'll start off...

<i><b>from Tomorrow Never Dies</b></i>
- Paris & Bond
- Hamburg Break In
- Helicopter Ride
- Kowloon Bay
- "Surrender"

<i><b>from The World Is Not Enough</b></i>
- "The World Is Not Enough"
- Come In 007, Your Time Is Up
- Access Denied
- Welcome To Baku
- Elektra's Theme
- Body Double
- "Only Myself To Blame"

<i><b>from Die Another Day</b></i>
- Hovercraft Chase
- Some Kind Of Hero
- Welcome To Cuba
- Antonov
- Going Down Together

<i><b>Casino Royale</b></i>
- "You Know My Name"
- Blunt Instrument
- Solange
- Aston Montenegro
- Vesper
- The End Of An Aston Martin
- City Of Lovers
- The Switch
- The Name's Bond... James Bond

<i><b>from Quantum Of Solace</b></i>
- Time To Get Out
- The Palio
- Bond in Haiti
- Greene & Camille
- Night At The Opera
- Bolivian Taxi Ride
- Camille's Story
- Oil Fields
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Comments

  • DaltonCraig007DaltonCraig007 They say, "Evil prevails when good men fail to act." What they ought to say is, "Evil prevails."
    edited October 2011 Posts: 15,723
    'Sinking of the Devonshire'
    'Bilbao'
    'Body Double'
    'Night At The Opera'

    That's all I can think of.
  • M_BaljeM_Balje Amsterdam, Netherlands
    edited October 2011 Posts: 4,538
    Twine. Inspyred by Tomorrow Never Dies and yusing the Bond theme made David Arnold his best score.

    - The World Is Not Enough
    - Gunbarrel / Show Me The Money / Come In 007, Your Time Is Up
    - Welcome To Baku
    - Body Double
    - Going Down The Bunker
    - Ice Bandits
    - Pipeline
    - Casino (Only Myself To Blame)
    - Submarine (Inspyration for the sinking house of Casino Royale)

    One track i can not listed as Best of but i don't whant to vergot to give it some credit:

    - Caviar Factory (In specialy the first seconds of the car scene i like the moost) Why i can't consider this as one of his best track is that it be a inspiration for Die Another Day. It be repeat for Die Another Day Graves showing his toy in the Icarus track with to much techno.

    Those tracks can't not be include in the contest because there are the unreleased tracks

    1. Escape From Swiss Bank
    2. End Titles
    3. Kazakhstan
    4. Snow Business
    5. Devils breath
    6. Time To Die
    7. Rocket Bond

    -

    Quantum Of Solace. Since years David Arnold make score who is real compitation for Twine. What CR and DAD not be. QOS have more short cues then Twine what made a bit dificult.

    Inside Man. Short but so good.
    Have Your Ever Kild Somenone?
    The Palio
    Time To Get Out (In specialy when the cars get out.)
    No Intrest in Dominic Greene. In my opnion part 1 of Night At The Opera. Both are very good slow tracks. Also because i think Arnold be inspyred by the earlier ''Inside Man'' theme.

    Green & Camile. (With Another Way To Die theme).

    Talamone (With Another Way To Die theme). is to short to give a good opnion what i think about it. But i like the opening and it be a litle preview of what we can expect in Bolivian Taxi Ride. Bolivian Taxi Ride be inspyred by ''Cuba'' from DAD, but i prefer this track above that one because i like the scene in the movie whyle iam not fan of the Cuba scene's in DAD.

    A shame of the yuse of Transformers /Icarus techno in it for the boat chase part, I whas already not a fan of the boat chase in specialy because the yuse of to much techno and editing of it. ''Pursuit At Port Au Prince'' be a very good track for the rest of it. Also because this be another track who yuse Another Way To Die.

    Track 22 & 23 i see also as one track. After 33 seconds in track 22 it start with what end in ''I Never Left''.

    Somebody whants to kill you. (The techno :( )

    Bond in Haiti
    Field Trip
    Camille's Story (The best part started after 2.31 with 3.38 til the end as highlight)

    '''End Credits/Craw End Crawl'' can't not be include in the contest because there are the unreleased tracks.
  • calfexcalfex
    Posts: 42
    For me, David Arnold have proven that he can continue the role as music director in Bond series. He's the best after the late John Barry. For me personally, the score of Arnold that I like is in 2006 Casino Royale, esp. when Bond and Vesper Lynd are in the shower, after bond back from casino. The music (I don't know exactly what's the title) is very romantic and touching. David Arnold has exactly known how to catch the emotion and the situation and turn it down into the notes and to music well. I love that.
  • Samuel001Samuel001 Moderator
    Posts: 13,356
    'Come In 007, Your Time Is Up', 'African Rundown' and 'Night At The Opera' are all good.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    Antonov from DAD is almost an out-of-body experience. A great 11 minutes.
    Listening to more and more of his works and I've found a greater appreciation for them.

    He also composed another pretty good (but not great) 11 minute piece 'Into Battle' for his Dawn Treader soundtrack. But I suppose we are only talking about Bond films.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    edited May 2016 Posts: 10,592
    IncompetentHenchman wrote: »
    Antonov from DAD is almost an out-of-body experience. A great 11 minutes.
    Listening to more and more of his works and I've found a greater appreciation for them.

    He also composed another pretty good (but not great) 11 minute piece 'Into Battle' for his Dawn Treader soundtrack. But I suppose we are only talking about Bond films.

    Seeing this thread bumped, I was just about to post the same thing @IncompetentHenchman. Antonov is a brilliant track, particularly the moment when Moon realizes Graves is his son.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    jake24 wrote: »
    IncompetentHenchman wrote: »
    Antonov from DAD is almost an out-of-body experience. A great 11 minutes.
    Listening to more and more of his works and I've found a greater appreciation for them.

    He also composed another pretty good (but not great) 11 minute piece 'Into Battle' for his Dawn Treader soundtrack. But I suppose we are only talking about Bond films.

    Seeing this thread bumped, I was just about to post the same thing @IncompetentHenchman. Antonov is a brilliant track, particularly the moment when Moon realizes Graves is his son.

    And that haunting female vocal that scores his death, oooooooh.
  • fire_and_icefire_and_ice
    Posts: 6,432
    Arnold has done some great themes in TND and TWINE, though I felt with CR and QoS his overall scores had improved. Hope to see him return at some point, no doubt he will be fresh with creativity for Bond.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    i agree... no doubt whoever comes on board for Bond 25, they will want to bring in their own guy (whoever that may be).. but for me, SF and SP just didn't sound like Bond films to me, from a score standpoint.. and i think it's been long enough that Arnold could bring a fresh perspective back into the fold, while still channeling a lot of what he did before..
  • IncompetentHenchmanIncompetentHenchman
    edited May 2016 Posts: 1,817
    Just realised that more than any other composer, David Arnold seems to have a penchant for long tracks.

    TOMORROW NEVER DIES: "White Knight" - 8 minutes
    THE WORLD IS NOT ENOUGH: "Submarine" - 10 minutes
    DIE ANOTHER DAY: "Antonov" - 11 minutes
    CASINO ROYALE: "Miami International" - 12 minutes (longest Bond track ever I think)
    QUANTUM OF SOLACE: "Perla De Las Dunas" - 8 minutes (but it is shortened in the final cut)
  • Some_Kind_Of_HeroSome_Kind_Of_Hero
    edited May 2016 Posts: 6,844
    IncompetentHenchman wrote: »
    Just realised that more than any other composer, David Arnold seems to have a penchant for long tracks.

    TOMORROW NEVER DIES: "White Knight" - 8 minutes
    THE WORLD IS NOT ENOUGH: "Submarine" - 10 minutes
    DIE ANOTHER DAY: "Antonov" - 11 minutes
    CASINO ROYALE: "Miami International" - 12 minutes (longest Bond track ever I think)
    QUANTUM OF SOLACE: "Perla De Las Dunas" - 8 minutes (but it is shortened in the final cut)

    True. However if I'm not mistaken, I believe the film version of "Antonov" is even longer than the album edit by at least a couple minutes. That may in fact be the longest single track of music in Bond history.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    Some_Kind_Of_Hero wrote: »
    IncompetentHenchman wrote: »
    Just realised that more than any other composer, David Arnold seems to have a penchant for long tracks.

    TOMORROW NEVER DIES: "White Knight" - 8 minutes
    THE WORLD IS NOT ENOUGH: "Submarine" - 10 minutes
    DIE ANOTHER DAY: "Antonov" - 11 minutes
    CASINO ROYALE: "Miami International" - 12 minutes (longest Bond track ever I think)
    QUANTUM OF SOLACE: "Perla De Las Dunas" - 8 minutes (but it is shortened in the final cut)

    True. However if I'm not mistaken, I believe the film version of "Antonov" is even longer than the album edit by at least a couple minutes. That may in fact be the longest single track of music in Bond history.

    Well then. Go Arnold, go Arnold...
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    edited May 2016 Posts: 7,222
    If I had to make an album called "The best of Arnold ... David Arnold", I'd include these tracks:

    1. The Sinking of the Devonshire
    2. Hamburg Break In
    3. Come In 007, You're Time Is Up
    4. Access Denied
    5. Elektra's Theme: The Bedroom
    6. A Touch of Frost
    7. Blunt Instrument
    8. Dinner Jackets
    9. Vesper
    10. Dirty Martini
    11. Night at the Opera
    12. The Dead Don't Care About Vengeance
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    GoldenGun wrote: »
    If I had to make an album called "The best of Arnold ... David Arnold", I'd include these tracks:

    1. The Sinking of the Devonshire
    2. Hamburg Break In
    3. Come In 007, You're Time Is Up
    4. Access Denied
    5. Elektra's Theme: The Bedroom
    6. A Touch of Frost
    7. Blunt Instrument
    8. Dinner Jackets
    9. Vesper
    10. Dirty Martini
    11. Night at the Opera
    12. The Dead Don't Care About Vengeance

    no City Of Lovers in there?

    'Body Double' is another fav of mine from the TWINE soundtrack
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited May 2016 Posts: 8,236
    HASEROT wrote: »
    GoldenGun wrote: »
    If I had to make an album called "The best of Arnold ... David Arnold", I'd include these tracks:

    1. The Sinking of the Devonshire
    2. Hamburg Break In
    3. Come In 007, You're Time Is Up
    4. Access Denied
    5. Elektra's Theme: The Bedroom
    6. A Touch of Frost
    7. Blunt Instrument
    8. Dinner Jackets
    9. Vesper
    10. Dirty Martini
    11. Night at the Opera
    12. The Dead Don't Care About Vengeance

    no City Of Lovers in there?

    'Body Double' is another fav of mine from the TWINE soundtrack

    City of Lovers is probably the best non-Barry Bond cue. It's absolutely stunning.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,592
    GoldenGun wrote: »
    If I had to make an album called "The best of Arnold ... David Arnold", I'd include these tracks:

    1. The Sinking of the Devonshire
    2. Hamburg Break In
    3. Come In 007, You're Time Is Up
    4. Access Denied
    5. Elektra's Theme: The Bedroom
    6. A Touch of Frost
    7. Blunt Instrument
    8. Dinner Jackets
    9. Vesper
    10. Dirty Martini
    11. Night at the Opera
    12. The Dead Don't Care About Vengeance
    You're missing Hovercraft Chase, Sword Fight, The Bitch is Dead, and African Rundown.
  • fire_and_icefire_and_ice
    Posts: 6,432
    I like Iced Inc. and Whiteout from DAD.
  • MalloryMallory
    edited May 2016 Posts: 2,171
    The Best of David Arnold...

    Surely that is an oxymoron? :p
  • GoldenGunGoldenGun Per ora e per il momento che verrà
    edited May 2016 Posts: 7,222
    @haserot, forgot about that one. I'll put it straight in the middle of the album. ;)
    @jake24, didn't think they were bad. On the contrary, but they are a bit too chaotic for me at times.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    GoldenGun wrote: »
    @haserot, forgot about that one. I'll put it straight in the middle of the album. ;)
    @jake24, didn't think they were bad. On the contrary, but they are a bit too chaotic for me at times.

    Definitely, that's what separates Barry from Arnold, who can just sound like noise at times (e.g. TWINE - submarine).
  • IncompetentHenchmanIncompetentHenchman
    edited May 2016 Posts: 1,817
    TOMORROW NEVER DIES
    Paris and Bond
    Hamburg Break In
    Backseat Driver
    Helicopter Ride
    Kowloon Bay
    All in a Day's Work

    THE WORLD IS NOT ENOUGH
    Come in 007, Your Time Is Up
    Welcome to Baku
    Casino
    Elektra's Theme
    Body Double
    Pipeline

    DIE ANOTHER DAY
    Welcome to Cuba
    Iced Inc.
    Antonov
    Going Down Together

    CASINO ROYALE
    African Rundown
    Blunt Instrument
    Vesper
    City of Lovers
    Death of Vesper
    The Name's Bond... James Bond

    QUANTUM OF SOLACE
    The Palio
    Pursuit at Port au Prince
    Night at the Opera
    Oil Fields
    Forgive Yourself
    Camille's Story
    Perlas de las Dunas
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    edited May 2016 Posts: 4,399
    IncompetentHenchman wrote: »
    GoldenGun wrote: »
    @haserot, forgot about that one. I'll put it straight in the middle of the album. ;)
    @jake24, didn't think they were bad. On the contrary, but they are a bit too chaotic for me at times.

    Definitely, that's what separates Barry from Arnold, who can just sound like noise at times (e.g. TWINE - submarine).

    the only thing that every really bothered me when people compare/contrast between Barry and Arnold, is that the same thing they will criticize Arnold of doing (ie: overuse of Bond theme), they would let Barry off the hook with - because it's Barry.... the man created that template, Arnold was just borrowing it..

    and after 4 films sans Bond theme (i don't count over credits, or randomly used 1 time during *wink wink* moment), I could use a little more of traditional Bond sound again..

    now, in terms of Submarine from TWINE - i don't disagree about the chaotic nature of it.. it probably could've been split into 2 different tracks... but seeing as how it was written to be one big piece over the course of a 10 minute sequence (much like Antonov in DAD), i can forgive it bouncing around between moods/tempos.
  • IncompetentHenchmanIncompetentHenchman
    Posts: 1,817
    HASEROT wrote: »
    IncompetentHenchman wrote: »
    GoldenGun wrote: »
    @haserot, forgot about that one. I'll put it straight in the middle of the album. ;)
    @jake24, didn't think they were bad. On the contrary, but they are a bit too chaotic for me at times.

    Definitely, that's what separates Barry from Arnold, who can just sound like noise at times (e.g. TWINE - submarine).

    the only thing that every really bothered me when people compare/contrast between Barry and Arnold, is that the same thing they will criticize Arnold of doing (ie: overuse of Bond theme), they would let Barry off the hook with - because it's Barry.... the man created that template, Arnold was just borrowing it..

    and after 4 films sans Bond theme (i don't count over credits, or randomly used 1 time during *wink wink* moment), I could use a little more of traditional Bond sound again..

    now, in terms of Submarine from TWINE - i don't disagree about the chaotic nature of it.. it probably could've been split into 2 different tracks... but seeing as how it was written to be one big piece over the course of a 10 minute sequence (much like Antonov in DAD), i can forgive it bouncing around between moods/tempos.

    Oh I don't at all think the Bond theme was overused. Indeed I'd love a return to the big bombastic use of the Bond theme a la TND-DAD. But I do think Arnold's tracks are less 'internally unified' or in a way less structured than Barry's and most other composers.
  • HASEROTHASEROT has returned like the tedious inevitability of an unloved season---
    Posts: 4,399
    IncompetentHenchman wrote: »
    HASEROT wrote: »
    IncompetentHenchman wrote: »
    GoldenGun wrote: »
    @haserot, forgot about that one. I'll put it straight in the middle of the album. ;)
    @jake24, didn't think they were bad. On the contrary, but they are a bit too chaotic for me at times.

    Definitely, that's what separates Barry from Arnold, who can just sound like noise at times (e.g. TWINE - submarine).

    the only thing that every really bothered me when people compare/contrast between Barry and Arnold, is that the same thing they will criticize Arnold of doing (ie: overuse of Bond theme), they would let Barry off the hook with - because it's Barry.... the man created that template, Arnold was just borrowing it..

    and after 4 films sans Bond theme (i don't count over credits, or randomly used 1 time during *wink wink* moment), I could use a little more of traditional Bond sound again..

    now, in terms of Submarine from TWINE - i don't disagree about the chaotic nature of it.. it probably could've been split into 2 different tracks... but seeing as how it was written to be one big piece over the course of a 10 minute sequence (much like Antonov in DAD), i can forgive it bouncing around between moods/tempos.

    Oh I don't at all think the Bond theme was overused. Indeed I'd love a return to the big bombastic use of the Bond theme a la TND-DAD. But I do think Arnold's tracks are less 'internally unified' or in a way less structured than Barry's and most other composers.

    oh true... Barry's Bond work had a more unified theme straight through, with only minor deviations - IMO, its that thematic structure that a lot of great composers can weave through in and out of various cues..... Arnold (in terms of Bond) followed the Barry playbook, but with the trappings of contemporary film scoring.... You can hear thematic structure through most of Arnold's work (cues from Surrender throughout TND, Only Myself To Blame, and the title theme through TWINE, You Know My Name through CR, and the Night At The Opera cue through QOS)........ but it's not as pronounced or frequent as what Barry did... but thats the genius to Barry - composers of his caliber don't come around often, and are also a dying breed in the industry.
  • jake24jake24 Sitting at your desk, kissing your lover, eating supper with your familyModerator
    Posts: 10,592
    Another great one:
  • MansfieldMansfield Where the hell have you been?
    edited August 2016 Posts: 1,263
    I really want David Arnold to return to the franchise unless they bring in someone of masterful quality and reputation. His most recent Bond work felt like he was just about to hit his stride. Granted John Barry was more accomplished at the time of his first departure, but to look at the list of soundtracks he composed following that time: Moonraker, Octopussy, A View to a Kill, and The Living Daylights. Pure genius and not a lemon among them! If Barry believed him the heir apparent, I'm willing to bet on him to reach that next level if given the chance to return.

    Edit: Omitted The Man With The Golden Gun, which was not one of his banner efforts. The sentiment remains, though!

    I would love to hear future use and alterations on these cues:




    Starting at 1:34

  • ChriscoopChriscoop North Yorkshire
    Posts: 281
    I too would welcome Arnolds return, qos soundtrack has some great moments, as does CR, unfortunately aside from a few tracks I do really like Newmans scores just lack the vigour a bond film needs. Thankfully we seem to be through the techno experimental score stage and orchestra driven soundtracks are back on top.
  • ThighsOfXeniaThighsOfXenia
    edited August 2016 Posts: 1,596
    I love almost every cue from QoS. I really like Arnold, by and large, which I know is uncool in some circles. TWINE and DAD see him indulging a bit and getting a little too "busy" and obnoxious by over-indulging in his sensibilities, and CR was too much the other way (too restrained, careful).

    TND and QOS are fanatstic, though. And even the ones I don't love as much have some solid cues.
  • SanchairsSanchairs UK
    Posts: 140
    Are we allowed to say the entire Sherlock soundtracks?
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 8,236
    Sanchairs wrote: »
    Are we allowed to say the entire Sherlock soundtracks?

    Absolutely. It'd be a big shame not to!
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