Tomorrow Never Dies: Music From The Motion Picture [SOUNDTRACK]

David Arnold, James Bond Films (Related Recordings)

Product Details

• Audio CD (November 25, 1997)
• Original Release Date: November 25, 1997
• Number of Discs: 1
• Format: Soundtrack
• Label: A&M
• ASIN: B000002GOX
• Also Available in: Audio Cassette
• Average Customer Review: 4.3 out of 5 stars  See all reviews (50 customer reviews)
• Amazon.com Sales Rank: #13,470 in Music (See Bestsellers in Music)

Track Listings

1. Tomorrow Never Dies - Sheryl Crow

2. White Knight

3. Sinking of the Devonshire

4. Company Car

5. Station Break

6. Paris and Bond

7. Last Goodbye

8. Hamburg Break In

9. Hamburg Break Out

10. Doctor Kaufman

11. *-3-* Send

12. Underwater Discovery

13. Backseat Driver

14. Surrender - k.d. lang

15. James Bond Theme - Moby

Editorial Reviews

Amazon.com

Where the previous Bond installment, Goldeneye, profited from the gratifying if belated introduction of actor Pierce Brosnan as an 007 for the '90s and beyond, it suffered from a musical mismatch. Composer Eric Serra had scored several successes with French director Luc Besson (La Femme Nikita, The Professional, The Big Blue) but floundered trying to update a genre whose John Barry-penned scores had long ago become legend. David Arnold's music for Tomorrow Never Dies is arguably less adventuresome than Serra's for Goldeneye, returning largely to Barry's conservative musical pattern for the Bond films. But it's still grandly effective, and probably better than the movie it supports. --Jerry McCulley

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars Arnold brings it back to Bond, July 3, 2003

By	"twekie" (USA) - See all my reviews

David Arnold is the man on this one. After the GoldenEye score came out, many were wondering what happened to the classic Bond styling. Well, it's back, with a twist

Sheryl Crow's theme is definately different for a Bond theme (not necessarily bad), but it actually makes no appearance in the score itself. The song "Surrender" by k.d. Lang acts as the theme for the score in numerous occasions, which is fitting becasue the song itself is much like one of Shirley Bassey's themes. One thing that Arnold did especially well is to bring back the Bond theme. Remember hearing it in GoldenEye? No, you don't. It wasn't there at all, except for the trailor (whcih was by Parodi Fair, but that's another cd)
The twist is the added techno styling to good ol' Bond intruments. Arnold did a great job in keeping stuff up to date, and Moby added to it with the Bond remix at the end of the CD. Great, great stuff.

This CD, however, only has half of the score. If you want the whole score (editor's cut, as it is referrred to), you need the one that just says soundtrack. It's more expensive, and lacks Sheryl Crow, k.d Lang, and Moby's Remix. But it has some key tracks, like the ones at the climax of the movie. If you really are a Bond music fan, buy both.
*Interestingly enough, there is still some music missing, like the music heard at the cocktail party for the Carver Media Group. But it's stil good.

5 of 5 people found the following review helpful:

5.0 out of 5 stars Best Soundtrack In Series, July 16, 1998

By	Derek Johnson (Austin, Texas USA) - See all my reviews

John Barry has stated that he won't do another Bond soundtrack. After listening to Arnold's work for "Tomorrow Never Dies", I'm not so sure this is a bad thing. Arnold has a clear idea of what makes Bond work musically; from the opening bars of "White Knight" to the fade of k.d. lang's "Surrender", you know exactly what you're listening to. Moby's "James Bond Theme" is a brilliant techno-pop take on the much-loved guitar piece by Barry (or Monty Norman, depending on who you listen to) and much more effective than Eric Serra's fumbled attempts on "Goldeneye". Sheryl Crow's title song has received a lot of flack from fans and critics, but I don't think it's completely justified. Granted, Crow's range is limited, and there are times when I think the vocals could have been more dynamic, but the lyrics are strong (much stronger than "Goldeneye") and the use of strings is effective; it grows on you after a few l! ! istenings. lang's "Surrender", in contrast, is a powerhouse, full of the same brio and energy. It's reminescent of Shirley Bassey's "Goldfinger" but is not imitative of that classic.

THIS IS WHAT A JAMES BOND SOUNDTRACK SHOULD SOUND LIKE!

4 of 4 people found the following review helpful:

4.0 out of 5 stars Arnold Bonds With Bond, October 17, 2002

By	G M. Stathis (cedar city, utah USA) - See all my reviews (REAL NAME)

It is interesting to revistit David Arnold's first entry in the James Bond musical saga, "Tomorrow Never Dies," now that he is about to release his third score in the series,"Die Another Day." Arnold was given the rather daunting assignment of taking Bond into a new era but somehow create a musical bridge to the scores written by John Barry. He succeeded with what is now generally considered the best of the non-Barry 007 scores. Indeed, the full score, which sadly is only partially represented on this soundtrack recording, is one of the best of the entire series. The vocals are good, but they are also somewhat confusing. The song "Tommorow Never Dies-Surrender" is clearly the thematic basis of much of the score, but was not used as the title tune (it is presented over the end titles). Too bad, because aside from being an important part of the musical treatment, it is also the better song. The music for the pre-credit sequence, "White Knight," is a perfect example of Arnold's fine effort to both pay homage to Barry and put his stamp on Bond. It is a fantastic piece that integrates the traditional James Bond Theme, Barry's use of brass, and Arnold's new devices including his "Surrender" theme. After hearing this cue, I was sold on Arnold as the successor to Barry. Something closer to a full treatment of the score was later released by Chapter III Records (and is now out of print), but even it left out some cues. In two Bond scores Arnold has demonstrated dynamic skills in developing love themes, action music, dramatic cues, jazz and electronic interpretations. This is a worthy effort and leaves us wanting more from Arnold. The good news is that like James Bond, David Arnold will return.